Content + Technology March April 2011 issue

cT

content

technology VOLUME 8 ISSUE 2 > MARCH/APRIL 2011 PP: 255003/06831

Media Production Management Delivery

broadband

television

PREVIEW ISSUE ISSN 1448-9554

MAGAZINE

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

Where Creativity, Technology and Business meet.

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 Sub-editor: Sushil Suresh 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: Whirlwind Print 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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Making broadcast pay in today’s connected world requires unprecedented creativity.

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With a decades-long legacy of technology leadership, Harris is the only company that offers an end-to-end workflow engineered to address all tomorrow’s standards — and the unique challenges faced when baseband meets broadband.

HDTV. Mobile TV. 3D. Connected TV. Wherever you and your viewers converge, Harris has the technology to transform your creativity into a thriving business.

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To learn more, visit broadcast.harris.com Hong Kong +852 2776 0628

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CONTENTS 04 NEWS Disasters Hit Hard, Omnilab’s New GM, Harris Promotions, Ross Video Sales ANZ, ASTRA Appointment, Cutting Edge CEO

50 STORAGE & ASSET MANAGEMENT DAMsmart helps AusStage Save Performing Arts History, Video 8 Meida Choose Amberfin iCR, plus Storage Economics.

10 TAKING STOCK Tribulations at TEN, Karl Jansson’s Notes for Job Applicants, French Fund Buys Thomson Video Networks, Cosair Acquires Lako Pro

56 DIGITAL SIGNAGE Panasonic scores with 3-storey SCG Screen, D-Signage Privacy Standards, Harris Partners powers 7-Eleven TV

16 TECHNICAL STANDARDS MPEG Tackles Royalty-Free Coding, 3D, Search and MPEG-2 Updates, Approval for DVB 3D SPEC, Riedel Joins AVNU Alliance

59 BROADBAND & IPTV Online with Ten and Fairfax, Haivision’s New Appliance, ACMA Releases Spectrum Outlook, Wowza Media Server

18 NAB PREVIEW 24 THIRD DIMENSION 3D Hooks Ross Emery, 3DTV Trials

62 AUDIO RTS Telex Gets Nine and TEN Talking, TEN Turns Fairlight Up to 11, plus upcoming products at NAB

28 ACQUISITION ACS HQ Launched, Panavision Provides Multiple Workflow, Pre-NAB Announcements

68 RADIO Oz Parliament Switches to DAB+, Regional Footprint Grows for Digital Radio, Tassie Stations Come Home With BE and Lumina

36 SPORTSCASTING Wimbledon to go 3D, Sony Buys HawkEye Tracking Solutions, PMG Speeds Up with Evertz, Globecast Live HD Super 15, Expanded Gearhouse Fleet, London 2012

72 TRANSMISSION DVB-T2 Trialled in Malaysia/Thailand, Imparja Picks Etere for Expansion, Singapore Scraps Broadcast Receiver Licences, Media Convergence - Harris Style

40 NEWS OPERATIONS Covering the Egyptian Crisis, AP’s ENPS Heads East with South Asian Pact, Annova Powers Malaysian Islamic Channel

76 CONFERENCES, EXHIBITIONS

c+t

44 POST PRODUCTION Digital Pictures-Iloura to Open in Sydney, More Mistika 3D for Park Road, Pandora’s Box Opened at VHQ, SBS Revs Engine for Immigration Doco, plus Pre-NAB highlights.

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77 CLASSIFIEDS

78 OFF-AIR What happens On Tour… gets Printed Right Here 80 TIME SHIFTER

Editor’s Welcome

Putting it All in Perspective

+video

By Phil Sandberg WHILE THE EFFECTS

of the catastrophic events in Japan have become clearer since March 11, there will undoubtedly be unforeseen repercussions affecting both the Japanese and global communities that will have to be dealt with as time goes on. The same can be said, to a lesser extent, of the recent flooding throughout Australia and the earthquake disaster in Christchurch, New Zealand.

One of the issues raised by the compounded Japanese earthquake-tsunami-radiation catastrophe is the reliance of the broadcast industry upon Japanese manufacturing capacity. Unhelpful reports from the U.S. suggest shortages and panic buying have begun when it comes to recordable media as a result of a cessation of operations at Sony’s tsunamiaffected Sendai plant and interruptions at Sony and other manufacturers’ facilities due to power shortages.

However, the word from manufacturers locally is “DON’T PANIC”. There are sufficient stocks available and, given a wider-spread adoption of reusable solidstate media than in the U.S., the situation is unlikely to impact local production to the same degree.

Perhaps C+T’s overseas trade media counterparts should concentrate less on attracting visitors to their websites and spare a thought for the more than 20,000 people who have lost their lives as well as the many homeless for whom SR tape is the least of their worries. They might also like to reflect on the plight of Christchurch’s CTV which lost 17 of its 20 staff, including its founder and managing director (see story page 4) in that earthquake. A bit of perspective, please.

NAB 2011

Perspective is something one should always employ at this time of year when it comes to the annual U.S. National Association of Broadcasters convention in Las Vegas – and not just because of its location.

Years gone by have witnessed numerous ‘nextbig-things’ that were going to change the face of

traditional media and the business models of content creators. Mobile TV, digital asset management, 3D, digital signage, social media networks, China, the Red Camera, the list goes on. All these things were meant to provide lucrative new revenue streams for producers and broadcasters alike – except they haven’t. At least, not in the way they were supposed to.

Like flame-obsessed moths, many have scrambled to take advantage of these new areas of opportunity with associations springing up around them (mostly in the U.S.) to provide a conduit for education and networking. Mostly, though, it has been the people running the organisations who have benefited by being hired for a better job than they started with.

Then there is the undeniable fact that there is always some new, game changing company ready to come along and reshape the industry forever.

Sometimes, like Google/Youtube, they do. Mostly, they don’t. So, what lessons should one bear in mind when traversing the labyrinthine halls of the Las Vegas Convention Center?

1) Ask yourself, how can this new solution or trend fit into my existing business or help it evolve?

2) Is this something which will have legs outside of its home market? Not all geographies are equal and just because you share a language with someone doesn’t mean you’re reading from the same page.

3) Everything costs more and takes longer than everyone thinks, so factor it in.

Lastly, attend the Annual NAB Aussie /Kiwi night on Saturday April 9. There’s nothing like peers and beers to really put things in perspective.

Visit www.content-technology.com Thanks for Reading Phil Sandberg Editor/Publisher

Job Opportunity – Sales & Marketing Manager Broadcastpapers Pty Ltd, the publisher of Content+Technology magazine is seeking expressions of interest for the full-time position of Sales & Marketing Manager. The successful applicant will be an entrepreneurial self-starter with advertising sales experience preferably across print, online and events who is also capable of generating creative marketing options for our clients.

The successful applicant would also be jointly responsible for promoting the company’s activities across online forums, search engines and social media networks. Experience in the broadcast-film technology sector would be an advantage, but is not essential. Remuneration would consist of base salary plus commission. Interested parties please email your CVs to production@broadcastpapers.com

2 Editor’s Welcome

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Catch up on the behind the scenes action at NAB 2011 and much more with C+T’s Online Video at our brand new C+T web site.

Also on the Site: • Whitepapers • News and product information from 27 C+T blog sites • Events to calendar

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2011 Deadlines

• Recruiting/Staff Management • Recruiting/Staff Management

May/June 2011 Vol 8 Issue 3 Editorial/Advertising Bookings – April 22nd, 2011 Ad Material – April 29th, 2011 July/August 2011 Vol 8 Issue 4 Editorial/Advertising Bookings – June 27th, 2011 Ad Material – July 1, 2011 Stptember/October 2011 Vol 8 Issue 5 Editorial/Advertising Bookings – August 12th, 2011 Ad Material – August 19th, 2011 November/December 2011 Vol 8 Issue 6 Editorial/Advertising Bookings – October 21st, 2011 Ad Material – October 28th, 2011 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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SONY, PANASONIC RALLY TO AID JAPAN QUAKE VICTIMS With the full extent of Japan’s earthquake/tsunami/nuclear tragedy on March 11 yet to be revealed, word has emerged from companies in the affected regions as to the impact the events have had on their staff and operations.

According to a statement, operations at several Sony sites and facilities have been affected by the Pacific Coast of Tohoku Earthquake and tsunami, and the company has been monitoring the status of each of these sites on an on-going basis, while also considering the most effective recovery measures.

Sony has also responded to widespread power outages by voluntarily suspending operations at several sites.

According to Sony, “No significant injuries have been reported to employees working at any of these sites when the earthquake or tsunami occurred.”

Despite this, Sony Corporation Sendai Technology Center (Tagajyo, Miyagi) has ceased operation due to earthquake damage. In addition, manufacturing operations have been

suspended at the following affected production sites: • Sony Chemical & Information Device Corporation - Tagajyo Plant (Miyagi Prefecture, Magnetic Tapes, Blu-ray Discs), Tome Plant, Nakada/ Toyosato Sites (Miyagi Prefecture Optical devices, IC cards) • Sony Shiroishi Semiconductor Inc. (Miyagi Prefecture - Semiconductor Lasers) • Sony Energy Devices Corporation, Koriyama Plant (Fukushima Prefecture - Lithium Ion Secondary Batteries) • Sony Energy Devices Corporation, Motomiya Plant (Fukushima Prefecture - Lithium Ion Secondary Batteries) • Sony Manufacturing Systems Corporation, Kuki Plant (Saitama Prefecture - Surface mounting equipment) • Sony DADC Japan Inc., Ibaraki Facility (Ibaraki Prefecture - CDs, DVDs).

Despite the damage and disruption, Sony has been proactive in contributing to relief efforts with the donation of 300 million

>> >>

Downtown pre-quake

Sendai.

Japanese yen [AUD$36 million] to aid recovery efforts in affected communities.

Additionally, a disaster relief fund will collect donations across the Sony Group from employees worldwide and matched by the company.

The company will also donate 30,000 Sony radios to assist the relief of earthquake victims, while the Sony Group will prepare further product donations going forward, taking into account the local needs.

The Tohoku region is historically important for Sony, with a high concentration of manufacturing sites, and many employees and their families have also been affected by the devastating events.

“In times like these, we are reminded of how important and fragile we are and of the positive impact we can have - both as individuals and, collectively, as a Company - to assist those in need,” said Howard Stringer, Chairman, CEO and President, Sony Corporation. “We will continue to make the utmost effort to help the swift recovery of the affected communities in the region.”

For its part, Panasonic Corporation has also stepped up to aid relief efforts by also donating 300 million yen and necessary supplies, including 10 thousand radios, 10 thousand lamps and 50 thousand batteries.

Due to the large electricity shortages, Panasonic Group is also calling out to save electricity and will start by turning off outdoor signage and refraining from using electricity at all applicable facilities.

In a statement, the company said, “Panasonic Group and its employees express deep condolences for victims of the earthquake and sincerely hope for swift recovery of the people and areas affected by the disaster.”

Donations to the Japan relief efforts can be made through the Red Cross online (www.redcross.org.au), via credit card by phoning 1800 811 700, or at any Commonwealth Bank.

DISASTER STRIKES CTV CHRISTCHURCH One of the inherent problems with modern news coverage is the imperative to move onto the “next breaking event” such as the Japan crisis, often ignoring the ongoing impact of other recent events like the floods in Australia or the Christchurch earthquake. It is the latter which has hit the New Zealand TV industry particularly hard with the destruction and loss of life at regional broadcaster Canterbury Television (CTV).

The building that housed the operations of Canterbury Television was destroyed in the earthquake of February 22, 2011. Community-based, CTV produced more than 20 hours of local programming every week as well as carrying programming from Deutsche Welle, Bloomberg Television, CCTV-9, Voice of America and Al Jazeera. Its signal went out from the Sugarloaf Television transmitter on the Port Hills, near Christchurch and was also carried through TelstraClear’s Digital TV service to Christchurch, Wellington & Kapiti.

According to its web site, the independently-owned television station with its staff of over 20 media professionals, saw itself as “the industry standard for other regional stations operating in New Zealand”.

As well as significant loss of life at a language school housed within the building, 17 of CTV’s staff were killed, including Managing Director Murray

4 News

Wood, a 57-year-old father of six, who was with CTV for almost eight years.

He was described as a “legend, community inspiration and fantastic father”, as well as “a real enthusiast for the industry”.

Mike Yardley, host of CTV current affairs program ‘Newsmakers’ had just finished his shift at local radio station NewsTalkZB when the quake struck.

In his blog on NewsTalkZB’s web site, he wrote “For the past 10 years, the regional television channel has been a trusty employer for me, broadcasting my weekly current affairs program. My heart has been torn by the unwieldy weight of grief, as I reflect on 17 much-loved workmates who I will never share a TV studio with again. Seventeen passionate, resolute workmates who believed in regional television and made it work.

“CTV has been the career launch-pad for dozens and dozens of TV journalists, who now appear on our nightly network news programs. CTV was the longestrunning television channel in New Zealand, and although it will never be the same, it will rise again to serve our region. It must.”

The relief effort in Christchurch continues. Donations can also be made through the Red Cross online (www.redcross. org.au), via credit card by phoning 1800 811 700, or at any Commonwealth Bank.

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CONVERGENCE REVIEW COMMITTEE CHAIR ANNOUNCED

FOX STUDIOS AUSTRALIA ENTERS LIGHTING RENTALS MARKET

The Australian Minister for Broadband, Communications and the Digital Economy, Senator Stephen Conroy, has announced that Mr Glen Boreham will chair the Convergence Review Committee.

The Convergence Review, announced on 14 December 2010, will involve a comprehensive examination of Australia’s communications and media regulation.

Mr Boreham is a former Managing Director of IBM Australia, and has substantial experience working with government, having served as the inaugural Chair of the Screen Australia Board since June 2008 and as a member of the Government’s Information Technology Industry Innovation Council since 2009.

Mr Boreham joins Mr Malcolm Long as members of the three-person Review Committee. The final member will be announced shortly.

Mr Long also brings considerable experience to the Committee. For 10 years he was a part time member of the Australian Communications and Media Authority and before that the Australian Broadcasting Authority. He has also been a director of the Macquarie Communications Infrastructure Group, a global communications infrastructure provider, and Pan TV Limited, which produced the World Movies subscription TV channel. Mr Long has previously held senior positions with the Australian Film Television and Radio School and the London-based International Institute of Communications.

The final Terms of Reference for the Convergence Review can be viewed at www.dbcde.gov.au/convergence

Australia’s largest film studio, Fox Studios Australia is moving into the lighting rental business with an announcement that it plans to purchase the entire Australian lighting equipment inventory of Panalux, Panavision’s lighting division based in New South Wales and Queensland. The move follows a decision by Panavision to concentrate its activities on camera and crane rentals.

The purchase of such a significant amount of lighting equipment sees Fox Studios Australia now become Australia’s only complete ‘one stop shop’ film studio, closely resembling Fox’s US studio model and moving away from the ‘dry hire’ model.

Fox Studios Australia CEO Nancy Romano said, “Purchasing and thus keeping, the lighting equipment that has serviced our industry so well over the last 12 years on Australian shores was the primary driver behind our decision. By adding the lighting equipment operation to our studio, it will be easier and more convenient for local and international productions to source lighting equipment whilst shooting on the Fox lot in Sydney, or in any other location in Australia and New Zealand.”

Visit www.foxstudiosaustralia.com

FSM KICKS OFF 2011 WITH FEATURE FILMS Sydney post production company FSM has dived into 2011 with a strong feature film focus, including the national cinema release of Griff the Invisible in March and the announcement of its involvement with the soon-to-be-shot, multi-million dollar movie Goddess.com.

FSM completed all visual effects, titles and colour grading for Griff the Invisible Scheduled to begin shooting in April, Goddess.com is a musical romantic comedy directed by Mark Lamprell and produced by Richard Keddie and Andrena Finlay.

FSM is heavily involved in workflow tests, VFX, DI and the full post production pathway for the multimillion dollar film.

Visit www.fsm.com.au

6 News

NEW OFFICES FOR AVW BROADCAST AVW Broadcast has moved to new facilities in St Leonards, Sydney.

AVW now has increased warehouse and workshop facilities to support its expansion in the Broadcast markets.

According to Murray Hunt, AVW’s Managing Director, “AVW’s concentration on supply and support for the Broadcast and RF customers called for enlarged facilities to support greater stock holdings and product inspections.”

The new address is 38A, 8 Herbert Street, St Leonards, NSW 2064, Australia. Tel: (+61 2) 8213 0200. Fax: (+61 2) 9966 9551.

Visit www.avwbroadcast.com.

VISIONARY SOLUTIONS POWERS IPTV FOR FIJI Visionary Solutions has announced that MAI TV has successfully deployed its encoders to stream programming for the new 24-hour Web channel, MAI TV LIVE. MAI TV, which relies exclusively on IPTV technology to power its broadcasts, is one of two free-to-air networks in Fiji, and the company has created the online channel primarily to serve the thousands of Fijians living overseas.

The system installed by MAI TV includes Visionary Solutions’ Media Processing Platform blade/chassis system and the VSiCaster streaming system, developed in partnership with streaming service provider NetroMedia. The flexible and cost-effective platforms provide MAI TV encoding options for edge acquisition and distribution of digital content they receive from programmers around the world.

MAI TV LIVE will initially be programmed as a direct mirror of the programming shown over the air. However, the network plans to eventually create programming specifically for the online audience.

The MAI TV installation also includes Visionary Solutions equipment for the processing of its over-the-air broadcasts.

Visit www.maitv.com.fj, www.vsicam.com and www.NetroMedia.com

SENCORE DOWN UNDER WITH ONAIR Sencore has signed OnAir Solutions to represent its full line of signal transmission products in Australia. OnAir Solutions will be the exclusive reseller of Sencore video monitoring and signal delivery products to the Australian broadcast, cable, satellite, and IPTV marketplace.

“Australia represents an exciting, untapped opportunity for Sencore, and OnAir Solutions is an ideal partner to help us build a market presence there,” says Tony Oehlerking, Sencore GM of International Business Development. “Australian broadcasters are grappling with challenges for which many of our products are tailor-made, such as transcoding from MPEG4 to MPEG2 — and OnAir Solutions has a strong track record of establishing a base for new products that uniquely satisfy specific requirements.”

Visit www.onair.com.au and www.Sencore.com

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A set of filter and generator plug-ins compatible with Apple® Final Cut Studio™ and Final Cut Express™

GLOSTER GM FOR OMNILAB MEDIA SERVICES Christopher Mapp, Managing Director of Omnilab Media has announced the appointment of Sunita Gloster as the company’s new General Manager, Media Services Sydney.

Gloster will focus on identifying new opportunities in the advertising and entertainment markets for Omnilab Media at a time of significant growth and achievement for the company. In addition, Gloster will develop and oversee the strategic direction for Omnilab Media [Media Services] Sydney brands comprising: • VFX and post facility The Lab Sydney

• Editing suites, Island Films; and • Post production and sound design company, Cornerpost Gloster most recently worked as Managing Director at advertising agency bellamyhayden. Gloster returns to Australia after having worked 11 years overseas, including as founding partner at London agency Hurrell Moseley Dawson Grimmer; Chief Operating Officer for M&C Saatchi Europe; and Worldwide Business Development Director at Lowe. Gloster launched her career with stints at The Campaign Palace, Whybin TBWA and Y+R Adelaide.

Visit www.omnilab.com

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MCGROUTHER HEADS DAMSMART FILM SERVICES Australian audiovisual digitisation agency, DAMsmart, has announced that Dave McGrouther is joining the team to head up its Film Services Division.

Dave is well known in the industry as one of Australia’s leading film preservation experts. Having spent 14 years at the National Film and Sound Archive (NFSA), most recently in an executive role as Film Curator, Dave brings with him extensive knowledge of archiving, preservation, conservation and repair techniques for all film formats.

Dave’s appointment further strengthens DAMsmart’s specialist audiovisual digitisation and preservation services. The growth of DAMsmart’s technical team underscores their commitment to developing their digitisation business in Australia and their expansion into Asian markets.

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

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HARRIS PROMOTES KHODEIR, HEWITT Harris Corporation has promoted Joe Khodeir to the role of vice president, marketing and solutions, Asia-Pacific, for its Broadcast Communications business.

Joe will manage the product marketing, solutions and emerging business teams, reporting to Richard Scott, senior vice president, global sales and service. He will continue to manage the Media & Workflow software systems business across the Asia-Pacific region as he did in his previous role as vice president of sales for Australia and New Zealand.

Joe will also be responsible for generating business opportunities to sell the Harris ONE integrated broadcast solution across the Asia-Pacific region. This solutions-based approach has seen considerable worldwide success for Harris in the broadcast sector, particularly in Australia under Joe’s leadership. Prior to joining Harris Corporation’s Software Systems business unit (formerly Encoda Systems, Inc.) in January 2001, Joe had extensive regional media experience as Asia-Pacific chief operating officer for Lintas, the advertising agency network and wholly-owned subsidiary of Interpublic Group of Companies, Inc. Meanwhile, Richard Hewitt has been named sales manager for the Harris Broadcast Communications business in Australia and New Zealand. In this role Richard will be responsible for selling the breadth of Harris Broadcast’s Workflow, Infrastructure and Networking (WIN) and Media product portfolios, as well as managing the local sales and operations for the business. Richard will report to Stephen Wong, vice president sales and service, Asia Pacific, Harris Broadcast Communications. Prior to joining Harris, Richard worked for Crosfield Electronics, Dixon’s Group and Honeywell in the U.K. Richard holds an honours degree in electronic engineering from the University of Hertfordshire, U.K. Visit http://www.harris.com.

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News 7

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PREECE TO MANAGE ROSS VIDEO SALES ANZ Spencer Preece has joined Ross Video’s “Team Asia” as the new Regional Sales Manager, Australia and New Zealand.

Spencer has almost 20 years of sales experience in the Production and Broadcast industry gaining invaluable experience across a wide section of areas including live production, operations and system integration.

Prior to Ross, Spencer worked for Sony and Global Television in Australia and Granada Media in the United Kingdom.

Visit www.rossvideo.com

CURTIS TAKES POLICY & REGULATORY AT ASTRA The Australian subscription television industry body, ASTRA, has announced the appointment of Simon Curtis to a one year contract position as Manager, Policy & Regulatory Affairs.

Simon joins the organisation with an extensive background in public policy and regulatory affairs having worked most recently on digital television policy for The Department of Broadband, Communications and the Digital Economy.

Simon has a Bachelor of Laws and a Bachelor of Arts from the University of NSW and began his career in government as Policy Officer with the then Department of Communications, Information Technology and the Arts, having previously been Senior Research Officer at the Communications Law Centre, UNSW. In his new role, Simon will work to influence policy and regulatory strategy for the subscription television industry and work with industry bodies and external groups, supporting the needs of ASTRA members.

Visit www.astra.org.au

BURTON CEO FOR CUTTING EDGE Cutting Edge has announced the appointment of Michael Burton as the company’s new chief executive officer (CEO).

Burton started with Cutting Edge as the company’s CTO, and later held the joint positions of Managing Director and Head of Outside Broadcast and Reality TV. Burton is a key driving force at Cutting Edge, having overseen the provision of services to blockbuster television productions such as Endemol Southern Star’s ‘Big Brother Australia’, Granada Television’s ‘I’m a Celebrity…

Get Me Out Of Here’, Fox Sports Cricket and Network Ten’s AFL broadcasting.

In his new role, Burton aims to further enhance Cutting Edge’s world-class creative excellence across all services, including post-production, visual effects, broadcast and digital media.

“Our clients need a broader range of services and products than ever before. At Cutting Edge we have everything in place. With some of the world’s best creative people

8 News

sequences for Captain America: The First Avenger.

As a Technical Director, Johannes Saam’s feature film credits include Legend Of The Guardians: The Owls Of Ga’hoole, The Spirit, Australia, The Ruins and development work for Mad Max 4: Fury Road.

Johannes is one of the pioneers of the ‘Deep Image’ compositing technology which allows artists to composite their shots in the 3D space, rather than on flat 2D planes.

Johannes brings this experience to Fuel where he is working on pipeline and tool development for the company’s slate of projects, as well as in FX shot production for Thor and Captain America: The First Avenger.

Visit www.fuelvfx.com

Affordable Prompting

Kahuna SD/HD Vision Mixer and technology, we can help our clients through every stage of the production process,” said Michael Burton, CEO of Cutting Edge.

“From creation through to delivery, we’re focused on giving the most value to our clients. Whether it’s through asset management and digital delivery efficiencies, or through a new range of services across the digital media space”.

Visit www.cuttingedge.com.au

Sherriff joins ESPN STAR Sports from Television Systems Limited (UAE) where he was the General Manager and was responsible for setting up TSL’s Middle East operations. Sheriff returns to ESPN STAR Sports from his earlier stint at ESS from 1997 to 2001 when he was the Director of Engineering. Colin started his career with Television New Zealand and has worked with STAR (Hong Kong), Taj TV (Dubai), Al Jazeera Int. (Qatar) and SONY Professional Solutions (UAE).

STAR Sports, who welcomed his appointment.

Visit www.espnstar.com

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ESPN STAR SPORTS CALLS SHERRIFF

Asian sports broadcaster, ESPN STAR Sports (ESS) has appointed Colin Sherriff to the role as Vice President of Operations and Technology.

Sherriff leads the biggest department within the ESPN STAR Sports network, heading teams responsible for Engineering, Transmission, Studio Operations, Satellite Operations, Editing, Commercial Traffic, Facilities as well as Media Content Operations.

Sherriff will report directly to Manu Sawhney, Managing Director, ESPN

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HORVATH, SAAM JOIN FUEL VFX Fuel VFX has announced that Christopher Horvath and Johannes Saam have joined its team.

Chris Horvath has worked mostly in technical design and direction, software and pipeline development and in supervisory roles for leading visual effects companies including ILM and Weta. His film credits include Avatar, Harry Potter and the Half Blood Prince, King Kong and Lord Of The Rings: The Return Of The King.

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As part of this, Chris is migrating Fuel from a Windows based company to Linux and is concurrently leading the CG team through the company’s

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Taking Stock

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– MOVES IN THE BUSINESS OF CONTENT+TECHNOLOGY

Disruptive TENdencies The TEN Network has a history of technical and business innovation that really hit its stride when the commercial broadcaster moved its Sydney operations to the present location in Pyrmont.

From its pioneering adoption of digital infrastructure and file-based workflows to the niche-carving launch of the ONE sports channel, TEN has sought to embrace new technologies and efficiencies while targeting viewers underserved by its commercial counterparts at Seven and Nine – the most recent example of this was the boost given to local news and current affairs.

Importantly, the Network’s digital channels, especially ONE, have strengthened the Freeview proposition that viewers don’t need subscription TV when they can get what they need free-to-air.

This is all now in doubt after the buy-up of TEN shares by Lachlan Murdoch, James Packer and Gina Rinehart and their subsequent ascension to the board.

These moves were followed by the announcement of a strategic review of TEN operations and the termination of Grant Blackley’s contract as the Chief Executive Officer of the Company, leaving Lachlan Murdoch as Acting CEO. This would all be standard boardroom shenanigans if it weren’t for what followed.

Ten Network Holdings Limited went on to announce the appointment of James Warburton (who had served as Chief Sales and Digital Officer of Seven Media Group since 2008) as Chief Executive Officer of the Company – except he might not start as early as the TEN board anticipated.

It seems someone forgot to do their homework with regard to the contractual obligations Mr Warburton has with the Seven Media Group, and while Seven has deemed these obligations, and potential competitive threats, important enough to initiate court action, Mr Warburton appears less concerned. That

is, if the contents of an affidavit by Seven’s Group General Manager of Human Resources, Samantha Liston, are anything to go by.

While the expectation at TEN was that Mr Warburton would commence his tenure on 14 July 2011, Ms Liston contends that date is the earliest that he could terminate his contract, meaning he would not be free to take up another position until October 14. Ms Liston also contends that Mr Warburton was offered the position of CEO of the Seven Media Group just prior to his accepting the TEN offer.

All of which will prolong Lachlan Murdoch’s period as caretaker CEO.

THE SPECULATION: NEWS CORP TAKEOVER?

Of the chatter doing the rounds over the manoeuvres at TEN, some have raised the spectre of a ‘backdoor’ takeover by interests aligned to News Corporation, which would see TEN’s digital channels replaced

by Foxtel offerings – specifically Sky News and Fox Sports.

It is no secret the Foxtel camp sees new, niche freeto-air channels as a threat to its offering, especially ABCNEWS24 and, to a lesser extent, the ONE Sports Channel.

Sky News has also long had its eye on the ABCheld contract for operation of the federally-funded Australia Television international service.

Both ABC operations have, of late, taken a battering from News Limited publications while Foxtel CEO, Kim Williams, has called for the ABC to be treated the same as its commercial counterparts under the upcoming Federal Convergence Review.

There is little doubt, however, that any move to replicate subscription channels over TEN spectrum, or use them as ‘teasers’ to encourage subscription uptake, would come under the scrutiny of the

Australian Competition and Consumer Commission.

There is also the matter of ‘media plurality’, which is sure to raise its head, as it has done recently in the UK over News Corp’s proposed merger with BSkyB. In that case, the UK Government accepted undertakings from News Corporation it would spinoff Sky News as an independent public limited company with the shares in that company distributed amongst the existing shareholders of BSkyB in line with their shareholdings.

To ensure editorial independence and integrity in news reporting, the company would have a board made up of a majority of independent directors, including an independent chair, and a corporate governance and editorial committee made up of independent directors (who would have no other News Corporation interests).

News Corporation would not be allowed to increase its shareholding in the new company without permission from the Secretary of State for 10 years.

The company would have a 10-year carriage agreement and a seven-year renewable brand licensing agreement.

Of course, the situation in Australia is different with there being no merger in the offing and the various channels already being independent entities, but the plurality concern is unlikely to go unvoiced.

For its part, and despite receiving court documents from Seven, TEN says it “looks forward to Mr Warburton commencing with Ten as Chief Executive Officer, as previously announced, on 14 July 2011.

“Ten considers that it has acted properly and in a way that is consistent with Mr Warburton’s employment obligations and will be defending any proceedings accordingly.

“As the matter is currently before the courts, Ten will not make any further comment.”

The unfolding continues.

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Production Resource Group (PRG) Acquires Bytecraft Production Resource Group, L.L.C. (PRG), a leading global supplier of entertainment and event technology solutions headquartered in New York, has announced that it will acquire the business and assets of Australianbased Bytecraft Entertainment, a wholly-owned subsidiary of Staging Connections Group Limited.

PRG supplies entertainment and event technology to a wide range of markets and has more than 36

10 Taking Stock

offices in North America, South America, Europe, Africa and Asia.

PRG chairman and CEO Jeremiah “Jere” Harris and Bytecraft Managing Director Stephen Found jointly announced the acquisition, which will be completed by the end of March. Stephen Found will continue in a leadership role with the company.

Founded in 1984, with offices in Melbourne,

Sydney, and Adelaide, Bytecraft Entertainment has a long history of technical excellence. The company specialises in supplying lighting, drapery, and Superscreen LED systems for large-scale events, as well as theatre, television, theme parks, gaming venues and large outdoor sporting events.

Visit www.prg.com and www.bytecraftentertainment.com

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Taking Stock

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From Applicant to Candidate - ll

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Media Staff & Strategy by Karl Jansson* IN THE PREVIOUS ARTICLE

in the last edition of Content & Technology, we discussed how to prepare your application for a job, with some insight into the employer and their expectations when advertising the job.

In this edition we will discuss how to prepare for an interview, along with some very handy tried and true methods that attract the attention of the interviewer.

COMMON TERMINOLOGY Firstly, there is some common terminology used in recruitment, so understanding these ideas will help you to compartmentalise the process. â&#x20AC;&#x153;Applicantsâ&#x20AC;? are those who apply to a job, but after consideration they may become â&#x20AC;&#x153;Candidatesâ&#x20AC;?.

After interviewing there maybe up to three â&#x20AC;&#x153;Shortlisted Candidatesâ&#x20AC;? after which a â&#x20AC;&#x153;Referee Reportâ&#x20AC;? is tabled and the â&#x20AC;&#x153;Appointeeâ&#x20AC;? is awarded the position of â&#x20AC;&#x153;â&#x20AC;Śâ&#x20AC;Ś.â&#x20AC;?, confirmed by a â&#x20AC;&#x153;Letter of Offerâ&#x20AC;? and/ or â&#x20AC;&#x153;Contract of Employmentâ&#x20AC;?, depending upon company policy.

Although there is more to recruitment, these are the basic milestones.

NOTES FOR THE CANDIDATE Resume Layout Donâ&#x20AC;&#x2122;t use a generic covering letter for all positions you apply. Highlight all the points from the advertisement, or â&#x20AC;&#x153;Job Descriptionâ&#x20AC;?, then, indulge yourself with legitimate references to the position you are applying.

Page â&#x20AC;&#x153;1â&#x20AC;? of the resume is the summary page listing Dates, Positions and previous Employers, one per line.

This is the reference page for the reader.

Page â&#x20AC;&#x153;2â&#x20AC;? contains the latest or current position. All other positions follow thereafter.

Rule of thumb is that the last five years will contain more information than the preceding years, so the information starts to decrease as page numbers increase.

EMAILED RESUMES If you would like, you could use logos of previous employers and hyperlink them to their website. This provides the reader easy access to the companyâ&#x20AC;&#x2122;s line of business.

If you intend to present a show reel, park it on a remote server and link it back to your resume.

If you have a website with your resume parked on it, do not use it as your initial application, as it will

indicate a generic response to the position, and not a purpose-built application.

Without exception, the attached resume file should contain your name(#) as part of the file name.

Some current Internet software is blocking â&#x20AC;&#x153;resume. docâ&#x20AC;? generic files, so tag it as: â&#x20AC;&#x153;Your Name.Position.Resume.docâ&#x20AC;?. By placing the position title and possibly the company name, it indicates a more personal approach to your application. It will stand out to others with a generic file name.

Think of your resume as luggage tag on a journey, so donâ&#x20AC;&#x2122;t lose it.

Before emailing, inspect it for visible omitted or inserted changes from the WORD feature and before sending it, open it to ensure that it is THE document you are sending.

Keep any graphics to a minimum file size.

Finally, and most importantly, keep the pages of your resume to within 10 pages. The recipient of your resume has no doubt read â&#x20AC;&#x153;Gone with the Windâ&#x20AC;? already.

PRIOR TO THE INTERVIEW Upon forwarding your application, listen to the outgoing messages on your mobile and home answer machine, and ask yourself, are these appropriate messages from a job seeker? They are your first impressions prior to an interview.

Take to the interview (for your reference) a written list of all your relevant experience and a list of questions that you believe need to be answered.

Also take written references or documents that will support any claim you believe is important. Present them if the time is appropriate.

Always read again your research notes on the company as well recent news items and arrive no sooner than five minutes before the appointment â&#x20AC;Ś. with your mobile phone switched â&#x20AC;&#x153;Offâ&#x20AC;?.

NOTES FOR THE EMPLOYER Handle all received applicant information with the same duty of care as internal confidential company information.

Government â&#x20AC;&#x153;Privacyâ&#x20AC;? legislation laws (globally) recognises the trust placed on you as the custodian of documents deemed as Resumes or CVs. The storage and management of such information and disposal of it warrants no less than a company policy around it.

It should also cover an applicantâ&#x20AC;&#x2122;s request to

remove such data, by hard and soft copy, and the process governing it.

Although regional laws may vary, you are duty bound to secure their approval prior to forwarding their details to any third party or even divisions within your organisation.

If you engage a third party to recruit for you, ensure that they are accredited under a code of conduct established by organisations such as the RCSA in Australia. They are your representatives in the market and carry your reputation with them.

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THE INTERVIEW (EMPLOYER) Establish a â&#x20AC;&#x153;Standardâ&#x20AC;? interview environment, and de-stress it before starting.

If all candidates are interviewed under the same standard, then their individual responses are better gauged.

To achieve this: State the anticipated length of the interview upon greeting the candidate. This will confirm a time frame in regards to their ability to attend other appointments.

Re-assure them that their information is held in confidence, particularly if they are employed by a competitor, supplier or client.

Brief the candidate on the structure of the interview. i.e. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;ll give you an outline of â&#x20AC;Ś then weâ&#x20AC;&#x2122;ll go on to â&#x20AC;Ś..â&#x20AC;?

If jackets are not necessary, provide the candidate the option to be more comfortable.

Provide a jug of fresh water and offer it upon arrival. Be sure that the number of drinking glasses with the jug is representative of only the interviewer/s and interviewee.

If glass numbers represent a greater number, it may be assumed that there is a succession of interviews behind them, and may change the dynamics from the intervieweesâ&#x20AC;&#x2122; perspective.

Ensure distractions and interruptions are eliminated.

Hold all unnecessary calls and switch off your mobile in front of the candidate allowing him/her to do similar.

In the next edition we will cover interview techniques for the interviewer as well for the candidate on how best to manage and accentuate your confidence in an interview.  If you would like additional information with regard to the above content, contact Darren Judd at corporate@BroadcastJobz.tv  www.BroadcastJobz.tv is a `dedicated industry JobSite.  Â

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Taking Stock

Thomson Video Networks Goes to French Investment Fund Technicolor (Euronext Paris: TCH; NYSE: TCH) has received a fully documented binding offer from the FCDE for the acquisition of the Grass Valley Head-end business, operating under the Thomson Video Networks brand. The FCDE (Fonds de Consolidation et de Développement des Entreprises) is an investment fund financed by the FSI (Fonds Stratégique d’Investissement) and major banks and insurance companies operating in France.

The announcement follows the sale of the Grass Valley Broadcast business to Francisco Partners and the sale of the Transmission business to PARTER Capital Group.

The Head-end activity provides a portfolio of video compression and content processing solutions. With 525 employees operating in 15 countries, this activity recorded revenues of about 61 million euros in 2009. In 2009, before restructuring, the Head-end activity accounted for

16% of the total Grass Valley perimeter revenues and 20% of its operating loss.

Meanwhile, Technicolor has decided to not to proceed with the disposal of its PRN (Premier Retail Networks) digital signage business stating that “… offers received from potential buyers of PRN (Premier Retail Networks) did not provide satisfactory conditions for the Group. Taking into consideration a number of factors, including PRN’s business achievements in 2010, the improvement in the advertising market in general, and the place based media market specifically, as seen over the past quarters, the Group believes greater value can be created by developing the PRN business.

Technicolor’s Board of Directors also met recently to review the Group’s 2010 (unaudited) results.

The results, in summary, include: • Q4 2010 revenues of €1,155 million, up 21.4% vs. Q4 2009, with improved trends across all activities

Cosair Solutions Acquires Lako Pro Australian distributors Corsair Solutions and Lako Pacific have announced that Corsair Solutions has acquired the Lako Pro business unit from Lako Pacific Pty Ltd. Lako Pro markets and distributes audio and video products that cater to industry professionals, offering professional video streaming and broadcasting solutions to the Pro AV, Broadcast, Corporate, Government, Education and Communication markets. Its comprehensive high-end product range includes recognised industry brands Viewcast, TV One, and Pioneer Electronics. Products represented include video scalers, switchers, video capture cards, streaming devices and commercial video players.

Corsair Solutions, established in 2009 and based in Melbourne, Australia is an importer and distributor of professional video products from Grass Valley, Atomos, Logickeyboard, Dulce Systems, XLNT Idea, Qsan and builds custom duplicator systems under the Corsair Duplicators brand.

The acquisition of Lako Pro means that Lako Pacific’s Business Development Manager, Brad Morton, will be joining Corsair Solutions as Sales Director. The acquisition also extends the reach of Corsair Solutions’ current product lines, as well as providing a renewed focus for the sales and marketing of products from Lako Pro’s portfolio.

“It is a win-win situation” said Mark Lampard, Managing Director of Corsair Solutions, “Brad has a wealth of experience in the professional video industry which will be an enormous boost to our sales, marketing and channel development capabilities”.

Current Australian customers of TV One, Viewcast and Pioneer Pro Video should contact Corsair Solutions for any sales and technical support enquiries.

Call 1300 562 779 or email sales@corsairsolutions.com.au

Indonesia’s SCMA in Expansion Talks PT Surya Citra Media Tbk (IDX: SCMA), together with its holding company PT Elang Mahkota Teknologi Tbk (IDX: EMTK), has announced that they are considering plans to expand their media business and have entered into discussions with PT Indosiar Karya Media Tbk (IDX: IDKM), the holding company of PT Indosiar Visual Mandiri (Indosiar).

The Boards of Directors of SCMA and EMTK obtained preliminary approval from their Board of Commissioners, to engage in the discussions with IDKM to determine how the companies might best combine their media businesses with due consideration to the various applicable laws and regulations.

The Boards of Directors of SCMA and EMTK lodged disclosure reports on 21 February 2011, with the Indonesia Stock Exchange (IDX) and Capital Market Supervisory Board (Bapepam-LK) in compliance with the Bapepam Regulation No. X.K.1 on Disclosure of Information that has to be immediately announced to the public.

The companies say they shall conduct due diligence and appoint capital market professionals to support the due diligence process and provide assistance in determining the most appropriate structure for the business combination. Further announcements will be made to the public as the discussions progress.

Visit www.scm.co.id

14 Taking Stock

• H2 2010 revenues of €2,075 million, up 16.9% vs. H2 2009 • H2 2010 Adjusted EBITDA1 of €363 million, or 17.5% of revenues, an increase of 1.2 points vs.

H2 2009 • H2 2010 Group Free Cash Flow2 of €16 million after funding of growth-related capex and working capital • FY 2010 revenues of €3,574 million, down 1.2% vs. FY 2009 • FY 2010 Adjusted EBITDA of €505 million, or 14.1% of revenues, up 0.3 point vs. 2009 • FY 2010 net result of €(69) million, including items related to the completion of the debt restructuring and of the disposal program, as well as impairments • Net debt as per consolidated financial statements of €993 million at 31 December 2010, down €283 million vs. 30 June 2010 Visit www.technicolor.com

Oz ISP Judgement Removes Illegal Download Liability Australian Broadband provider iiNet has welcomed an Australian Federal Court decision to dismiss an appeal lodged by Roadshow Films & others which would have seen the ISP liable for illegal downloads undertaken by its customers.

Michael Malone, CEO of iiNet, said that the Internet Service Provider has never supported unauthorised sharing or file downloading.

“Today’s judgment again demonstrates that the allegations against us have been proven to be unfounded,” Mr Malone said. “We urge the Australian film industry to address the growing demand for studio content to be delivered in a timely and cost effective manner to consumers and we remain eager to work with them to make this material available legitimately.”

He said there was growing evidence that content partnerships and agreements between ISPs, legal websites and copyright holders was doing more to reduce piracy and showcase copyright holders materials.

“While fighting iiNet in the courts, many of these movie studios have signed content deals with us through our television service, fetchtv.

“The success of fetchtv was a clear and successful demonstration of the benefits of these partnerships and Australians’ strong desire to access affordable legitimate content.”

Content agreements signed by iiNet include Xbox, NineMSN, TiVO, Bloomberg, the Sydney Film Festival, Village Roadshow Films and others.

Visit www.iinet.net.au

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MPEG TACKLES ROYALTY-FREE CODING, 3D, SEARCH AND MPEG-2 UPDATES The 95th Motion Picture Experts Group (MPEG) meeting held in Daegu, Korea, during January 2011 saw the standards body take on the challenges of new digital platforms as well as update its traditional encoding schemes.

In recognition of the growing importance that the Internet plays in the generation and consumption of video content, MPEG intends to develop a new video compression standard in line with the expected usage models of the Internet. The new standard is intended to achieve substantially better compression performance than that offered

by MPEG-2 and possibly comparable to that offered by the AVC Baseline Profile. MPEG will issue a call for proposals on video compression technology at the end of its upcoming meeting in March 2011 that is expected to lead to a standard falling under ISO/IEC “Type-1 licensing”, i.e. intended to be “royalty free”.

Meanwhile, in its latest step towards creating a standard for efficient and interoperable designs of visual search applications, MPEG has issued a draft Call for Proposals at its 95th meeting. Like

a barcode reader, but using regular images instead of barcodes, visual search enables the retrieval of related information from databases for tourists, simplified shopping, mobile augmented reality etc.

Specifically, the call seeks technologies that deliver robust matching of images of objects, such as landmarks and text-based documents, that may be partially occluded or captured from various vantage points, and with different camera parameters, or lighting conditions. The underlying component technologies that are expected to be addressed by the standard include the format of the visual descriptors, and parts of the descriptor extraction process needed to ensure interoperability.

MPEG also targeted a new phase of 3D video coding standards with a Draft Call for Proposals on 3D Video Coding Technology issued at its 95th meeting. This call invites technology submissions providing efficient compression of 3D video and high quality view reconstruction that goes beyond the capabilities of existing standards. MPEG has already delivered 3D compression formats to the market, including MVC and frame-compatible stereoscopic

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16 Standards

Plano-stereoscopic imaging systems deliver two images (left and right) that are arranged to be seen simultaneously, or near simultaneously, by the left and right eyes. Viewers perceive increased depth in the picture, which becomes more like the natural binocular viewing experience. Since 2010 many 3DTV capable consumer products have been launched in the market.

The DVB-3DTV specification is also accompanied by the Subtitling Systems specification (EN 300 743), which provides a mechanism that allows subtitles and other onscreen graphics to be best positioned so that they can be viewed correctly in the stereoscopic picture. There are also amendments to the Service Information specification (EN 300 468) and to the specification of audio and video coding over the MPEG-2 Transport Stream (TS 101 154).

“I would like to extend my thanks to all the Members that participated in both the Commercial and Technical Modules to bring to fruition the DVB-3DTV specification in such a short period of time. DVB standards provide one of the keys to commercial success and stability for the industry and the consumer,” commented Peter Siebert, Executive Director, DVB. Visit www.dvb.org

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Riedel Communications has become a promoting member of the AVnu Alliance.

The AVnu Alliance is an industry forum dedicated to the advancement of professional-quality audio/ video networking by promoting the adoption of the IEEE 802.1 Audio/Video Bridging (AVB) standards over various networking link-layers.

“We have always understood our products as open platforms for integrating standard protocols such as AES, MADI, SIP and now, AVB. Especially MediorNet as an open platform backbone technology with bandwidth capacities, suitable for numerous 3G video signals, will be helping to expand AVB network installations beyond their current possibilities,” said Henning Kaltheuner, Product Manager at Riedel Communications. “We are looking forward to actively participating in the AVnu Alliance for providing an in-depth integration of AVB systems into our MediorNet backbone product,” Kaltheuner continued.

“We welcome Riedel Communications to the AVnu Alliance,” stated Lee Minich, AVnu Alliance Marketing Work Group Chairman and president of Lab X Technologies, “and look forward to further realising our shared vision for interoperable AV networking via Audio Video Bridging (AVB) technologies.”

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APPROVAL FOR DVB 3D SPEC The DVB Group has announced that on February 17 at the 67th Meeting of the Steering Board, the DVB-3DTV specification was approved. The specification will be submitted to the European Telecommunications Standards Institute (ETSI) for formal standardisation. BlueBook A154 “Frame Compatible Plano-Stereoscopic 3DTV”, (DVB3DTV) has been published and is available for downloading from the DVB website.

The Commercial Requirements for the DVB3DTV specification were agreed in July 2010 after consultation with key industry groups. The Commercial Module’s Sub-Group on 3DTV was chaired by David Wood (EBU) and the Technical Module (TM-3DTV) was chaired by David Daniels (BSkyB).

The specification defines the delivery system for frame compatible plano-stereoscopic 3DTV services, enabling service providers to utilise their existing HDTV infrastructures to deliver 3DTV services that are compatible with 3DTV capable displays already in the market. This system covers both use cases of a set-top box delivering 3DTV services to a 3DTV capable display device via an HDMI connection, and a 3DTV capable display device receiving 3DTV services directly via a builtin tuner and decoder.

formats, which are being deployed by industry for packaged media and broadcast services.

However, the market needs are expected to evolve and new types of 3D displays and services will be offered. The next-generation of 3D standards will define the 3D data format and associated compression technology to facilitate the generation of multiview output to enable both advanced stereoscopic display processing and improved support for auto-stereoscopic displays.

MPEG is continuously improving the popular MPEG-2 Transport Stream (TS) standard (ISO/ IEC 13818-1). At its 95th meeting, MPEG finalised a new amendment to support recently developed video coding standards, Advanced Video Coding (AVC) and Multiview Video Coding (MVC), in MPEG-2 TS. This amendment extends the AVC video descriptor to signal the presence of a frame packing arrangement in an associated supplemental enhancement information message for the underlying AVC video stream component.

Visit www.chiariglione.org/mpeg/hot_news.

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The Broadband Played On TWELVE MONTHS ON

from the last NABSHOW and it is spectrum that remains the burning issue for U.S. broadcasters.

Following last year’s launch of the Federal Communications Commission’s ‘National Broadband Plan’, pressure has only increased on the RF band with the Federal Government trying to strike a balance between an increased push for more broadband access and the needs of the traditional users of the spectrum.

At the recent Mobile Future Forum in Washington, FCC Chairman Julius Genachowski, citing a U.S. broadband adoption rate of 67% compared to 90% for South Korea, said, “If we want to lead the world in the 21st century, we must put broadband at the top of our agenda. Otherwise, we risk letting the broadband revolution pass us on by. Our competitors aren’t standing still. Our challenges are growing, not diminishing. The clock is ticking.

“Broadband can become a core driver of our economy and our global competitiveness, a core accelerator for job growth.”

Unlike Australia and other territories where the focus in establishing a National Broadband Network has meant rolling out substantial fibre runs, the U.S. has identified mobile broadband as a key component of its national strategy.

As well as stressing a need for reform of Federal funding geared towards outdated telephone services and the introduction of incentives for broadband build-out and adoption, Genachowski said, “We must unleash spectrum and the opportunity of mobile broadband. Spectrum is our invisible infrastructure; it’s the oxygen that sustains our mobile communications.

“To some, it was a surprise that the Broadband Plan included major sections on mobile broadband.

At the time, many assumed that broadband was what you got when you connected your computer to the modem plugged into your wall.

“And no doubt, extremely fast Internet of the sort that relies on wired networks is extremely important.

Many business and research institutions require super-fast connections at speeds of hundreds of megabits per second and more. Which is why we set, for example, a goal in the National Broadband Plan of getting 1 gigabit per second broadband connections to anchor institutions in every community in the country, along with goals designed to make the U.S. the largest market in the world for very highspeed broadband, and to drive universal broadband connectivity.

18 NAB Preview

Speaking again on broadband and spectrum, US Federal Communications Commission Chairman Julius Genachowski.

“But, the Broadband Plan also placed unprecedented emphasis on mobile broadband, because few sectors of our economy offer greater opportunities for economic growth and improvements to our quality of life.

“The hunger for mobility is even greater than many

We must put broadband at the top of our agenda.

imagined a year ago, because even 3G wireless services can deliver speeds capable of handling a dramatically wide array of consumer applications, from entertainment, to education, to health care.

“And 4G services coming our way can provide even greater speeds and lower latency on a mobile platform.”

Of course, mobile broadband requires spectrum and, according to the FCC Chairman, “Demand for spectrum is rapidly outstripping supply. The networks we have today won’t be able to handle consumer and business needs.”

To ease this situation, the FCC has already restrictions on the use of certain spectrum bands and freed up “white spaces” spectrum . The regulator is

also encouraging dynamic spectrum sharing and the deployment of more efficient transmission and reception technology.

“But these steps will only get us part of the way to where we need to go,” adds the FCC Chairman, “which brings me to one of the biggest policy innovations of the National Broadband Plan – voluntary incentive auctions – a new tool that we’ve asked Congress to supply.

“Under the proposal, Congress would give the FCC the authority to run two-sided spectrum auctions.

We would auction spectrum for wireless broadband services, and the spectrum in the auction would be voluntarily contributed by current licensees like TV broadcasters or mobile satellite operators, who would in return receive a portion of the proceeds of the auction.

“We know that some broadcasters have concerns about the channel realignment that would follow a reallocation of broadcast spectrum. We understand those concerns and will do our very best to address them. Our plan would seek to minimise the number of stations affected, and it calls for fully reimbursing broadcasters’ costs for such moves.

“We’re also committed to limiting any loss of service to over-the-air television viewers. In fact, we anticipate that the consumer impact of realignment will be quite small, as any shift in broadcaster frequencies will merely require that over-the-air viewers rescan their televisions or converter boxes.

“The simple truth – the overarching context for the few easily addressable questions that have been raised about incentive auctions -- is that the enormous benefits to consumers and to our economy of incentive auctions overwhelm the potential costs.

“If we don’t act, we won’t have enough spectrum for mobile broadband, that will have real consequences for consumers, who will face declining service, including dropped calls and Internet connections, slow downloads and high prices.

“That will have real consequences for innovators looking to build new companies and services on the mobile platform, including life saving health applications, education programs to train our 21st Century workforce, and energy services designed to help save our planet.”

19 – 22 July, 2011 Sydney Exhibition Centre, Darling Harbour

www.smpte.com.au

Exhibition sales enquiries, telephone +61 2 9452 7575 or email sales@smpte.com.au

Julius Genachowski will deliver a keynote speech during the 2011 NAB Show at the FCC Chairman’s Breakfast on Tuesday, April 12.

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SMPTE’s biennial Conference and Exhibition is the pre-eminent event for suppliers, technologists and content creators in the motion-imaging, sound and broadcast industries in the Australasian region. Maintain your competitive edge through exposure to the latest technologies, workflows and creative tools; and through ideas, key trends and case studies in the Conference programme.

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LESLIE MOONVES, GORDON SMITH TO DISCUSS INDUSTRY AT NAB NAB Show organisers have announced that CBS Corporation President and CEO Leslie Moonves will participate in a question-and-answer session with NAB President and CEO Gordon Smith on April 12 at the NAB Show in Las Vegas.

The session will also include a “State of the Broadcast Industry” address by Smith.

Topics that will be discussed include broadcasting’s remarkable resilience in the face of new competition, growth opportunities for local and network television on new digital devices, and government efforts to reclaim additional television spectrum.

Moonves oversees all operations of CBS Corporation.

Moonves was promoted to Chairman and CEO of CBS in 2003, and prior to that, was President and Chief Executive Officer, CBS Television, a position he was elevated to in April 1998. He joined CBS in July 1995 as President, CBS Entertainment. Visit www.nabshow.com

DISTINGUISHED SERVICE AWARD FOR EDDIE FRITTS The National Association of Broadcasters has announced that Eddie Fritts will receive the NAB Distinguished Service Award during the 2011 NAB Show.

Fritts, who served as NAB President for 23 years, will be presented the award during the opening keynote session on April 11 in Las Vegas.

“For more than two decades Eddie Fritts carried the banner for free and local broadcasting on Capitol Hill with integrity and distinction,” says NAB President and CEO Gordon Smith. “Eddie helped put NAB on the map as an advocacy force in Washington, and his accomplishments on behalf of radio and television stations – and the listeners and viewers that we serve – will be felt for decades to come. I’m honored to follow in his footsteps as head of NAB, and we are thrilled to present him with the prestigious Distinguished Service Award.”

NAB Joint Board Chairman Steve Newberry called Fritts “a relentless champion for over-the-air broadcasting.

His bipartisan bridge-building on Capitol Hill and string of legislative victories stand as a testament to Eddie’s skills.”

Visit www.nabshow.com

DU TREIL, KELLER TO RECEIVE NAB AWARDS The National Association of Broadcasters has announced that radio engineering expert L. Robert du Treil of du Treil, Lundin & Rackley (DLR), and Thomas B. Keller, renowned television technology innovator, have been named the 2011 recipients of the NAB Engineering Achievement Award. They will be honored with the award at the NAB Show Technology Luncheon on Wednesday, April 13 in the Las Vegas Hilton.

Du Treil, this year’s Radio Engineering Achievement Award winner, has over 50 years of experience in all aspects of radio and TV engineering.

He is currently a consultant of du Treil, Lundin & Rackley, where he previously served as owner and president. With a reputation as a creative and insightful engineer, du Treil is best known for his contributions to international discussions on mediumwave (AM) directional antenna technology in the early 1980s.

Thomas B Keller, in addition to his consulting work, has published a number of papers and articles.

The NAB Technology Luncheon will also feature an address by three-time national bestselling author, celebrated lecturer and technologist Steven Berlin Johnson.

Visit www.nabshow.com www.nab.org

20 NAB Preview

DCS 2011 LUMINARIES: YOGI BEAR 3D DIRECTOR, SONY, ASC LEADERSHIP SMPTE has announced that Hollywood director Eric Brevig, known for his recent 3D work on Yogi Bear, Sony Pictures Technologies President Chris Cookson, and Hollywood director and cinematographer and chairman of the American Society of Cinematographers (ASC) technology committee Curtis Clark will be among the technology and thought leaders participating at DCS 2011, which takes place on 9-10 April 2011 at the Las Vegas Convention Center.

Spanning cinema, broadcast, and broadband, DCS 2011 – which is co-produced by SMPTE and NAB – is a premier industry technology event, drawing leading motion-imaging technologists, researchers, scientists, practitioners, manufacturers, and strategic thinkers. This year’s gathering is themed Advances in Images and Sound: 3D, 4K, and Beyond.

Register: www.smpte.org/events/DCS2011/ SMPTE has also announced the dates and Call for Papers for its Second International Stereoscopic 3D Conference. To be held 21-22 June 2010 in New York City, this year’s event follows last year’s successful inaugural conference, and will be the only scientific gathering to focus solely on the critical technologies needed for widespread and sustained 3D adoption.

The SMPTE 2011 Annual Technical Conference and Exposition will take place 25–27 October in Hollywood.

Visit www.smpte.org

MPEGIF MASTER CLASS “GETTING AHEAD OF THE GAME”

KEVIN SUTTER, SONS OF ANARCHY TEAM REV UP FOR PANEL AT NAB

The MPEG Industry Forum (MPEGIF), the world’s largest advocacy group for standards based digital television technologies, is presenting its latest MPEGIF Master Class titled “Getting Ahead of the Game”, to be held at NAB 2011 on Monday, April 11 between 1:00pm and 5:00pm in the Las Vegas Convention Centre.

This most recent edition of the long running, successful Master Class series well known from NAB, IBC and CES in previous years will bring together industry experts and leaders engaged in next generation digital television, multimedia and video entertainment.

Over the years, the MPEG Industry Forum has worked aggressively to bring clarity to the industry’s vision of the future and to advocate the adoption of standards that accelerate that clarity.

The 2011 Master Class at NAB is focused around two areas: “Will Broadband be the delivery mechanism of future television”, and “What makes commercial sense in the future”.

Visit www.mpegif.org/exhibitions/NAB2011/ Index.php To register: www.nabshow.com/2011/ registration/default.asp www.mpegif.org

Kurt Sutter, creator, writer and executive producer of FX’s number one show Sons of Anarchy, and members of his production team will participate in the 2011 NAB Show in a session titled “Sons of Anarchy: Grit and Texture in Small Town America”.

Sutter, with the show’s director of photography, Paul Maibaum, and production designer, Anthony Medina, will share their creative vision and the techniques.

Entertainment Weekly’s Lynette Rice will moderate the conversation, which will be held in the NAB Show’s Content Theater, located in the North Hall of the Las Vegas Convention Center, on Tuesday, April 12 at 3:15 PM. Sons of Anarchy is an adrenalised drama with darkly comedic undertones that explores the desires of a notorious outlaw motorcycle club (MC) to protect their livelihood. With a seven-day shooting schedule and a lean production budget, Sutter and his team are required to think not only outside the box, but outside the wallet, as well.

Visit www.nabshow.com www.nab.org

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NABSHOW Really is the PITS Building on the success of the 2010 NAB Show Post Pit (People Integrating Technologies and Solutions), additional targeted areas will debut at this year’s show. Pit areas are designed to build community and offer an interactive, educational experience featuring sessions presented by the industry, for the industry.

New for 2011 is the Broadband Pit where creators and distributors can come together to discuss what’s next, and how to manage and monetise it. Hear from visionaries, early adopters and entrepreneurs who are revolutionising content delivery at every turn.

The Broadband Pit is located at SU10502.

Monday April 11 at the Broadband Pit will focus on the transformation of the media landscape as broadband extends, augments and competes with traditional media platforms. In quick-hitting conversations and thoughtful Panels, speakers will evaluate technologies, distribution systems and business models that are evolving at lightspeed, from IP-friendly TVs to interactive, cord-cutting and mobility to the search for the next billion media consumers.

Sessions are produced in partnership with VideoNuze, World Teleport Association, Interactive Television Alliance and Society of Satellite Professionals International.

Meanwhile, the Post Pit will bring the tips of

the editing suite to the middle of the action. This destination is for ‘rock star’ users and creators of the most savvy and dynamic post-production software available. Gurus will be on hand, and on stage, to share their hot and exclusive tips.

The Post Pit is located at SL12205. The Media Data Governance Users Group will be featured on Tuesday April 12 in the Post Pit. Media systems are quickly evolving from the creation and delivery of content into a far-reaching management ecosystem for media assets. At the core is how file based architectures need to support growing content and the associated metadata. Storytelling now comes from all kinds of assets, delivered anytime, anywhere and anyhow. This program focuses on current challenges and future trends facing any media company, executive or manager handling the explosion of media assets.

The Hollywood Post Alliance will be featured on Wednesday April 13. The Post Pit will feature the recipients of the HPA Judges Award for Creativity and Innovation, the HPA Award for Engineering Excellence and the “Best of Tech Retreat”, HPA’s highly- respected technology conference. Learn what some of the most innovative minds in the industry are thinking and doing in post. There will also be a full immersion crash course in the absolute latest, greatest and

smartest in post. Sessions are produced in partnership with FXGuide, Las Vegas Supermeet, Hollywood Post Alliance and Media Data Governance Users Group.

For those with ‘Golden Ears’, the Pro Audio Pit is the place to be – an interactive experience that showcases a variety of industry applications including, but not limited to, the classroom, boardroom, house of worship and broadcast/production/post facility.

Two stages will feature live music, the complete pro audio recording process, and more.

The Pro Audio Pit is located at C159. Seminars will focus on relevant, practical education for engineers, musicians, designers, consultants, contractors and volunteers. Learn the fundamentals of audio, such as developments in wireless microphones, loudspeaker selection, acoustical considerations, digital audio protocols, front-of-house mixing, monitoring and more.

Finally, the Radio Pit will help your station master digital technologies. Here you’ll learn how the best and brightest are integrating social media, the Web, video, streaming media and more. Sessions are produced in partnership with Broadcaster Traffic Consortium, HD Radio, IMDA, K95.5 and Radio DNS. Visit www.nabshow.com

Alerting Broadcasters to Emergencies Digital Alert Systems (DAS), a division of Monroe Electronics and developer of next-generation Common Alerting Protocol (CAP) and Emergency Alert Systems (EAS), has announced that Bill Robertson, the company’s business development manager, will be a panellist for the session “NextGeneration EAS: The Final Stretch” at the 2011 NAB Show as part of the Broadcast Engineering Conference.

Scheduled for 9 a.m. on April 13 in room S226, the panel session will address the FCC’s new rules and refinements for EAS, as well as the obligations and opportunities presented to broadcasters by the

adoption of CAP by the US Federal Emergency Management Agency (FEMA).

“FEMA’s push toward a new Integrated Public Alert and Warning System and the FCC’s focus on establishing the next generation of EAS are bringing numerous changes to the rules broadcasters must accommodate in delivering emergency communications,” said Robertson. “I look forward to joining fellow experts at the NAB Show to discuss the latest developments in EAS and what these changes will mean for broadcast stations and groups.”

Robertson both speaks on and writes about

emerging requirements related to EAS. His most recent technical paper, “Lemons Into Lemonade: Leveraging EAS/CAP Into Your Revenue Stream,” provides information on how newly required nextgeneration EAS/CAP systems can add value to a station by streamlining operations, supplying additional information to communicate to listeners/ viewers, and offering opportunities to change what traditionally has been a cost centre into a potential revenue source. The paper will be available in the 2011 Broadcast Engineering Conference Proceedings book and at the DAS 2011 NAB Show booth (C2952).

NAB Rages with Testosterone TV Top independent television producer and CEO of Original Productions, a FremantleMedia company, Thom Beers will appear with members of his prolific production team at the 2011 NAB Show in a session titled “Testosterone TV: Behind the Scenes with Original Productions”.

The Content Theater panel discussion will take place Monday, April 11 at 1:00 pm.

Original Productions currently has 14 series in production on eight domestic television networks, including critically acclaimed shows like the Emmy Award-winning hit “Deadliest Catch” on Discovery, and popular favorites “Ax Men” and the Emmy-

22 NAB Preview

nominated “Ice Road Truckers” – two of the highest rated shows ever to air on HISTORY. “Coal,” their highly anticipated new series revealing the lives of West Virginia coal miners, will premiere on Spike TV, March 30, 2011.

Beers will be joined on the panel by Philip Segal, president and executive producer of Original Productions; Jeff Conroy, vice president of programming and executive producer; and series co-executive producers, Sarah Whalen and Gayle Gilman.

“Testosterone TV: Behind the Scenes with Original Productions” will pull back the curtain on how to

create high-risk, high-reward TV. Thom Beers and his team will describe how they capture the stories of blue-collar heroes navigating the volatile waves of the Bering Sea, dangling from giant trees, traversing mountain roads and toiling deep below the earth’s surface. Video clips and personal accounts will articulate and exemplify how these filmmakers shoot under extraordinary conditions, develop new tools and techniques to solve production challenges, and balance risk and safety while developing trust with their respective casts to ultimately shape a compelling story arc throughout the broadcast season.

Visit www.nabshow.com.

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The 16th International Digital Multimedia & Entertainment Technology Exhibition & Conference

www.3d-day.tv

The TheThird ThirdDimension Dimension

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The Third Dimension

– Stereoscopic Production & Exhibition

3D the Right Hook for ‘Bait’ A PANELLIST AND

presenter at C+T’s 3D Day event earlier this year, Ross Emery was the DOP on upcoming 3D thriller Bait, a Singapore/ Australia coproduction set in a seaside Gold Coast town menaced by a school of ferocious tiger sharks following a tsunami.

Backed up by Andrew Collier, Technical Marketing Executive with Panavision, Ross demonstrated various ways in which lighting can be used to create volume in a 3D space.

According to Ross, “It would have been very difficult to make this movie without Panavision. Their investment and commitment to 3D technologies is a huge advantage to filmmakers.

“The main thing you need with 3D is back-up, it is an evolving technology and issues need to be addressed on an ongoing basis. To rent equipment and then stand aside is not the way Panavision does things, and I really appreciate the role they played in making my experience on Bait 3D a successful one.

“Aside from supplying the equipment they also solved lens control issues, specifically upgraded the Preston lens control system to the next generation and generally gave us the kind of backup that I have come to expect from the larger projects I have worked on. Working with Panavision gives you a sense of security that you don’t get from a lot of other rental companies. The crew loved the rigs and support we got from Panavision.”

According to John Virtue, Head of Sourcing and Operations at Panavision, “Before the movie got anywhere near shooting we did an enormous amount of testing and research with Producers Todd Fellman and Chris Brown (Daybreakers) and their crew. As a result, the film’s production values are very high.”

In the early stages of the project, Virtue and his team took Element Technica Qasar and Neutron 3D rigs, various cameras and 3D monitors to Queensland to give the producers and crew full demonstrations and determine how to best meet the movie’s technical requirements.

As Panavision MD Martin Cayzer explained, “On a 3D production of this size and scope you can’t leave anything to chance. So, we gave full demos of what shooting in 3D actually involves, what it’s capable of and how to properly output pictures. We also worked with the crew to determine how having so much water around would affect the production.”

Todd Fellman said, “We approached Panavision to work with us on Bait because we needed a company with the technical knowledge and practical experience of working with 3D. Panavision

24 The Third Dimension

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Bait DOP Ross Emery, ACS.

understood the importance of extensive research and testing of the camera systems for any 3D project.

They were invaluable partners in helping us facilitate this process as well as establishing our technical workflows. Panavision also has a great infrastructure and have always provided us with exceptional backup support.”

The initial demo and testing process was enlightening in many ways and, according to Fellman, it led to more detailed testing of various cameras and rig configurations in the environments and lighting conditions specific to the film.

According to Producer Chris Brown, “Shooting in 3D is a complex and challenging undertaking. It’s amazing how many people talk about being able to do it, but Panavision actually knows how to make it happen. Seeing the Panavision demo was a real turning point for us.”

The demos and testing were then taken to the next level with cameras including Genesis, SI2K, Red and Red MX all being used in different environments with different levels of support to determine which would be used on the movie.

Martin Cayzer added, “Part of our role was also to help the production team maximise their budget, so we used all of our experience to come up with the equipment configuration that would give the best value for money. We also worked closely with Simon Christides, the production’s underwater DOP, to design and test underwater housings for the cameras and 3D rigs.”

Panavision then set about making sure the chosen equipment worked perfectly in all the movie’s many environments. As a first for a full-length Australian feature the new Panavision bespoke Primo 19-90mm zoom lens was also supplied and aligned with all cameras.

John Virtue continued, “We also systemised and

built all the equipment to work with the cameras in 3D. There is a popular misconception that all cameras work easily in 3D. This is most definitely not the case. Most cameras can work in 3D but it takes a great deal of calibration and experience to get them right. In the end we supplied Qasar and Neutron 3D rigs, Red MX cameras, SI2K cameras and the processing power to make all the kit work. It was quite a kit list.”

According to Producer Chris Brown, “The technical success behind Bait involved Panavision utilising all of their skills and resources to ensure our 3D camera systems integrated seamlessly into the 3D workflow and were fully supported throughout the shoot. They did an incredible job to meet the expectations of both producers and crew in what was a very tight timeframe with a limited budget. In essence Bait is a great example of a collective partnership that involves a talented crew, director, DOP and producers and an experienced systems integrator. I honestly believe that having this kind of partnership is the only way a successful 3D production can be achieved.”

Bait is scheduled for release in late 2011.

Visit www.imdb.com/title/tt1438173 www.panavision.asia

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3DTV Trials Reviewed THE AUSTRALIAN

Communications and Media Authority (ACMA) has concluded its review of 2010’s 3DTV trials and will continue to consider authorising trials of emerging technologies using currently unassigned digital television channels until the end of 2011.

“The ACMA has a unique opportunity to provide access to valuable UHF spectrum that will only be available for a short period of time during the switchover from analogue to digital television,” said ACMA Chairman, Chris Chapman. “Recent 3DTV trials have helped pioneer a new form of broadcasting in Australia and internationally.

Providing appropriate safeguards are in place to protect consumers’ interests, the ACMA will continue to facilitate industry’s deployment of 3DTV and other evolving technologies in the period to the end of 2011.

“The ACMA also decided that any further trials must be of a short duration, and broadcasters will be required to give the ACMA undertakings on measures that will assist consumers to understand that trial broadcasts are temporary and will only be available in a limited number of locations.”

Later in 2011, the ACMA will review its approach to the use of temporary spectrum, as the requirements for the restacking of existing television channels become clearer and the opportunity to use these vacant channels begins to close.

The first of the world-leading, terrestrial 3DTV trials included three State of Origin Series Rugby League matches (Sydney, May 26; Brisbane, June 16; and Sydney, July 7) as well as 15 matches of the FIFA World Cup soccer series via SBS TV. The 3DTV transmissions employed 16-QAM modulation at 14.514706 Mbps with the video using approximately 14 Mbps and the Dolby 5.1 channel AC3 sound using around 384kbps.

According to Nine, “the transmission modulation parameters selected for the trial were designed to provide a sufficient bit rate to meet the quality objectives of 3D HD 1920 x 1080 50i content delivery (live sport, with fast moving action sequences in an interlaced video format) and extended transmission ruggedness. Given that low power temporary transmitters had to be deployed due to the very short lead times available, this was a critical part of the trial.”

In its application for a trial licence, the Nine Network stated, “The trial is designed to provide a true terrestrial broadcast test of the end-to-end system chain required for delivery of 3DTV to consumer televisions. We are proposing to use MPEG-4 (H.264) encoding and 3D encoding in a side-byside anamorphic format, possibly using proprietary algorithms from companies such as Sensio, Real D and/or 3ality.

Following the first trial, Nine reported that it was “very satisfied with the outcome of the first free-toair 3D trial broadcast in Australia. The technical

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operation and delivery was flawless, the production of live events was truly ground-breaking and the communication of information to consumers and retailers was well-managed and comprehensive.

“During the course of the trial, it became apparent that many digital hard disk receivers (PVRs) were capable of receiving and recording the Channel 40 3D trial. This assisted some viewers to be able to record the live events even if they didn’t currently own a 3D TV, with the expectation that when they subsequently purchased a new TV they would be able to watch the events previously broadcast in stereoscopic format.”

The second 3DTV was conducted jointly by the Nine Network and the Seven Network from 18 September until 8 October 2010.

With transmission parameters duplicating those of the first trial, broadcasts included the National Rugby League Grand Final and the Australian Football League Grand Final. Both networks arrived at similar findings to the results of the first trial.

Reactions from other broadcasters to the trials were mixed with an ABC submission to the regulator ACMA saying it is “not currently exploring 3DTV and has no immediate plans to introduce 3D services.

However, the ABC is actively monitoring local and overseas developments”.

However, the national broadcaster did state that the channel used for the trials, Channel B, should not be simply or exclusively used for 3DTV broadcasts over the next three years citing a lack of firm standards and the Government’s decision to clear 126 MHz of spectrum from the broadcasting services bands leaving no long-term spectrum available in Australia for 3DTV broadcasts.

Instead, the ABC pushed the case for Channel B to be used to trial technologies for accessibility, including audio description, as well as transmissions of DVB-T2 + MPEG-4 AVC. Perhaps predictably, subscription TV provider Foxtel, which launched 3D services in 2010, argued

that the trials should not lead to the free-to-air networks being given a “free kick” in regards to spectrum.

In its submission, Foxtel stated that “Operators must demonstrate a clear path as to how they will deploy 3D technology, both commercially and technically on analogue switch-off, within their post-analogue switch-off spectrum allocation. There is no point testing a technology where there is no future plan around how it will be supported spectrally.

“It is critically important that the 3DTV trials by the FTA networks are not seen, or used, by the networks as part of a strategy to spectrum squat or as an attempt to undermine the delivery of the billion dollar digital dividend Australians will receive as part of the restack of the 126Mhz of spectrum that the Government plans to auction for the services of the future.

“In addition, while 3D is an exciting development in television, it should not preclude trialling other technology, such as mobile television, particularly where there is a stronger economic case around its deployment.”

Meanwhile, following the provision of 3D services to both Foxtel and the free-to-air broadcasters, Global Television established a 3D Business Unit in August 2010 “charged with meeting the Australian television industry’s burgeoning demand for 3D capabilities”.

Global aims to “accelerate the training and development of Australian talent and intellectual property that are vital to delivering 3D solutions. This, in turn, will create new jobs and introduce a skill set to the television industry that has traditionally been held by the film production community.

“Indeed, we believe that 3D free-to-air television services are vital to the success of the Australian TV and film production sectors as a whole.”

While a Nine source has told C+T that the Network is not currently “directing its energies” towards 3DTV, it is understood that other organisations are preparing to come forward to apply for further trial licences.

The Third Dimension 25

The TheThird ThirdDimension Dimension

FSM Shoots Sydney Harbour in 3D Sydney post production company FSM has shot the world’s first stereoscopic footage of Sydney Harbour, providing a 3D aerial view of the harbour from the CBD over the iconic Harbour Bridge past the Opera House and through to Sydney Heads and along the coastline.

FSM undertook the shoot in partnership with director of photography Tom Gleeson, Sony Australia, Continental Mounts Australia and Future Reality.

The aerial 3D footage is the only footage of its kind and is available for purchase to be used for cinema, documentaries and even promotions for Sydney Harbour.

“The purpose of the Sydney Harbour 3D aerial

shoot was to show the industry what can be done with stereoscopic footage, and we’re expecting interest from local and overseas buyers,” said FSM founder and executive producer Steve Dunn.

“The Sydney Harbour footage adds to our suite of stereoscopic recordings – we already have race car footage at Mount Panorama Bathurst and Freestyle Motocross footage, but the harbour shoot is really special.

“We’re thrilled to have it available so that anyone interested can see for themselves the true potential of 3D footage of this kind. That said, the shoot wouldn’t have been possible without the generous support of Tom Gleeson, Sony Australia,

Professional 3D Projector JVC Professional has introduced its latest 3D D-ILA projector, the DLA-F110. The DLA-F110, which boasts a new D-ILA driver and improved optical engine for perfect colour gradients and a quick adaptation response.

The third generation projector provides an ultra high native contrast ratio, brilliant brightness and extensive colour range, which guarantees to improve image quality, whether using the projector in 2D or 3D mode.

To produce high-quality 3D images, JVC’s DLA-F110 projector uses a unique frame sequential

Hybrid Active/Passive 3D Glasses From French company Volfoni comes ActivEyes, a new generation of intelligent 3D glasses which eliminate having to choose between active and passive 3D glasses.

This hybrid active/passive technology allows users to view 3D content on any platform. The glasses work with all brands of active 3D screens (TVs and PCs), as well as with all passive 3D screens (commonly used in movie theaters).

“Over the past 2 years, we have been working on developing this technology. We didn’t want to make any compromises. We have listened to the consumer’s demand for lightweight, universal glasses with a long battery life,” says Thierry Henkinet, President of Volfoni.

The ActivEyes system is composed of the glasses and a mini electronic “box,” which can be attached to clothing. Aware of the economic challenges of 3D, Volfoni also offers a unique technology which allows the mini “box” to be used with a hub, which can connect to several pairs of glasses at one time. This is an advantage for family or friends who want to watch 3D content together.

“We are actually testing ActivEyes glasses with professionals. We are listening to each and every critique before launching the glasses to the general public. Their quality and lightness have already captivated many 3D post-production studios,” notes Bernard Mendiburu, Director of Innovation at Volfoni.

ActivEyes can also be used as sunglasses (standard class 2 4 optical protection) and employ top-of-the-line liquid crystal technology.

As well as ActivEyes, which are for personal use, Volfoni has also developed a line of multi-user glasses: EDGETM 1.0 IR and EDGETM 1.1 DLP Link.

EDGETM 1.0 serves the cinema and audio-visual market. EDGETM 1.1 is compatible with DLP Link technology, developed by Texas Instruments. With more than 50 models of DLP projectors currently on the market, professionals in fields such as teaching, architecture, communication, engineering, etc will be able to use 3D images to improve the quality of their presentations, using only a projector and a set of glasses.

Visit www.volfoni.com

26 The Third Dimension

Continental Mounts and Future Reality who all donated their time and equipment without charge so that we could see this world-first shoot get off the ground.”

Watermarked copies of the shoot are available for interested parties.

Dunn added the cost of the footage will depend on how it is to be used and how long it will be in market.

“The 3D footage of Sydney Harbour has a range of uses – from movies to tourism bodies – so we’ll work with any interested parties based on their purpose for the footage.”

Visit www.fsm.com.au

The fusion of video, audio, animation and effects into content seamlessly delivered to inform and entertain audiences around the corner — or across the globe — in any number of formats. This is the art of integration.

Experience the gallery of innovation that is the NAB Show® and let your next masterpiece take shape.

Here you’ll find the technologies leading 3D, news, live sports and traditional studio production and post; the systems enabling efficient workflow for all distribution platforms; and asset management solutions needed to stay competitive and drive business forward. Learn more and register at www.nabshow.com.

method where separate images are recorded at a resolution of 1920 x 1080, for both the left and right eye, and are then displayed at a high speed of 60 frames per second. The 3D shutter glasses allow the images to be displayed alternatively for the left and right eyes, producing the 3D image effect. This process enables the DLA-F110 projector to deliver realistic and natural 3D images, enabling viewers to be drawn into the 3D experience.

The DLA-F110 is compatible with various types of 3D recording and playback formats: Frame Packing, Side by Side, Top and Bottom.

Visit www.jvcpro.com.au

World’s First Live 3D opera to Cinemas UK transmission services provider Arqiva has worked with major rights holder More2Screen to deliver a world first to digital cinema audiences around the UK and Ireland.

On 23 February Arqiva’s digital cinema satellite platform distributed the world’s first live opera to cinemas in digital 3D. The English National Opera performance of Donizetti’s Lucrezia Borgia was directed by Oscar-winning film director Mike Figgis.

Arqiva provided on site uplink, satellite capacity on their digital cinema satellite platform on IS905, as well as extensive teleport services, monitoring and helpdesk facilities. This enabled Odeon, Vue, Apollo and Ormonde cinemas to present the performance to appreciative audiences in digital 3D with full Dolby Digital 5.1 surround sound. www.arqiva.com

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Visit the NAB Show online gallery to view the entire collection of Integration-inspired paintings.

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Acquisition

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NEED the FEED >>

ACQUISITION ACS Launches National HQ, 2011 Awards The Australian Cinematographers Society (ACS) has launched its new national HQ, named in honour of John Leake OAM ACS, in North Sydney.

The first premises to serve as ACS headquarters, the new HQ “gives the ACS the opportunity to begin to centralise its operations and gives all members a place to belong”.

According to Australian Cinematographers Society National President, Ron Johanson ACS, “This truly historic event for the Society has come about because of the dedicated people within the ACS and those supporters from within the industry itself such as Fujifilm. There are many individuals that deserve credit for this purchase finally coming to pass. From our founding fathers, to successive Federal/National Executives, the list is a long one, but there are men like, John Leake OAM ACS, Jack Gardiner ACS, Milton Ingerson OAM ACS and Bruce Hillyard ACS, whose canny ability to invest wisely has really paid off. “Two years ago the ACS decided to name the headquarters in honour of one of those remarkable men, John Leake OAM ACS. It must be said however, that the National Headquarters is a testament to all

our founding fathers and to those that have come along since.”

In other ACS news, the 40th ACS National Awards for Cinematography will be presented by the Australian Cinematographers Society at the Hotel Grand Chancellor, Hindley Street Adelaide, on Saturday 30 April. The internationally recognised, Australian cinematographer, John Seale OAM ACS ASC will be Guest of Honour.

This year’s ceremony, the biggest ever in the history

Videocraft Digs Deep for Philippine Mine Shoot According to Brian Shirley, one of the founding partners of The Shirley Spectra, the camera equipment he rented from Videocraft for a recent shoot in the Philippines performed extremely well under the severest conditions.

Shirley said, “We got a gig shooting footage of some mines in the Philippines to be used in a series of corporate videos. This involved capturing footage on the island of Mindanao and an incredibly hectic schedule. So we went to Videocraft and discussed our best options with Rentals Manager Nick Gleeson.

“The Sony PDW700 proved to be very reliable, easy to use, good at low light, easily configured to shoot NTSC 1920 x 1080 and came with a good selection of lenses. We were a 2-man crew - cameraman and >> >> Brian Shirley. director – and had to get as many images as we could whilst we had available light which on mine sites, drilling sites, in forests, plantations, schools and rivers was quite a challenge but the PDW700 coped very well indeed and performed wonderfully.”

Since its establishment in 1974, The Shirley Spectra has created a unique range of communications products for a variety of Australian companies and institutions. It is a full-service communications company, providing concepts, research, scripting, production, event design, staging, technical facilities and automation, creative direction and client service over a diverse range of products.

Videocraft NSW Rentals Manager Nick Gleeson said, “Videocraft rental cameras also have proven themselves in many varied shooting situations, including extreme heat, humidity and cold environments.

Our policy is to help our clients with exactly what they need in the most comprehensive way possible – especially if they are taking the kit overseas. In this instance, with some advance planning, everything went very smoothly and I’m delighted Brian and his team were so pleased with the results.”

Visit www.videocraft.com.au

28 Acquisition

of the society, will also be marked by the induction of three more Australian filmmakers to the ACS Hall of Fame as well as a Special Contribution Award. This will bring the number of Australian Cinematographers recognised in the Hall of Fame to 54, where they will join such internationally renowned cinematographers as Andrew Lesnie ACS ASC, Dean Semler OAM ACS ASC and John Seale OAM ACS ASC However the highlight of the evening will be the much-anticipated announcement of the MILLI Award for Australian Cinematographer of the Year, with strong contenders from the past year’s crop of feature films and a year of exceptionally strong television productions.

Other awards to be presented include the ACS International Award for Cinematography which is open to all feature film cinematographers, the Neil Davis International News Award, the NFSA-ACS John Leake OAM ACS Award to an emerging cinematographer as well as 18 Golden Tripod Awards in categories from Student to Feature Film.

Order tickets via: https://acs1.wufoo.com/ forms/2011-national-awards-booking/

Another Oscar Year for Fujifilm At the 83rd Academy Awards, the Best Picture honour went to The King’s Speech shot on Fujifilm ETERNA Vivid 500T, Vivid 160T and 250D by Danny Cohen BSC. The success of The King’s Speech has seen it take more than US$230m at the box office, its star Colin Firth named best actor and director Tom Hooper named best director for the film, which also won for best original screenplay at the ceremony.

In what was seen as one of the tighter ceremonies of recent years Natalie Portman won best actress for Black Swan which was shot on 16mm Fujifilm ETERNA Vivid 500T and ETERNA Vivid 160T by DOP Matthew Libatique ASC while Christian Bale and Melissa Leo won supporting acting awards for The Fighter, shot by DOP Hoyte van Hoytema NSC FSF on Fujifilm 35mm ETERNA 250T 8553, ETERNA 250D 8563 and ETERNA 500T 8573.

The King’s Speech 2011 Best Picture Academy Award follows the success of last year’s Best Picture winner, The Hurt Locker and 2009 Best Picture and Cinematography winner, Slumdog Millionaire – also both shot on Fujifilm motion picture film stock.

Visit www.FUJIFILM.com.au

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WELCOME THE NEW STANDARD… THE NEW SONY PMWF3 SUPER 35MM DIGITAL CINEMATOGRAPHY CAMERA. AVAILABLE TO RENT OR BUY A game-changer for camera technology with a full Super 35mm image sensor, giving you greater depth of field control, high sensitivity and dynamic range, low image noise, PL lens mount, onboard recording to SxS card, 4:2:2 external recording and optional uncompressed RGB 4:4:4 output*. Be the first to get your hands on the next wave of digital cinematography. *uncompressed RGB 4:4:4 output available April 2011.

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Acquisition

Acquisition

Panavision Provides Multiple Workflows for Oz TV ACCORDING TO Panavision Australia Group Marketing Director Paul Jackson, the Australian TV industry is continuing to push boundaries with different production workflows.

Jackson says, “We have recently supplied equipment and support for three new Australian television series, each with different workflows and each unique in their production.”

The first of the three series was Blood Brothers. Shot in Sydney and starring Lisa McCune, Tony Martin and Michael Dorman, the show is based on the story of Jeffrey Gilham, the sole survivor of a 1993 family massacre in Woronora, New South Wales. >> For Blood Brothers Panavision supplied Sony HDW-F900R cameras and Canon Cine Zoom lenses.

Line producer Di Haddon says, “We chose the Sony HDW-F900R cameras as we are required to deliver to the Nine Network on HDCAM. Blood Brothers is all location shooting, which includes suburban homes, a courthouse and city environments.”

The second recent TV series that Panavision has supplied equipment to is Crownies. Also shot in Sydney the show follows five young solicitors fresh out of law school, as they face the pressures and endearing madness of modern single life - in a fastpaced workplace that highlights the moral dilemmas and big issues facing an apparently civilised society.

Jackson says, “For Crownies we worked with Co-producer Lisa Scott, Production Manager Kelly Vincent and DOP Bruce Young (Underbelly, Rush, Tangle - Season 2). This was a very different workflow

>>

Winners & Losers DOP, Darrell Martin.

to Blood Brothers as Bruce shot with the Nano Flash System, the same system he used on last year’s Cleo – the acclaimed ABC drama project that looked at the Whitlam era through the eyes of former Cleo editor, Ita Buttrose. Bruce has effectively pioneered the use of this system in Australia. The Nano’s record onto CF cards at 100, 140, 180, 220, or 280 Mbps and can record MXF files or MOV files. Alongside the Nano Flash system we supplied Fujinon zoom lenses and Sony F23 cameras, which we calibrated and matched for colour – something Panavision is known for and specialises in.”

Lisa Scott adds, “Crownies is primarily set in an office environment. I had previously used the Sony F23 and was impressed with the picture quality, depth of field and the camera’s ability to handle contrast. Bruce Young, our DOP, had used them on the mini-series Paper Giants: The Birth Of Cleo and

we both agreed they were the best cameras for Crownies. We are using the F23s with data capture. We made a decision to shoot with a lot of Steadicam and data capture meant the camera would be much lighter without the tape deck.”

DoP on Crownies, Bruce Young, says, “I had used the F23 with the Nano Flash solid state recorder on Cleo, and Panavision were able to deliver the same cost effective package for Crownies. The F23 with solid state recorder produces great quality pictures, and as we are playing the data straight out to HDCAM it is cost effective with a straightforward post production path. The F23 is able to give you zebra readings in the viewfinder down to zero and this enables me to quickly and accurately set light levels, which is particularly good for night scenes. With the solid state recorder the camera is also much lighter and quick to move around. The solid state recorder also has instant playback and freeze frame functions, so it is great if you want to match close ups or review shots.”

The third TV series that Panavision again supplied a different workflow to is Winners & Losers. Shot in Melbourne the show follows Bec, Jenny, Frances and Sophie to their Ten Year Class of 2001 Reunion at Renwood Girls High School where the three girls are determined to prove they are no longer the losers they were once dubbed many years earlier.

Paul Jackson said, “Again, as with most of our projects, Winners & Losers came as a result of previous long-term relationships. In this case it was our history of working with Line Producer Lesley Parker

Mechanical & Wind noise Reduction engineeRs Reduc i ng mec han i c a l a n d w i n d n o i s e i n audi o rec ordi ngs wi t h o u t c o m pro m i s i n g f re q u e n c y response i s not a si m ple t a s k . I t re q u i re s a s o li d engi neeri ng bac kgrou n d c o u ple d w i t h k n o w le d g e of t he n a t u r a l s c i e n c e s .

Full

Windshield >> >>

Crownies’ Bruce Young and Laurie Zafino.

and DOP Darrell Martin (The Librarians, Smoking Will Kill You, Satisfaction). For this shoot Darrell decided on Primo Digital Zoom lenses and Sony F23 cameras with our Solid State Recorders (SSR-1) and on-board capture devices. It is the same system that was used to shoot ‘The Chronicles of Narnia – Voyage of the Dawn Treader.”

The proprietary Panavision SSR-1 is a small, lightweight, solid-state recorder designed for use on the Sony F23, Sony F35 and Genesis digital cameras, as a stand-alone unit. The SSR-1 is particularly suited to handheld and Steadicam work or tight shooting situations. The SSR-1 design, connectors and controls also make it easy to integrate into workflows based on the SRW-1 HDCAM SR recorder.

Winners & Losers DoP Darrell Martin says, “Coming from a predominantly celluloid background I wanted a digital camera kit that I could use and expose with a light meter and almost treat as a film camera in the way that I was used to working. I also wanted two cameras that would match effortlessly, as 90 per cent of the show would be shot with two cameras shooting simultaneously. With the Sony F23, combined with the SSR-1 and the Panavision Primo B mounted zoom lenses, I could rate the camera at 320ASA and use my meter to get an accurate exposure. The 10-12 stop exposure range allowed us deal with high contrast, particularly hot skies that would have normally blown out with other digital systems. The Primo zooms allowed us to get a fantastic and consistent look that was very pleasing to the eye. We used the Primo “Star Wars” zooms developed for Star Wars Episodes 2 and 3. Two 8-72mm and a 25-112mm with doublers were our regular lens package. A 6-24mm and 14, 20 and 35mm Primo Primes were often on daily hires for Steadicam use. I used a 1/4- 1/2 pro mist filter to help give a more romantic edge to the image. I also wanted a camera package where all the elements of the camera system spoke to each other - where the lens spoke to the camera and the camera could roll the recorder.”

Visit www.panavision.asia

Focusable LED Luminaire

At NAB 2011, Gekko Technology will launch kedo, the focusable version of its colour tunable LED based luminaire. The fresnel based optic within kedo provides a focal range of 6:1. kedo has presets at 2,900, 3,200, 4,300, 5,600 and 6,500 kelvin (as well as the ability to match a wide range of colour gels in the entertainment form of the lamp). The fixture is comparable in output intensity to a 900 watt tungsten source. Inherently low power consumption also keeps heat generation to a minimum.

Using a single multi-chip LED array, kedo delivers consistent colour quality as a result of on-board firmware. Output is optimised at 3,200 and 5,600 kelvin (calibrated in comparison to a high quality reference source) with minimal colour shift throughout the dimming range. Intensity and colour temperature can be controlled direct from the on-board control panel, or via DMX. Visit www.gekkotechnology.com

30 Acquisition

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Acquisition

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Kit

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 fit all leading microphone products.

s-seRies Kit

The s-series is a zeppelin/blimp style of microphone suspension & windshield.

The patented “lyre” suspension web, a revolutionary non-elastic suspension, gives ideal isolation for all axial microphones.

softie

Kit

The softie kit combines both the softie Windshield and the softie lyre Mount. To provide both wind protection and shock mounting for your microphone.

universal

caMeRa

Kit

The rycote universal Camera Kit is the essential accessory for achieving good, clean, audio recordings to professional standards, for outside filming using a shotgun or rifle camera mounted microphone. Miniscreen provides wind-noise attention of up to 20dB (plus 23 dB with Windjammer)

“I have used R ycote products on all of the Top Gear Specials, the North Pole, Botswana and Vietnam, they did not let me down, it’s as simple as that.”

Russel Edwards, Sound Recordist For your nearest authorised dealer in australia: free call 1800 648 628 | email sales@syntec.com.au new Zealand: free call 0800 100 755 | email sales@syntec.co.nz

Acquistion 31

Acquisition

TOP OF THE LINE PROHD, CAMCORDER FROM JVC This year’s NAB will see JVC’s GY-HM790E camera, the flagship of the ProHD product line, with its modular design that allows cleaner integration with multi-core and fibre-based production, alongside the new GYHM750E, a compact shoulder-mount camcorder ideal for ENG news, sports, documentaries, and location shoots. Both cameras include a 68-pin chassis connector that creates a direct interface with various modules, and no external cables.

Equipped with the same 3-CCD imaging system found in the GY-HM790E, the GY-HM750E can record HD footage in 720p, 1080p, and 1080i, as well as SD footage (576i) for legacy applications.

The new camcorder includes a dual card slot design that records to non-proprietary SDHC cards and/or optional SxS recorder in ready-to-edit file formats for Apple Final Cut Pro or Adobe Premiere (.MOV), other NLE systems that are compatible with Sony XDCAM EX files (.MP4), or standard DV files (.AVI or .MOV).

A new feature allows simultaneous recording to both SDHC cards for instant backup or client copy.

JVC’s GY-HM100E ProHD handheld camcorder, a favourite with journalists, will also be on stand.

Embraced by major news organisations, it is used instead of more bulky shoulder-mount models to record high-quality HD footage in hostile environments such as war zones. Reporters can also shoot footage with the unobtrusive GY-HM100E in areas or situations where a full-sized camcorder might be confiscated or stolen. Its small form factor, along with a full complement of professional features and native file recording, also makes it a cost-effective choice for smaller market stations, online media outlets, and news partnerships where print journalists shoot video.

JVC’s new KA-AS790G ASI module provides a reliable way to uplink video without the use of an external encoder on location, which simplifies the microwave transmission process in the field. Using

BHV BROADCAST TO LAUNCH “LIVE” ONES BHV Broadcast’s TallyHo!, a wireless tally indicator system, offers camera operators reliable remote on-air indication in the field. This unique design includes a base station with direct interface to the local vision mixer and a set of camera hot-shoe mounted receiver modules. TallyHo! gives the camera operator and, crucially, the camera subject, a highly visible indication of on-air status. TallyHo! can be adapted to work with almost any vision mixer but its operation is especially suited to BHV Broadcast’s Callisto vision mixers or the Sony Anycast system.

BHV Broadcast’s Video Ghost brings phantom power to the video camera world. Video Ghost provides a switchable 5V or 12V auxiliary power for camera accessories using the existing video cable. Under certain conditions a 656 ft (200m) operating length is achievable.

Visit www.bhvbroadcast.com/

FUJINON’S HALF-INCH FORMAT LENS, FACE READER SYSTEM Among the offerings from FUJIFILM North America Corporation, Optical Devices Division, at the NAB Show this year will be a new lens for the half-inch format, an updated digital control system, an improved facial recognition system, as well as recently released, popular lens models. Shown as a technology demonstration at last year’s NAB convention, The TRACE system will be shown again at the NAB Booth.

The TRACE facial recognition system allows a camera operator to set automatic focus parameters on one person’s face in a frame. When a subject walks into the frame, a box appears around that person’s face, and if the operator touches that person’s box, the lens automatically focuses on that face throughout the scene. If the operator decides to switch focus, he or she simply touches another box.

Visit www.fujifilm.com/

SHOTOKU EXTENDS ROBOTIC CONTROL At NAB 2011, Shotoku Broadcast Systems will show the latest of the Company’s popular TR-T Touch Control System, and CMC camera motion controller.

The TR-T system’s automated functions allow precise control over shot recall, with minimal intervention, enabling an operator to multi-task, without losing any of the on-air flexibility associated with dedicated camera operators.

Along with TR-T updates Shotoku have enhanced the performance of the Camera Motion Controller (CMC) making the self-contained head, height and lens controller even more flexible in terms of remote configuration and support for interfaces to all types of lenses. Customers may use any type of any age and manufacturer of lens. Regardless of the interface used the CMC is easily configured to match the installed

32 Acquisition

lens, and can be customer-adjusted to support a change of lens in future.

Digiport enables any Shotoku control system to seamlessly integrate with numerous third-party sunsystems and devices. Thus further expanding the capability of the integrated remote camera system.

DigiPort has the ability to control a wide range of third party systems ranging from legacy Radamec Broadcast Systems robotic systems to rail track cameras and specialist outdoor heads.

Digiport is remotely configured via a dedicated web-browser interface to define the type and scope of control available from the Shotoku system. The device uses Power-over-Ethernet technology making connectivity simple and convenient.

Visit www.shotoku.co.uk/

the camera’s built-in encoder, both HD video and audio are compressed into an MPEG-2 signal and then transcoded to DVB-ASI. The module outputs the live signal from the camera, even while recording.

Produced in conjunction with Telecast Fiber Systems, the new CopperHead ProHD KA-F790 fibre optic transceiver for the GY-HM790E provides full studio functionality in the field. The multiplexing system simultaneously transports bidirectional digital (SDI or HD-SDI) and analogue (NTSC or PAL) video, as well as all two-way camera control, audio, video, data, sync, tally/call, prompter, and intercom signals between the camera head and the remote CopperHead Base Station.

JVC is adding to its Vérité “G Series” of LCD monitors with the 24-inch DT-V24G11Z. Designed for critical image evaluation, G Series monitors feature 3G and dual-link HD/SD-SDI inputs.

Visit www.jvcpro-australia.com

I-MOVIX DEBUTS LATEST SPRINTCAM VVS HD At the 2011 NAB Show, I-MOVIX will debut the latest version of SprintCam Vvs HD (PhantomPowered), the ultra-slow-motion system for live HD broadcast production. SprintCam Vvs HD now operates at frame rates up to 2,700 fps in 1080i50 or up to 5,800 fps in 720p60 (more than 200 times slower than live action) and provides instant replay at native HD resolution and image quality.

New features include a dual output that allows a camera operator to shoot and record at the same time, segmented memory, ramping of speed within a replay, dual output of live action and replay sequences, and integration of both live- and replayview on the viewfinder. Operational enhancements include compatibility with EVS server ultra-motion mode, a digital lens interface for better iris and lens switch control, improved replay controls, support for synchronisation of two cameras in 3D ultraslow-motion capture, and a new joystick-equipped control panel.

Aside from providing frame-rate speeds far in excess of other slow-motion systems, SprintCam Vvs HD also offers superior integration into broadcast operations. Specially designed for live broadcast use, SprintCam Vvs HD can be specified in a standard camera version or optimised for shouldermounted portable shooting.

The SprintCam Vvs HD system comprises the latest generation Vision Research high-speed HD camera; an operational control panel that provides a real broadcast-quality colour matrix and control of framerate choice; a slow-motion remote that allows the user to select a video sequence and instantly replay it with an HD-SDI output for live broadcast or storage on any HD-SDI recorder for a later use; and the camera control unit, which provides control of the slow-motion instant replay, camera control, and data interface between a camera, EVS server, or SDI recorder.

Visit www.i-movix.com

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Sportscasting

Sportscasting

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SPORTSCASTING

Sony and Wimbledon to Serve a 3D Ace THIS YEAR,

for the first time ever, the finals of Wimbledon, the premier tennis championship in the world will captured in 3D and screened live in High Definition 3D to 3D capable cinemas around the world. The live 3D production, in partnership with the Wimbledon host broadcaster the BBC, will also be offered to interested global broadcasters.

Sony and The All England Lawn Tennis Club have announced their official supplier partnership to bring Wimbledon in 3D to suitably equipped cinemas around the world, offering the perfect opportunity for fans to experience the Championships like never before in a completely new environment, while retaining all the excitement and atmosphere of the famous Centre Court.

Sony will produce the men’s semi-finals, finals and women’s finals in High Definition 3D as the official supplier of the Wimbledon Lawn Tennis Championships. To bring the excitement of 3D tennis to interested 3D cinema chains worldwide, Sony will work with SuperVision Media, their theatrical distribution partners.

The 3D production will also be offered to interested

global broadcasters seeking unique and compelling content for their 3D channels. The two parties will also seek further possibilities to deliver 3D tennis to a much wider audience over time.

Sony is uniquely placed to capture and broadcast the finals of the Wimbledon Championships in Live 3D, bringing the exhilaration and atmosphere of Wimbledon to a larger audience than ever before, with every forehand, smash and volley yours to appreciate in stunning 3D reality.

Fujio Nishida, President of Sony Europe commented, “We are delighted to be working with the All England Lawn Tennis Club to bring such a high profile sporting event to consumers around the world in 3D. Watching tennis in High Definition 3D is a stunning experience, bringing the speed of the action and the emotions of the occasion to life; it is as close to the atmosphere and excitement of Centre Court as actually being there. With the Live 3D Wimbledon experience available in 3D cinemas across the world, many more people will be able to enjoy one of the world’s most iconic sporting events as though they were actually at Wimbledon.”

Sony Europe Acquires Hawk-Eye Sports Tracking Technology Sony has announced the acquisition of Hawk-Eye Ltd, a UK based company that specialises in providing tracking technology to sports events and broadcasters. Hawk-Eye’s capabilities, based on vision processing and triangulation, coupled with Sony’s established leadership in AV production and B2B solutions will enable the delivery of leading managed services and innovative solutions for Sports Stadia and Broadcasters.

Naomi Climer, Vice-President Sony Europe, commented, “Hawk-eye is recognised globally for its innovative solutions for resolving close calls in critical sporting situations, particularly in cricket and tennis where they have developed a worldwide reputation.

Players, officials and sports fans have all appreciated the accurate and entertaining way in which Hawkeye has integrated its technology into these key sports.

“Hawk-Eye presents Sony with the opportunity to acquire a small, innovative company with unique knowledge and excellent growth and synergies potential. It is an ideal complementary offering to Sony Professional’s existing portfolio of solutions for stadiums, venues and broadcasters, as well as

34 Sportscasting

bringing in specific expertise around managed services and Sports software solutions engineering.

We see strong opportunities on the technological, business and marketing levels to further Sony’s leadership and engagement in the sports and broadcasting industry.”

Paul Hawkins, Founder of Hawk-Eye, declared, “Over the last decade Hawk-Eye has become the reference standard technology for ball tracking and graphics in tennis, cricket and snooker. Our skills and established knowledge coupled with Sony’s breadth of capabilities and technologies will create immense opportunities for the Sports industry. Hawk-eye has shown impressive year-on-year growth throughout the last decade and is now well positioned to develop its business towards other global sports.”

Sony’s full acquisition of Hawk-Eye Holding will include all Intellectual Properties Rights, Hawk-Eye’s current full time staff as well as their technology and software solutions engineering capabilities. Hawkeye will become an integral part of Sony Professional, the B2B branch of Sony Europe Ltd.

Ian Ritchie, Chief Executive of The All England Lawn Tennis Club, said, “Wimbledon is renowned for its heritage and sense of tradition. At the same time we are always looking for ways to improve the presentation of The Championships by successfully blending that tradition with innovation. We are delighted that our 3D partnership with Sony will not only guarantee we are at the cutting edge of live sporting television, but also deliver a compelling new viewing experience for our global audiences, especially amongst our younger supporters.”

Visit www.wimbledon.com

EVS PRODUCTION SERVER EVS will introduce the third generation of its XT servers at NAB. The new XT3 production server, offers eight flexible channels SD/HD and six channels 3D/1080p capabilities and is available from July 2011.

XT3 server improvements include more supported audio and video channels, an increase of bitrates per video channel, an introduction of lower scale chassis version, an implementation of new mixes on one channel capabilities, and recording of up to two triple-speed SuperMotion feeds per server.

The new server is available in two versions, a 6RU chassis supporting up to eight HD/SD channels (including 6in/2out) or six channels in 3D/1080p mode, or a 4RU chassis supporting up to seven HD/SD channels or four channels in 3D/1080p mode. It supports up to 96 audio tracks (16 audio tracks per video channel) and can be configured in an extensive range of nativelysupported video codec (including Panasonic AvcIntra) without requiring hardware change. For 3D or 1080p operations, the XT3 offers the flexibility to select between dual-link HD SDI or single-link 3G SDI connectivity with a simple software setting.

Visit www.evs.tv

Visit www.sony-europe.com

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Cutting Edge Powers Ladies Golf Masters The RACV Royal Pines Resort in Queensland’s Gold Coast was the venue for February’s Australian ANZ/ RACV Ladies Golf Masters and it was Cutting Edge providing facilities for the broadcast which saw Taiwanese superstar, Yani Tseng achieve her life-long dream of becoming the world’s No.1 ladies golfer.

After shooting a final-round 68 to win the Australian Ladies Masters by four strokes, Tseng went from world No.2 to No.1. The fastest player to have won three major tournaments after being named LPGA Rookie, Tseng is now a national hero in her homeland of >> >> Cutting Edge’s HD-1 OB truck on Chinese Taipei. location at Queensland’s Royal Pines Resort.

The live telecast of Tseng’s achievement was brought to life by World Sport Group and Cutting Edge’s Outside Broadcast team for event organiser Tuohy Associates and the TEN Network. On location at the Royal Pines golf course, Cutting Edge Technical Manager Garth Wiencke ensured a quality broadcast for the golfing world.

“Garth and his team have done an amazing job once again to bring audiences worldwide, beautiful images of luscious greens, blue skies and a big tournament,” says Steve Mitchell, Director of Broadcast Operations at Cutting Edge.

“Events such as the ANZ/RACV Australian Ladies Masters have a big television audience, so everything has to be perfect. Problems are not an option, especially when history is in the making with a new world champion”, says World Sport Group telecast executive producer/director John Evans. “Cutting Edge understand these types of events and have the outside broadcast technology and expertise to give WSG an ideal platform to achieve a perfect live broadcast.”

Visit www.cuttingedge.com.au

See

Tech Firsts for Winter X Games The Winter X Games were back in Aspen, Colorado, during January. Broadcast by ESPN on TV, radio and online, coverage included over 52 hours of programming shown in HD, 3D and via the Internet.

Shown in Australia on Foxtel’s 3D demonstration channel (Channel 201), ESPN 3D broadcast 18 hours of 3D coverage.

This was the first time the Winter X Games have been broadcast in 3D and follows the success of ESPN’s X Games 16 3D coverage in August of 2010.

In addition to its 3D coverage, ESPN broadcast 24 hours of Winter X Games 15 in high definition and standard definition with content also distributed on ESPN360.

“It is always our mission to serve the fan,” said Scott Guglielmino, Senior Vice President Programming and Global X Events. “With the addition of 18 hours of original 3D coverage, including all the ski and snowboard action from the SuperPipe, Slopestyle and Big Air events, and exclusive content on ESPN360, we will once again deliver the most compelling winter action sports content to fans on more platforms than ever.”

On the audio side, ESPN decided to tackle routing using the same platform as in their Bristol and LA facilities - STAGETEC’s NEXUS “MADI” Routing System.

For the first time at the Winter X Games, nine Digital Mixing Consoles spread out across six OB Trucks, were linked together via MADI using STAGETEC’s NEXUS system.

Central to the system was the NEXUS STAR, which connected to each of the Calrec and other digital consoles in each of the six trucks, as well as to their RTS and Riedel intercom systems. The desired audio channels from each venue were routed by the STAR through both fiber and copper MADI links.

In addition, the NEXUS STAR routed signals for On Air broadcast via a NEXUS AES I/O frame in the ESPN Transmission Center. There was also a NEXUS Analog I/O frame in the EPC Trailer connected to the only console on site not fitted with MADI. Control of the NEXUS was available locally to each Audio Operator through the NEXUS GUI running on their local laptops, connected via an Ethernet network to the NEXUS STAR. Control stations in the Central COMMS Room allowed the intercom operators to route to and from the RTS and Riedel gear, again via MADI lines from the NEXUS STAR. In all, the NEXUS configuration provided 812 inputs and 812 outputs to the compound.

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Premier Media Group Speeds Up with Evertz Premier Media Group (PMG) has seamlessly expanded its operations through the use of equipment and services supplied by Quinto Communications.

As one of Australia’s leading content providers for subscription television, PMG’s growth has also seen it increase its delivery of content for internet and mobile platforms.

From its headquarters in Pyrmont, Sydney, PMG owns and operates TV channels, which are provided to subscription TV providers FOXTEL, Austar and Optus.

On November 1, 2010, the motorsport-oriented SPEED channel joined the existing standard definition channels FOX SPORTS 1, FOX SPORTS 2, FOX SPORTS 3, FOX SPORTS NEWS, FUEL TV and HOW To Channel. SPEED, FOX SPORTS 1, FOX SPORTS 2 and FOX SPORTS 3 are also broadcast as separate High Definition channels, creating a total of 11 channel offerings. SPEED is currently only available through FOXTEL. “We started talking to FOXTEL and Quinto about the launch of a new channel eight months ago but the actual start of implementation for the project was not until September, so we had only two months to get it up and running,” said David Blackett, PMG Engineering Manager. “We were looking for systems that we could use with our existing infrastructure and wanted to maintain a consistency in our approach.”

PMG’s existing Evertz QMC master control switcher platform and pre-existing content management and playout systems significantly eased the rollout. Rather than a major technical undertaking, the expansion became an incremental evolution and broadening of capacity that involved increases in the capacity to handle incoming live feeds, and in master control switching, branding and signal monitoring capacity.

The most visible part of the added channel capacity is in the presentation area where PMG required and constructed additional presentation suites.

“When we are dealing with live programming we want to be able to spread out with separate control rooms for live channels - because of the vagaries of live sport we prefer to have one person per channel,” explained Blackett. “Of course there is an SD and HD version of each channel. Effectively each operator is looking after four channels when replaying pre-recorded material or two channels when dealing with live events.

“When it’s not live and we are playing out recorded material we wanted to fold back down to just use the main presentation rooms. So we needed a system with the flexibility to scale up and down as needed with the same look, feel and quality for the presentation team so we don’t have to retrain people after their initial training. We also wanted to keep the cost of change low but maintain features and flexibility at a very high level so that each channel has the same high level of reliability

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are used in order to transparently convert 59.94 fields per second HD feeds coming in from the US to Australian 50 fields per second broadcast standards, maintaining the highest possible video quality on challenging, fast moving, high definition sports content.

XBOX 360 PLATFORM SUPPORT

>> >>

Premier Media Group’s new Evertz-powered presentation suite.

and performance. To do that easily we had to have common equipment.”

After discussions with Quinto Communications, the Australian distributor of Evertz equipment for the television broadcast industry, PMG selected additional Evertz QMC Master Control switchers and Evertz QMC-DCP Desktop Control Panel software with touch screen control surfaces to power

>> >> at PMG.

Dave Blackett, Engineering Manager

the new SD and HD services PMG’s pre-existing Evertz MVP Multi-Image Display Processor systems, which provide video monitoring for both the Master Control Room and the presentation suites were also expanded. The presentation suites’ MVP Multiview display processor was expanded to drive a total of 12 high resolution multi-image displays with each display providing all the monitoring required for a channel, or in some cases for a pair of channels, on a single large flat panel display. Sources for any channel can be called up and displayed in any suite. Quinto also supplied new NEC Multeos large flat panel displays for monitoring in the additional newly constructed presentation control rooms.

The SPEED Channel also presented a design and integration challenge with additional equipment required to handle the unique “HotPass” feature of the US-based NASCAR racing broadcast. Viewers can select to see the race from the vantage point of each of four drivers, as an alternative to the general broadcast coverage, by using the red button on FOXTEL’s remote. Viewers can also listen to either the broadcast network audio or the selected driver’s team radio. The value-added NASCAR HotPass feature for FOXTEL subscribers requires PMG to automatically switch each of the driver views back to the main international race feed during times when the individual driver views may be unavailable, such as during US ad breaks. Evertz X-0401 video switchers have been purchased and utilised to facilitate this seamless video and audio switching between individual driver views and the general broadcast coverage.

Snell Group Mach HD motion compensated HD standards converters were also supplied by Quinto as part of the new build, to supplement the five pre-existing Snell Alchemist PhC HD standards converters that Quinto has previously supplied to PMG. The Alchemist and Mach HD converters

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PMG is also a partner with FOXTEL in the new FOXTEL Xbox Live service, a partnership with Microsoft which allows reception of selected FOXTEL channels over the internet and direct to television sets through the popular Xbox 360 entertainment console. The service allows Xbox 360 owners in Australia to access FOX SPORTS, Discovery, Nickelodeon, Disney, MTV, and other channels.

“With all these new endeavours we went from four presentation suites to seven handling a total of nine operator positions including a training suite,” said Blackett. “The equipment began arriving in early October and we had it working for testing 10 days ahead of the FOXTEL launch using a combination of our in house engineering expertise and the support of Quinto and Evertz engineers to handle the installation and commissioning.

“Every new build involves a competitive review of the available solutions and we always look at what new kit is available. We always aim to pick best of breed equipment for our requirements with functionality and flexibility as our number one priorities

while also ensuring we get good value for money.

“We already had the Evertz routers as the core of our pre-existing Evertz QMC master control switching and branding systems for our existing channels and it was relatively easy to add the additional Evertz QMC driven SD and HD SPEED channels. Having previously bought the core Evertz infrastructure to allow for expansions we were able to reap the rewards of that decision to quickly expand our channel offerings,” said Blackett.

PMG runs fully redundant A and B hot systems for all its channels. Each channel is output simultaneously by both an A and a B system and presentation can use Evertz modular changeover switching equipment to seamlessly switch broadcast of any channel to be from either of these two systems. The new channel simply required the installation of extra inputs on the core routers and extra master control switchers for the new SD and HD channels.

“By using Evertz systems PMG is proactively ready to build its business by being able to quickly add new channels for clients,” said Alan McIlwaine, Managing Director of Quinto Communications.

“PMG is able to leverage its existing systems using very scalable core architecture so any new channels can be easily added. We are pleased to be able to supply an Evertz solution with the ability to expand quickly rather than starting from scratch each time.”

Visit www.quinto.com.au and www.premiermediagroup.com.au

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GLOBECAST POWERS LIVE HD SUPER 15 Rugby Union’s iconic southern hemisphere Super 15 competition runs from February to May. The 2011 competition opened with an historic first night match featuring a brand new team, the Melbourne Rebels.

With fifteen teams from three countries, all the action in High Definition has been delivered to millions of viewers internationally via GlobeCast Australia.

Super 15 is the only sporting tournament in the world that is played across so many different time zones, around Australia, in New Zealand and South Africa. But, viewer interest in the showdowns extends

further, as far as Europe and the Middle East.

In 2011, from Friday February 18, GlobeCast Australia has been moving the action live around the Globe. Client networks through until May include BSkyB UK, Sky New Zealand, FOX Sports, Fiji TV, JSports Japan, MNet South Africa, Sky Italia and the Australia Network across Asia to India.

GlobeCast Australia is using its owned and operated satellite leases and its global fibre network to move the games exclusively to key international broadcasters.

Visit www.globecast.com.au

I-MOVIX DEBUTS LATEST SPRINTCAM VVS HD At the 2011 NAB Show, I-MOVIX will debut the latest version of SprintCam Vvs HD (Phantom-Powered), the groundbreaking ultra-slow-motion system for live HD broadcast production. SprintCam Vvs HD now operates at frame rates up to 2,700 fps in 1080i50 or up to 5,800 fps in 720p60 (more than 200 times slower than live action) and provides instant replay at native HD resolution and image quality.

New features include a dual output that allows a camera operator to shoot and record at the same time, segmented memory, ramping of speed within a replay, dual output of live action and replay sequences, and integration of both live- and replayview on the viewfinder. Operational enhancements include compatibility with EVS server ultra-motion mode, a digital lens interface for better iris and lens switch control, improved replay controls, support for synchronisation of two cameras in 3D ultra-slow-motion capture, and a new joystick-equipped control panel.

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Aside from providing frame-rate speeds far in excess of other slow-motion systems, SprintCam Vvs HD also offers superior integration into broadcast operations. Specially designed for live broadcast use, SprintCam Vvs HD can be specified in a standard camera version or optimised for shoulder-mounted portable shooting.

The SprintCam Vvs HD system comprises the latest generation Vision Research high-speed HD camera; an operational control panel that provides a real broadcast-quality colour matrix and control of framerate choice; a slow-motion remote that allows the user to select a video sequence and instantly replay it with an HD-SDI output for live broadcast or storage on any HD-SDI recorder for a later use; and the camera control unit, which provides control of the slow-motion instant replay, camera control, and data interface between a camera, EVS server, or SDI recorder.

Visit www.i-movix.com

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OSB Fleet Settles Into Gearhouse The integration of OSB assets with the Gearhouse Australia OB fleet is now complete following the sale of the Prime Media Group’s On Site Broadcasting and Broadcast Rentals business units to the international broadcast services provider.

Among the rebadged assets is HD1, the largest ever Sony designed and constructed OB van. The unit, at a staggering 14.6 metres, is a $12 million dollar investment and has been built to the maximum legal vehicle requirements permitted in Australia. It enables 30 or more production personnel to be in the van at once, accommodating the largest production team requirements.

The extensive commitment to the unit’s design and build program was led by Andries Theron and Keith Cooper, with its first production milestone being the Tri-Nations Rugby Union series for FOX SPORTS. Subsequently, the OB van has covered key events, including the broadcast of the World Cycling Tour and will be used for FOX SPORTS broadcasts such as the Super 15 Rugby competition.

>> >> Gearhouse HD1’s Production Area.

The van includes an extensive inventory of HD Sony broadcast cameras. It also offers a touch screen monitoring system that controls air conditioning and lighting and was customised specifically for this van based on previous user feedback.

“With this Sony OB van, we’re offering a solution that can manage the requirements of 30 cameramen in the field, with a Production and Tape area that

can cater for almost any pre and post-game commitment. This OB van is built to be future proofed, yet scalable, offering the agility to accommodate events of all sizes,” says Andries Theron, now Engineering Manager at Gearhouse Broadcast.

“We were able to deploy the van immediately to capture a Bledisloe Cup Rugby International event,” said Todd Procter, OB Projects Manager at FOX SPORTS. “With such a large crew we were impressed by the simple and fast operation of this vehicle. It was one of the smoothest first runs of an OB van we’ve ever had. We’re looking forward to using it at upcoming sporting events.”

The OB van includes 30 HD Sony broadcast cameras, a Sony 80 input 4/ME MVS 8000G Vision Switcher, Lawo MC66 48 fader audio console with Madi 64 channels 32 analogue microphone or line inputs, 32 analogue outputs, eight EVS servers, four HD VTRs and a Riedel Artist 128 square talkback system.

Vision monitoring is covered by Sony LUMA monitors, with over 52 panels in total, many with multi viewers.

Visit www.sony.com.au and www.gearhouse.com

Kordia Selects Net Insight Ahead of Rugby World Cup Media and telco transport services provider Kordia has selected Net Insight’s Nimbra platform for its new video transmission fiber network upgrade in Auckland, New Zealand.

The application required a solution capable of transporting uncompressed HD, SD or ASI signals within the Auckland metropolitan area. The Nimbra platform was evaluated and found to be both efficient and reliable in fulfilling their networking requirements.

Techtel, a premium partner of Net Insight, will supply and install four Nimbra 680 nodes across Auckland, each equipped with Video and IP/Ethernet access cards for transmission of media-rich services within the region. The Nimbra platform will ensure that these diverse services can be transported together on the same 10 Gbps fiber circuit while maintaining 100% quality of service for all transported media.

“Net Insight is thrilled to be part of the expansion of services that will be available to Kordia’s customers,” commented Net Insight VP Sales APAC, Kenth Andersson. “Auckland is going to see more and more focus from the international broadcasting community, particularly during the Rugby World Cup this year.”

The Nimbra 680 is designed to give the highest possible bandwidth utilisation while still guaranteeing quality of service, regardless of network topology or load. It features up to 80 Gbps redundant, nonblocking switching and 8 interface slots for traffic modules, as well as 2 interface slots for each optionally redundant switch plane, control plane and power supply module.

38 Sportscasting

Steve Roberts, Kordia Business Manager, was closely involved in leading the decision that resulted in the selection of the Nimbra platform.

“Net Insight has provided Kordia with a very high capacity solution that allows us to offer uncompressed video services for the first time”, said Roberts. “The

Nimbra platform will allow us to comfortably meet our business and our customers’ needs and we look forward to expanding the network and offering our customers outside of Auckland the same high-quality managed video services.”

Visit www.netinsight.net and www.techtel.tv.

New Telemetrics Pan/Tilt Head Telemetrics Inc. has introduced a new pan/tilt head offering functionality that is suited for use in shooting sporting events as well as in traditional studio environments. The PT-RM-1 is a brushless 360° capable pan/tilt head that features heavy duty bearings and a belt drive system to help ensure quiet and smooth operation. When used in manual mode, the pan/tilt head offers fluid movement.

The precision pan/tilt head allows motion through sequence of position or motion record playback.

It is capable of variable operating speeds including a velocity range of 0.005° to 90°/second and an acceleration speed of up to 180°/second. Multi-axis control includes pan, tilt, zoom, focus, track, Televator, dolly, iris and master pedestal. Up to 255 pre-sets can be memorised and the pre-set recall function features an on-the-fly time parameter to enable all axes to start and stop simultaneously using pre-programmed acceleration parameters.

Control of the camera and lens is analogue or digital serial via RS-232, RS-422 or 10/100 BaseT Ethernet. Power is provided from a 48V DC source, and a DC-DC converter provides the appropriate levels to power the pan/tilt head, camera, lens, optional teleprompter and other auxiliary robotic devices. A serial camera control interface for most Sony, Panasonic, JVC, Ikegami and Hitachi cameras is available.

To assist in more easily managing cables, the PT-RM-1 Pan/Tilt Head is designed with a provision for harnessing power, serial/Ethernet control, video, genlock and prompter video cables at the base of the Pan/Tilt unit. The tilt yoke provides a direct interface to the camera, lens and optional teleprompter to avoid twisted cables when the unit is rotated. The PT-RM-1 may be installed upright or inverted and can support a dynamic load of up to 35 pounds.

Visit www.telemetricsinc.com

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Olympic IBC Takes Shape The London 2012 International Broadcast Centre/Main Press Centre (bottom left cluster of picture) will be a 24-hour media hub for around 20,000 broadcasters, photographers and journalists – bringing the Games to an estimated four billion people worldwide.

The IBC/MPC is located in the Main Media Complex in the north-west corner of the Olympic Park (the main Olympic Stadium appears at right of picture).

During the Games the IBC will include a 12,000 sq m catering village serving 50,000 meals per day. There will also be a 200m-long High Street between the MPC and IBC featuring outlets such as banks, newsagents, travel agents and a post office.

The MPC includes 29,000sq m of ‘green’ office space with four storeys of workspace for journalists and photographers during the Games. The MPC includes state-of-the-art utilities, power and digital connectivity during and after the Games.

The final schedule for the Games is now available for download online.

Visit www.london2012.com

IOC Commissions for 2011

in VEGAS NAB Central Hall, Stand C6737

WHATPPEN HA WILL EGAS… IN V STAY T ‘ N …WO VEGAS IN

The International Olympic Committee has announced that the composition of the IOC commissions for 2011 has now been finalised. The Commissions relating to media coverage of the Games include a number of well known industry figures from the Asia-Pacific. The role of the commissions is to guide the IOC and the Organising Committees for the Olympic Games in their missions.

The Radio and Television Commission is headed by Président – Chairman Jacques Rogge with members including Adam Ashton, John Barton, Francis Cloiseau, Phillip Walter Coles, Alpha Ibrahim Diallo, Peter C. Diamond, Iván Dibós, Gary Fenton, Alex Gilady, Dave Gordon, Greg Hartung, Tamaki Imai, Heping Jiang, Per Josefson, Gian-Franco Kasper, Stefan Kuerten, Felipe Muñoz Kapamas, Lydia Nsekera, Manolo Romero, Antun Vrdoljak, Pedro Yang and Zaiqing Yu. Meanwhile, the TV Rights and New Media Commission is also headed by Jacques Rogge and includes Thomas Bach, Richard L. Carrión, Ottavio Cinquanta, John Dowling Coates, and Gerhard Heiberg.

Wireless Camera Spectrum for London Olympics UK regulator Ofcom has published a statement on the release of the country’s 2010-2025 MHz spectrum which will see temporary access to the band go to Programme Making and Special Events (PMSE) and reserve it for the use of wireless cameras during the London 2012 Olympic Games and Paralympic Games in specific locations. Longer term, Ofcom has concluded that the spectrum could be used for mobile broadband services.

According to Ofcom, “We will consult further on a detailed award process as soon as practicable. The earliest feasible date for an award of the 2010 MHz band is around 12 months from now, that is in Q1 2012.

“In the meantime, licences to access 2010-2025 MHz for PMSE use can now be obtained from [spectrum management company] JFMG. This access is on the same terms and conditions, including price, as other spectrum used by PMSE in the 2 GHz band.”

Meanwhile Ofcom has confirmed that transmission services company Arqiva has, subject to terms, been awarded the contract for licensing spectrum to the Programme Making and Special Events (PMSE) sector following a tender exercise.

Visit www.ofcom.org.uk

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News Operations

NEED the FEED >>

News Operations

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news OPERATIONS

BGAN ENABLES BROADCASTERS TO COVER EGYPTIAN CRISIS

Egypt Becomes ‘Flashpoint’ for Associated Press IN COVERING THE

recent fast-moving events in Egypt, The Associated Press twice went to its highest declaration of urgency – a FLASH - described in The Associated Press Stylebook as “a transcendent development – one likely to be a top story of the year.”

The items labelled Flash were the news that Egyptian President Mubarak had passed his authority on to his vice president and that, finally, Mubarak had stepped down.

According to John Daniszewski, AP’s senior managing editor in charge of international news, “The AP was in an extremely strong position to cover the crisis in Egypt because Cairo is the Mideast editing hub for the organization, meaning that Cairo is permanently staffed with a large multi-national corps of experienced regional journalists, most of whom know the country and the language intimately.

“They are accustomed to covering the region’s big stories for television, photos, print and online, and this time the story was at their own front door. In addition, as the story escalated, we brought in additional talent from other bureaus in the Middle East and Europe.

“The AP is fortunate to operate from two locations in Cairo, giving us excellent positions and flexibility in covering the story. With a number of 20- and 30year veterans of Middle Eastern news coverage, the collective experience on the story could be counted in decades. In all, we had more than 30 journalists working the story across all formats. On the print side, they were led by Mideast Regional Editor Bob Reid and Cairo Bureau Chief Hamza Hendawi, both of whom have worked together for years in Iraq and elsewhere.”

Daniszewski says, especially during the first days, AP’s journalists faced pressure and official anger as they covered the violence and chaos in Cairo and other cities. Staff photographer Nasser Nasser was

struck with a rock by a police officer as he was covering one demonstration. The blow was so severe that it broke his cheekbone. Two TV crew members, Nabil Haridi and Haithan Badry, were arrested and detained for 48 hours. Several other staffers were hit by stones in the melees, or were threatened, roughed up and slapped as they tried to do their work. Most had to endure air choked with tear gas.

According to Senior Managing Editor Mike Oreskes, “The heroic work of four AP reporters, whose eyewitness accounts provided unmatched richness and depth, allowed AP to dominate coverage of the Egyptian uprising.

“To say these four reporters bring rich local knowledge only begins to tell the story. Maggie Michael and Sarah El Deeb are Egyptians who have covered politics in their homeland for years, including previous crackdowns. Hadeel Al-Shalchi, also based in Cairo, is Canadian of Iraqi descent. Diaa Hadid, on assignment from Gaza, is Australian of Arab origin. All have covered the war in Iraq.

“They stood their ground on Cairo’s chaotic and dangerous streets despite being roughed up by supporters of President Hosni Mubarak. Their reporting enabled AP to provide timely, accurate and dramatic accounts when the crisis came to a head.

“Throughout the protests, the four reporters played a cat-and-mouse game with Egyptian security police, who would move along the edges of the crowd, identifying journalists, trying to isolate them so they could be taken into custody. Journalists of European and Asian origins were the most vulnerable since they could be easily identified. Those of Arab origin were better able to melt into the crowd.”

However, in one instance, Maggie Michael was with a group of protesters marching beside the Nile in central Cairo. Suddenly they were rushed by a group of young men who appeared to be plainclothes

police. They threw her to the ground and kicked her.

She got up, only to be thrown down and kicked again. Suddenly one of the group shouted “stop, she’s a woman” and the others left her alone.

At Tahrir Square, a giant traffic circle in central Cairo near the Nile, crowds set up a vigil while the Egyptian army took up positions on the edge.

Hadeel Al-Shalchi was slapped in the face by a group of Mubarak supporters who tried to prevent journalists from reporting from the square.

On Tuesday, Feb. 1, she spent the whole day at Tahrir Square witnessing the worst of the clashes between pro- and anti-Mubarak forces, including a gun battle before her eyes. Hadid was questioned

by Mubarak supporters on the west side of the Nile when several men accused her of being a spy.

One slapped her on the back of the head. Then another man intervened and drove her to safety on his motorcycle.

From the streets, all four reporters telephoned the AP regional desk in Cairo with detailed and accurate reports. Their material was written into the copy by a team of editors led by Mideast Regional Editor Bob Reid, News Editor Middle East Marjorie Olster and Egypt bureau chief Hamza Hendawi.

Bob Reid attributes AP’s advantage in covering Egypt’s revolution to the “substantial permanent presence here. On the international staff, we have four text people on MID/CAI who are Egyptian citizens (Hamza, Maggie, Sarah, Tarek El-Tablawy).

We have five others who are not Egyptians but speak Arabic competently or fluently (Hadeel, Salah Nasrawi, Maamoun Youssef, Paul Schemm, Lee Keath) and have lived in the country for a number of years. We also have an all-Egyptian TV crew plus a photo staff that includes Arabic speakers. It gives us an edge.”

Visit www.ap.org.

During the recent Egyptian political crisis, Stratos Global, a provider of advanced mobile and fixed-site remote communications solutions, supplied integrated media solutions to many of the world’s largest news organisations. The solutions included Inmarsat BGAN mobile broadband satellite services with GuaranteedAccess managed end-to-end IP network connectivity.

These organisations began broadcasting reports of the crisis from Cairo and other Egyptian cities on January 25. Days later, the Egyptian government shut down all terrestrial Internet connectivity and mobile phone service. BGAN enabled these broadcasters to continue newsgathering in Egypt and transmitting live reports to their studios, without interruption.

BGAN from Stratos streaming services were used by the BBC, Fox News and others for live video streaming from the protest sites. The broadcasters also used BGAN for Internet connectivity, store-andforward video clips, and audio streaming. All BGAN traffic from these organisations was routed via the Stratos global IP network.

As it did for last year’s Haitian disaster, Stratos continually monitored its BGAN network and StratosNexus during this period of heightened usage in Egypt – and provided frequent status reports to its media customers. Inmarsat also took measures to ensure the usual high level of availability.

Stratos President and CEO Jim Parm said, “Major news events like these, under seemingly impossible

conditions, remind the world’s top broadcasters of the indispensible nature of BGAN. The Stratos team remains available around the clock.”

News organisations make full use of Stratos’ valueadded services known as The Stratos Advantage, which enable customers to monitor airtime, restrict unauthorised usage and manage costs.

Stratos GuaranteedAccess extends guaranteed bandwidth from the BGAN terminal through to the terrestrial infrastructure to broadcast centres. Stratos GuaranteedAccess is enabled by StratosNexus, a Stratos-managed Global Core network for traditional and IP-based services.

Visit www.thepowerofbgan.com and www. stratosglobal.com

AP’S ENPS HEADS EAST WITH NEW SOUTH ASIAN SIGNING The Associated Press has announced the latest new ENPS signing in South Asia, further strengthening its position in the region. Somoy TV will join the nearly 800 newsrooms across the globe already using AP’s Essential News Production System to create, manage and deliver their video news content. The Somoy deal will see the installation of ENPS to manage the broadcast content of the new and soon-to-launch 24hour TV news channel based in Bangladesh.

Somoy joins an impressive client list of leading broadcasters including India’s Doordarshan – one of the largest terrestrial broadcasters in the world – and Delhi-based Sahara TV. A number of Somoy’s technical management

team are formerly of Desh TV in Dhaka – an ENPS customer for two years – where they gained first-hand experience of ENPS’s easy-to-use functionality and the flexibility ENPS gives them to choose their server, automation and graphics systems.

In the Somoy newsroom, ENPS will run alongside a Quantel Enterprise sQ server with Quantel sQ view, cut & edit fx editors and Apple FCP for craft editing. News automation will be provided by OmniBus Columbus, and the graphics system will be

by VizRT, with prompting by Autoscript.

ENPS works alongside Shaf who have an impressive 10-year track record of selling, installing, training and supporting ENPS in more than 25

newsrooms in India. Shaf have recently started to widen their interests to cover territories outside India.

At the recent BES show in Delhi, ENPS showcased the latest version of ENPS, which features full NRCS integration with both YouTube and Twitter, reflecting the importance and influence of user generated content – particularly for 24-hour channels. Customers who enable these features can now see their chosen Twitter feeds come into ENPS in real time. The YouTube integration allows users to search for video in YouTube directly from ENPS and drag links into ENPS scripts. They will also be showing the ENPS mobile suite on iPad and a smartphone version.

Visit www.ap.org and www.enps.com

CHYRON WILL TAKE ITS CLOUD TO THE SHOW At NAB, Chyron will show its AXIS Graphics platform, a cloud-based service. The cloud-computing graphics creator is designed specifically for the broadcaster, and AXIS streamlines the graphics creation workload across many users in a broadcast operation.

Integrating with the broadcaster’s existing or Chyronbased workflow, AXIS combines award-winning technology and functionality, proven integration, and point-and-click customisation.

AXIS services include high-resolution maps, 3D charts, financial quotes, and a virtually unlimited set of tools for topical news graphics creation.

Chyron’s Lyric PRO 8 graphics creation software continues to put the broadcaster in control of the graphics. With new scriptless conditional intelligent transitions and delivery of superior-quality realtime 3D animations, Lyric PRO 8 enables users to improve the look of on-air graphics with ease and accuracy.

Chyron’s Channel Box also will be on stand at the show. Channel Box is the next-generation channel branding system that features 2D/3D design with a complete data acquisition toolset for all branding applications. Channel Box users can access any data

— RSS feeds, traffic, financial, weather, elections, closing tickets, promos, snipes, and more — and publish it on-air anywhere, anytime.

Chyron will also demo its Quintette newsroom graphics production and playback platform, designed to offer broadcasters the best value and return on investment. The platform has gained acclaim for its straightforward graphic asset management, the ease with which its users can control four channels of animated graphics, and its built-in electronic order management feature.

Visit www.chyron.com and www.axisgraphics.tv

ANNOVA POWERS MALAYSIAN ISLAMIC NEWS CHANNEL

NZ’s 3 News Doesn’t Baulk at Quake During the recent Christchurch earthquake tragedy, New Zealand’s TV3 went into continuous news mode with daily coverage from 6am each day.

3 News reporter Mike McRoberts reported live from the Christchurch Art Gallery, the hub of the Civil Defence operation in Christchurch, while John Campbell was located in the CBD, at a triage centre near Latimer Square, both reporting back to Sacha McNeil in the 3 News Auckland studio, where rolling coverage continued all

40 News Operations

throughout the morning leading into the midday bulletin.

Viewers overseas were able to monitor the events with 3 News’ coverage being streamed live on Australia’s Channel 7, Nine and 10, Sky News Australia, ABC 24, CNN and BskyB in Britain. TV3 also assisted two Japanese networks concerned about Japanese students trapped in the CTV building.

3 News cameras witnessed some of the most

dramatic footage captured live from the quake scene, coming on air within minutes of the quake striking, with Hilary Barry later anchoring the coverage.

“Hilary was on-air for nearly nine hours and did a sterling job for us. Her ability to deal with raw footage going straight to air showed why she is the country’s top news anchor,” commented Mark Jennings, Director of News and Current Affairs.

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ANNOVA Systems, supplier of News Management Solutions, with the support of Malaysian partner ATP Digital Media will power the new Malaysian Islamic broadcaster Al-Hijrah.

Al Hijrah will showcase Islamic knowledge and offer information-based programs to fulfil the public’s aspiration for fresh, creative and entertaining ways. The TV programming will cover social, economic, political, environmental, entertainment and religious themes based on Islamic values. Currently, reporting covers five regions that include Klang Valley, Terengganu, Johor, Sabah and Sarawak. With the slogan

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“Segalanya Bermula di Sini” (Everything Starts Here), the free-to-air TV channel will transmit local and international news from Kuala Lumpur.

To cater for the new TV broadcaster, a complete new studio was built in a former library at the Islamic Centre Complex.

ANNOVA’s Malaysian partner, ATP Digital Media, oversaw the whole project.

One of the factors behind the timely implementation of the project was the ANNOVA Systems OpenMedia Base System. OpenMedia Base is a preconfigured system, which saves customers installation time.

With OpenMedia BaseSystem ANNOVA’s specialists have created precisely the platform required for classic broadcast rundowns. The customer still has the option, using additional functionality, to upgrade and adapt the system.

International news and events are covered in the 30-minute prime time live news show.

Devices – including Avid’s Interplay MAM, Snell’s Morpheus automation, Inscriber CG from Harris Corporation and the Qmaster teleprompter from AutoCue – are all connected to OpenMedia and are constantly updated.

Visit www.annova.tv

News Operations 41

News Operations

News Operations

ABC Cameraman Takes White House Prize ABC Cameraman Louie Eroglu ACS has won the top prize in the prestigious White House News Photographers’ Association video awards, being named the 2011 Video Photographer of the Year.

Based in the ABC’s Washington bureau, Eroglu was awarded for his camerawork on two Foreign Correspondent programs filmed in 2010 - one for the feature on the Go Go music scene in Washington DC and the other a program examining the reintroduction of the wolf in Idaho, both with ABC journalist Michael Brissenden.

The judges said, “Louie’s work demonstrates a talent and commitment that is the hallmark of top

photographers throughout the world, and the people of Australia should be thankful for his insightful storytelling as his skills serve to enlighten them.”

Eroglu said, “This is a huge honour for me to be recognised by the WHNPA. I have thoroughly enjoyed my experiences filming across the United States, especially the opportunity I’ve had to film longer form current affairs features. I am constantly inspired by the calibre of video photographers at work today in Washington D.C.” Louie has been based in Washington since January 2008 - his third overseas posting with the ABC. Prior to the US posting Louie was based in Moscow for

the ABC from August 2005. Louie’s first overseas posting was to the ABC’s Middle East bureau, based in Jerusalem.

Louie has won multiple awards for his camerawork. Last year he won a Gold Award for Documentary and a Silver Award for News Feature from the White House News Photographer’s Association. In 2005, he won a Walkley Award for the filming of an ABC News story, ‘Baghdad Bomb’. Louie has also won 7 Golden Tripods in the Australian Cinematographer’s Society (ACS) National Awards, as well as 13 Gold and 12 Silver Awards in the ACS State Awards.

Import ENG Files to Avid EVS-OpenCube, an MXF specialist division of EVS, has announced the release of ENGSoft, a new software application aiming to simplify the import processes of ENG files into the Avid editing environment. The new solution will be exhibited at the NAB Show in Las Vegas.

ENGSoft is a new solution from EVSOpenCube offering a simple and direct import of ENG files into the Avid editing environment. This new software application allows journalists and production teams to centralize all ENG shots and

to transfer MXF media files instantly and efficiently to their Avid craft editor.

The system supports ENG files, including Sony XDCAM and Panasonic P2. It can combine various USB and Firewire “toasters” to upload Sony XDCAM disks or Panasonic P2Cards.

Once plugged in, media are instantly detected and can be automatically transferred to the editing system without any human action.

If required, operators can browse

immediately on the ENG disk or card to select clips and sequences they want to transfer onto Avid.

ENGSoft automatically generates Avidcompatible MXF OpAtom file containers, including the Panasonic P2 or Sony XDCAM files and their associated metadata. Since the system embeds the AMT (Avid Media Toolkit) library, seamless attachment to Avid ISIS/Interplay environment is always guaranteed.

Visit www.evs-opencube.com

ENG LED FRESNEL LIGHTS Litepanels’ Sola ENG LED Fresnels offer beam control of 10° to 70°, are daylight-balanced and use a fraction of the power of conventional fixtures. Employing a proprietary 7.62cm (3”) lens, it draws just 30 watts yet produces light output equivalent to a 250 watts tungsten fixture.

Sola ENG Fresnels feature instant dimming from 100% to 0 with no noticeable colour shift. The Sola ENG provides manual focus and dimming control via camera lens style ergonomic controls. Output is fully flicker-free and remains consistent even as the battery voltage goes down.

Employing Litepanels’ LEDs, Solas draw 90% less power than conventional tungsten lights, with very little heat generation. Designed for both on-camera and off-camera mounting, the Sola ENG is only 102 mm x 102 mm x 127 mm (4” x 4” x 5”) and weighs just 280 g (10 ounces). The Sola ENG runs on 10-20VDC sources such as camera batteries, or can be powered via an AC power adapter.

Visit www.litepanels.com

BLUESHAPE BATTERIES LEAD ENG CHARGE Blueshape professional Li-Ion and Li-Polymer batteries, chargers and mounting accessories, are being increasingly used by broadcasting organisations throughout Australia and New Zealand.

The Nine Network Australia’s Canberra Bureau recently purchased Blueshape’s CVTR2 two-way chargers which have a 13.8V/110W output through a 4-pin XLR for in-house charging, a CVTR1M travel charger and additional BV100HD batteries.

TVNZ recently bought Blueshape BV140 batteries to power their on-camera microwave transmitters and airline cabin baggage-approved BV100 batteries used by its ENG crews around NZ. The Australian Department of Parliamentary Services also purchased BV210 battery packs, CVTR1M and CVTR2 fast charger packs that are capable of charging at 4 Amps in constant current mode.

The Blueshape V-lock battery range is designed and manufactured in Europe. The batteries offer high performance in terms of duration, and they have a high energy density. The Blueshape chargers are known for their speed of charging. They have also been designed to reduce battery stress and prolong battery cell lifetime.

Visit www.magnasys.tv

SATELLITE CONNECTION VIA VOYAGER II Voyager II is Ericsson’s fifth-generation DSNG product.

Built upon a new hot-swappable 1RU chassis with colour input confidence monitoring, it features a fully redesigned intuitive front panel user interface based on industry feedback.

It is the first solution to use MPEG-4 AVC 4:2:2 encoding with 10-bit precision at up to 1080p50/60 resolutions in the DSNG market.

Offering a wide range of video processing options, it allows users to scale their event coverage from SD to HD and even multichannel and 3D, delivered across a multitude of satellite and terrestrial networks.

Visit www.ericsson.com

SatLink Upgrades for Royal Wedding Israel-headquartered SatLink Communications Ltd., a teleport providing global satellite services, is upgrading its Occasional Uses (OU) capabilities with the addition of further high definition (HD) DVB-S2 feeds and other technologies.

With over 100 OU feeds going through its facilities on a daily basis, 365 days a year, SatLink’s OU division is a prime transmission provider of sporting events, breaking news, cultural celebrations and other newsworthy broadcasts making it the preferred teleport of choice to transmit OU feeds between Europe, Asia and the Pacific Rim by Reuters, APTN, Globecast, EBU, Genesis and others.

The company will be applying HD feeds to broadcast Prince William’s Royal Wedding in late April.

“SatLink’s new investment plan includes over US $1 million asset build-up of our already strong HD program to reach transmission capabilities of 25 simultaneous feeds in addition to our existing ability to handle up to 72 simultaneous incoming feeds,” remarked SatLink CEO, David Hochner. “Our OU business has always been a major pillar of growth and with the addition of new technologies, we will be in an even better position to support our global and regional clients with the flexibility, service and

price they need and expect.”

SatLink’s facilities encompass all types routers including IF & RF and HD3G enabling the company to handle up to 72 simultaneous incoming feeds in MPEG2, H264, DVBS and DVB-S2. Encoding in HD MPEG4, HD MPEG2 4.2.2 formats is handled by equipment from Tandberg, Harmonic and Cisco. The company’s OU operations, managed from the stateof-the-art Master Control Room, use an M&C system (MaxView Rockwell Collins) together with quality assurance software and a real time multi-viewer alerts system (Evertz).

Visit www.satlink.tv.

Chyron Puts CNBC Anchors in Driver’s Seat Chyron has announced that CNBC Asia Pacific has built a new on-air workflow based on its signature Lyric PRO 8 graphics software. The Touch GraphX touch-screen graphics feature offered on Lyric PRO 8 literally allows the broadcaster to put the power of the program flow directly into the hands of anchors, who now can control graphics play-out with a simple tap to the display as they

42 News Operations

present the business headlines.

As an enterprise authoring tool, Lyric PRO 8 allows the end user to create sophisticated graphic templates with unparalleled ease and flexibility. The Touch GraphX feature provides a simple scriptless solution for bringing touch-screen graphics to CNBC Asia Pacific broadcasts. The graphics can be created directly within existing

templates, training is quick and easy, and the onair impact is dramatic. Easy for on-air talent to operate and intuitive for the production team to create, Touch GraphX brings a sense of greater immediacy and engagement to any news or sports production cost-effectively and with minimal impact on existing operations.

Visit www.chyron.com

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News Operations 43

Post Production

NEED the FEED >>

www.content-technology.com/postproduction

post PRODUCTION

Digital Pictures, Iloura to Open in Sydney Omnilab Media has announced further investment in its post-production and VFX businesses by opening both Digital Pictures and Iloura in Sydney.

Digital Pictures will be Omnilab Media’s one national, world-class, post-production business that will service the film, television and advertising industries from two primary locations in Sydney and Melbourne.

International studio Iloura will open new premises in Sydney and significantly expand its VFX and animation services to the global film and television market.

Christopher Mapp, Managing Director, Omnilab

Media says, “We will increase our investment in both Digital Pictures and Iloura’s talent, infrastructure and services.”

Iloura Melbourne is currently working on two large budget feature film projects, Columbia Pictures’ Ghost Rider: Spirit of Vengeance in 3D and Omnilab Media’s The Killer Elite with recent credits including Sanctum 3D, Guillermo Del Toro’s Don’t Be Afraid of the Dark, Fred Schepisi’s Eye of the Storm, and HBO’s The Pacific.

Digital Pictures Melbourne has built up a strong

international reputation for 3D post-production having undertaken Sanctum 3D with Iloura.

Additionally, local feature films Snowtown, The Cup, and Tomorrow When the War Began, and television productions including Winners and Losers, and City Homicide have all been undertaken by Digital Pictures.

The strong market presence achieved by The Lab Sydney in television, film and advertising will continue to grow under the Digital Pictures business.

Visit www.omnilab.com.au

More Mistika Surrounding Park Road’s 3D Projects New Zealand-based Park Road Post Production has purchased another four of SGO’s Mistika 4K systems, including a Mistika Software License Agreement for the Weta Group, to enhance its existing Mistikacentric stereoscopic 3D production pipeline and the demand for their upcoming work in stereo 3D. The investment follows the purchase of two Mistika 4K systems last September, with the facility now hosting a total number of six Mistika 4K workstations.

Owing to Mistika’s open and configurable architecture, real-time capability, advanced toolsets and workflows, Mistika now plays an integral role throughout the entire stereo 3D production pipeline at Park Road including producing dailies rushes for editorial, finishing and grading. The relationship with the development team at SGO was also a key factor in deciding to deploy Mistika across the Weta Group.

Head of Technology at Park Road Post, Phil Oatley, states “With SGO as part of the team we have been able to create a completely integrated solution from rushes through to final DI, which offers the highest possible levels of quality, speed and flexibility. Meta Data is the heart of our operation and Mistika’s open architecture has allowed us to deliver an incredible

degree of automation in areas that were previously labour-intensive, leaving our artists to concentrate on the most important aspects for the client.”

Head of DI at Park Road Post Production, David Hollingsworth, adds “We have worked very closely with SGO’s development team to establish an end-toend solution for productions, adding to the already impressive toolset within the Mistika system. Using the same system for dailies, QC, screenings and through to final DI is key to our end-to-end colour control and the overall quality of the finished project. We have been able to create a pipeline for feature films that previously wasn’t even on anyone’s roadmap, with Mistika at its heart, that incorporates other proprietary systems like our incredibly comprehensive asset management system.”

Visit www.sgo.es and www.parkroadpost.co.nz

Pandora’s Revolution Express Powers Pipeline at VHQ Leading Southeast Asian post-production company VHQ recently selected Pandora’s Revolution Express to anchor the company’s colour correction workflow, from ingest to deliverables. This gives VHQ the advantage of YoYo software, included with the Revolution Express package, enabling an efficient data workflow for all file formats.

“We chose the system because we knew we were going to be getting more and more digital formats like RED and Phantom,” said Billy Fong, producer and technical manager at VHQ. “We wanted a simple, streamlined way to process those file formats for postproduction and grading on our Pandora system.”

Founded in 1984, VHQ is one of Southeast Asia’s leading media and postproduction companies, and now has facilities across Asia in Kuala Lumpur, Jakarta and Shanghai. The company has won numerous

44 Post Production

awards for groundbreaking work in film, broadcast and commercials.

In 2008, VHQ invested in a new Pandora Revolution colour corrector. Since then, the facility has seen a sharp increase in file-based projects, especially with the rise of the RED camera, so the need for data management for a wide range of file formats was clear.

In 2010 VHQ decided to ramp up their data pipeline with the Revolution Express kit. This upgrade includes the YoYo file management software and Pandora’s proprietary PCI card. The PCI card is installed in the Mac Pro running YoYo and formats data for the colour corrector in real time. With the Revolution Express configuration, VHQ can now plug in a firewire drive containing RED footage and stream the material directly through the Pandora Revolution, applying colour grading straight off the disk to DPX

and any number of other file formats.

“This saves VHQ an incredible amount of time that would otherwise be required to prep the material,” said Adam Welsh, sales manager for Pandora/ YoYotta. “The system has no ingest requirement and conforms & converts from R3D to DPX with colour in real time. On top of that, it can handle multi-format mixed timelines, including Phantom, Arri, ProRes and others. With the Revolution Express, you just get straight to work.

“We’re in the process of consolidating all of our storage on a central server, and we find the Mac platform easier for mounting different drives or media.

Plus, YoYo’s working directory is on the same server, so we don’t have to keep copying content from one drive to another, which makes it more efficient,” added Fong from his Singapore office.

Visit www.pandora-int.com

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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.

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K2 Dyno Replay System

Post Production

Post Production

SBS Revs Engine for Immigration Doco According to Engine EP Adam Wells the promos they created for SBS’ recent documentary series Immigration Nation: The Secret History of Us have raised more than a few eyebrows.

“The project came about after our CD Simon Robson (Knife Party) and I met with the team at Us Sydney,” said Wells explained. “They presented four scripts for promos about a three-part documentary series tracing Australia’s chequered immigration policy from the 1900s to the present day. With that kind of subject matter it was clear controversy wasn’t going to be far away.”

Robson took away the four scripts, one for a ‘coming soon’ promo and the others all based around specific time periods from the White Australia policy to multiculturalism and began work on developing the concepts.

Engine’s Producer on the Immigration Nation promos Amelia Peacocke said, “One of the challenges we came across was how best to showcase the idea that the talent in each of the three episodes was holding a dark secret buried beneath their positive message about Australia’s immigration policy. The agency came to Engine with the challenge of making the characters spin around and develop an execution that saw the talent being shot and composited so that they appeared to be the same person back to back.

The execution of this idea really helped to really drive home the message.”

The Engine team had three set time periods to work with, the 1900s, 1950s and the present day – one for each episode of the series.

For the 1900’s promo Robson and his team cast and selected talent for a dark silent film. In the 1950’s promo Robson used the same format but this time casting a post war UK cinema style ‘Walter Kronkite’ figure with a visual projected behind him ‘Hitchcockstyle’, selling Australia as the land of fertility where everyone could come and build a great future. When the character flips to his alter ego the background visual burns out leaving only the brutal reality of the real terms and conditions for entry.

Perhaps the most impactful of the four promos was the ‘coming soon’ spot which also proved creatively challenging as it needed to deliver a very complex message.

Robson explained, “The client and agency had seen some of my past work including Taking Liberties and What Barry Says which involve interesting animation and typographical effects and wanted these looks for the ‘coming soon’ promo. This gave us great scope to create something unusual for Australian television.”

Robson creatively directed the services of top illustrator Pete McDonald and worked with the typography skills of Luca Ionescu of Like Minded Studios, brought on board by US Sydney to work on the project, to bring together a series of unique elements for the spot.

Robson continued, “It worked really well with

46 Post Production

Pete and Luca’s clever images and typography helping to create a ‘moving stream of consciousness’ where Utopian messages revealed themselves in the landscape, before coming abruptly to a halt to deliver the sobering truth. As a result the ‘coming soon’ promo communicates a real Australian narrative that depicts our natural resources of wheat, meat and timber and cleverly integrates them with the mixed messages around immigration.”

Engine’s Senior Flame Artist Lee Sandiford was then tasked with doing an authentic grade for each era.

As Sandiford explained, there were some particular creative challenges that needed to be overcome.

He said, “We did an initial test on a basic version

of the concept, showed it to the client and they loved it. Each era had a different look, feel, grade and colour. The blacks and whites were different and we had to degrade the images and footage to make them look like an old film reel that was suffering with too much light from a non-existent projector. The 180-degree turnaround effect had to be fast enough to be snappy but slow enough that the viewer can see it’s two sides of the same person.”

To view the promos and for more information on Immigration Nation go to: www.behance.net/galler y/IMMIGRATIONNATION/893164 and www.sbs.com.au/immigrationnation

Oktobor Make Telecom TVC Sparkle New Zealand’s Oktobor recently completed VFX for the new Telecom ‘Sunrise Sunset’ TVC. Producer Zoe Jones explained, “Right from the beginning of this project everyone involved saw the potential to create a real heartwarming tale. Our brief from Prodigy Films and Saatchi & Saatchi NZ also involved designing the ‘sparkle’ effect that’s seen rising above the boy’s head in the last shot.”

Creating the sparkle was Oktobor’s Senior Flame artist Andy Dill who said, “It was an interesting effect to create as the agency were quite specific – they wanted a flare burst that encapsulated a physical manifestation of the Telecom logo - if it existed in real life. It had to also represent a moment of success and become a visual musical note. Tricky stuff, especially when you’re trying to create something abstract and out of the ordinary.”

The Telecom spot has received good reviews which Andy Dill attributes to the creative thinking behind it and the team that worked on it. He said, “The VFX don’t get in the way of the story, rather they enhance it and make it more magical. The effects also help the communication and ultimately the enjoyment of the commercial.”

Telecom Sunrise Sunset is airing nationally across New Zealand.

To see telecom Sunrise Sunset, go to: http://oktobor.com/#/work/telecom_sunrise_sunset

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SGO DÉBUTS MISTIKA VERSION 6, MISTIKA LIVE SGO will showcase its DI and stereoscopic 3D post production system Mistika and live on-set application Mistika Live at NAB. The company will unveil Mistika’s version 6, revealing 2D and stereo 3D features.

Mistika provides enhanced levels of creative control for stereoscopic material. It has highly developed functionality in both 2D and stereo 3D, offering advanced editing, compositing, colour correcting and grading performance. The system’s open architecture and open storage approach enables third-party systems to have direct access to files, thus providing flexible workflows. Internally, Mistika also uses open formats at the highest bit-depth quality, with true 16 bit floating point per channel processes, HDR support, 8K+ resolution support, with optical quality-based processing. By utilising standard SAN technology, with clever application development, Mistika makes the most of inherent SAN capabilities as well.

As stereoscopic 3D production gains momentum, Mistika steps up the pace with the new version 6 now

able to play an astounding 48 frames per second and it includes new data developments for both the left and right eye in stereo 3D. The new upgrade will also make it possible to re-conform in the timeline, while still retaining previous effects, with the option to move them to new positions and durations. New exciting stereo 3D tools include a highly advanced “Matching Colour” feature, which provides an overall accurate pixel-by-pixel colour adjustment between both eyes. Its name suggests it is a colour correction tool. However, it corrects polarisation and illumination. Another stereo 3D highlight is the “Depth Map” tool, which solves practical issues, such as colour differences.

Another main feature that streamlines the post production process, including quality control, offline work with MXF DnxHD, and time code support, is that raw camera codecs will no longer present an issue, as Mistika is now able to read most of them.

Visit www.sgomistika.com

MARQUIS UNVEILS PARKING, BRIDGING, CONVERTER UTILITIES Marquis Broadcast will unveil Version 2.0 of Parking Sequence Mover and Bridging Sequence Converter at NAB 2011. These upgrades feature new functionality for mixed Avid and Apple workflows, making Parking and Bridging compelling for post-production and broadcast editing environments.

Parking is a cost-effective utility for moving edit sequences to different locations in background mode using a simple drag and drop action. Users are able to fully utilise their online storage capacity by transferring entire sequences, including timelines, edit decisions, subclips, transitions, effects and audio levels, from premium online edit storage to lower cost nearline storage or long-term archives using standard IT infrastructure and networks. By functioning as a background process, Parking enables operators to continue editing while sequences are being moved.

Marquis will be demonstrating Parking Sequence Mover for the first time at NAB 2011 with support for Apple ProRes, Avid DNxHD and Interplay. This new functionality enables operators to more easily use Avid and Apple editing systems in the same creative environment, moving content to common low-cost storage with no disruption to work in progress. By facilitating the use of best of breed products in a single workflow, Parking also gives more freedom to facility managers when scheduling manpower and equipment resources.

Another major new feature of Parking Sequence Mover V2.0 is the option to automatically verify sequence content prior to moving it to storage.

This new ‘pre-flight check-list’ saves time by generating reports of actual and potential issues.

Parking is relevant for HD production, which requires approximately four times the storage capacity of SD editing. By freeing up existing edit storage, Parking reduces the need to purchase

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additional expensive storage. Parking can also be used for disaster recovery procedures, for transferring sequences between editors for tasks such as versioning or repurposing media, and for enabling editors in different geographical locations to collaborate on work in progress.

Essence and edit decisions are kept together in an open file, allowing editing to be resumed at any time in the future without any need to reingest and conform media whether it is days, weeks or months after the initial edit has finished.

In addition to supporting ProRes and DNxHD, Parking can be used for workflows using JFIF and XDCAM HD. Marquis will be demonstrating Parking Sequence Mover V2.0 at with its partners, including Isilon and Cache-A. Marquis will also be demonstrating Version 2.0 of Bridging Sequence Converter for the first time at NAB. Bridging is a new sequence converter that enables Apple and Avid operators to exchange sequences by simply dropping them from one timeline into the other. Media and timeline structures are moved as background operations, and converted on the fly. Facility managers benefit from improved flexibility when organising projects and allocating resources as Avid and Apple systems can be easily integrated into a single workflow.

Parking and Bridging are built on Marquis’ Media Highway Technology on which all Marquis products are built, including Medway, the company’s media transfer and format conversion software. It provides video file format rewrapping, video codec transcoding, audio channel routing and metadata interchange between media production, MAM and distribution systems.

Visit www.marquisbroadcast.com

NEWTEK’S LATEST WILL INCLUDE TRICASTERS, HD REPLAY, 3D ANIMATION At NAB NewTek will be demonstrating the latest TriCaster products: TriCaster TCXD850 CS and TriCaster Virtual Set Editor, as well as its HD replay products. NewTek will also demo its newly released 3D animation and effects software, LightWave 10.

TriCaster TCXD850 CS is a hardware control surface for the TriCaster TCXD850 high definition (HD) portable live production system.

The TriCaster TCXD850 CS provides a physical connection to the 24-channel system’s functions and effects, allowing operators to make snap decisions with confidence and ease.

NewTek TriCaster Virtual Set Editor (VSE) allows TriCaster TCXD850 and TriCaster TCXD300 users to customise specially designed TriCaster VSE Sets to fit their production needs.

VSE Sets produce real-time reflections and specular highlights, and provide users with a wide range of elements that they can edit.

Users can also add their own artwork to Layer Sets to create custom virtual sets for use in VSE. Once a TriCaster VSE Set has been customised with Virtual Set Editor, users can export it for immediate use in their TriCaster live production.

Additional content may be sold separately.

With LightWave 10, artists have the ability to interact directly in the viewport and see changes to lights, textures, volumetrics and more, to view updates to their stereoscopic work in real time, and to deliver realistic environment walkthroughs in ways never before possible.

With data interchange tools that enhance pipeline integration and a fresh user interface, LightWave 10 is the most artist-friendly, production-ready version of LightWave ever.

Visit www.newmagic.com.au

CINTEL IMAGE RESTORATION At NAB Cintel International will show the first working version of the new ORIGIN data image restoration tool: imageMill2 ORIGIN is a fast data image restoration tool, processing 2K and HD DPX files faster than real time.

ORIGIN can fix dust, scratches and other image defects faster than any other system and can run simultaneously with GRACE, the noise and film grain management tool, and STEADY, the real time image stabilisation application.

Cintel will also be demonstrating a new faster version of the diTTo evolution film scanner with 2K speeds at up to 11fps and 4K at up to 7.5fps. diTTo evolution is the first film scanner to be instantly switchable from pin registration to non-pin registration and also the first to include film grain management and image stabilisation tools. It is the ideal film scanner for all applications and stock types; from OCN ingest for digital intermediates, to dense print for restoration projects.

Visit www.cintel.co.uk/

Post Production 47

Post Production

JVC, SPECTRACAL DEVELOP PROJECTOR CALIBRATION INTERFACE JVC Professional Products Company has announced a collaboration with SpectraCal to create a custom calibration interface within the CalMAN Commercial software for the new DLA-RS60U and DLA-RS50U 3D-enabled D-ILA Reference Series projectors.

Calibrating projectors has generally been a complicated process using on-screen menus and a remote control. With CalMAN’s Direct Device Control (DDC) interface, however, the process is as simple as adjusting the relative height of bars on a chart. CalMAN directly communicates with the JVC projector and measures the result of each change to achieve the desired result.

“The new interactive interface streamlines the calibration process while providing full reporting for tracking results,” said Gary Klasmeier, product engineering manager, D-ILA Systems, JVC Professional Products Company. “It organizes the workflow into a

consistent and repeatable procedure for a number of adjustments, which improves accuracy and efficiency.”

CalMAN offers three levels of support for JVC’s DLA-RS60 and DLA-RS50 home cinema projectors.

It provides access to individual projector controls, such as brightness and contrast adjustments, on the computer interface – no remote control required.

Its interactive charts allow the calibrator to set the projector output to any desired standards. Plus, a new “one-button” CalMAN-AC™ automated calibration solution automatically adjusts all settings across multiple measurement points as a single operation.

With its control over the projector’s colour management system (CMS), adjustments that used to require hours can be accomplished in minutes.

“CMS work is notoriously complicated and difficult

QUANTEL RELEASES PABLO PA Quantel has released Pablo PA, the company’s first standalone software only product. Announced at IBC last year, Pablo PA is designed to help Quantel customers get the maximum value out of their high-end eQ, iQ or Pablo suites by handling conforms, preparation and workfalow, allowing the main suite to concentrate purely on client-focused work. As a standalone system, Pablo PA also offers facilities that don’t currently own Quantel systems a low cost way to benefit from Quantel’s high quality post tools.

Pablo PA has all the Pablo V5 colour, multi-layer timeline effects, import, export, archive and conform tools, as well as the Stereo3D toolset. It also supports RED and DPX soft mount of third party storage for instant access to media, and it handles conform verification, RED shot selection and live debayering as well as file i/o. When work is complete, only the ‘recipe’ of what’s been done on Pablo PA needs to be transferred to the eQ, iQ or Pablo, saving time spent on moving media.

The release of Pablo PA follows a successful Beta testing phase with a number of Quantel customers. Pablo PA is being offered on a 30-day ‘try before you buy’ scheme.

Visit www.quantel.com

SMART COMBO TAB–TENSIONED PROJECTOR SCREENS Grandview has released an all-in-one solution for above-ceiling projection screen installations. Featuring a premium dual-layer, front-projection surface with a low optical structure, it has side tab tensioning with adjustable thumb-wheels at each end of the dropper bar. The thumb wheels are to fine tune the screens lay flat performance on-site.

Available in 106”, 120” and 150” 16:9 aspect ratio, the Smart Combo screens are suited to high-end residential home theatres, commercial theatrettes, and movie production-rooms.

The Smart Combo comes standard with Dry Contact Control, an IR remote with extension on the IR receiving eye, and they also have a 12v trigger input as standard. This means easy onsite integration, and no need to open up the screen casing.

The side tab tensioning assists in keeping the surface completely flat when it’s lowered. Fine–tuning can then be done to tension the screen evenly (if required) at time of install or later in the products life-span.

The above-ceiling housing also features ‘Separated Case, Noise-Reducing Technology’ which is a vibration and sound dampening rubber joint along the length of the in-ceiling box. The screen itself is already fitted on to the roller-tube and installed in the box, so there is no additional screen casing to deal with.

Visit www.herma.com.au

THE GINGERBREAD MAN TAKES ON FEATURES WITH STORM FX Storm FX was the supplier of choice when Australian boutique production agency, The Gingerbread Man, was on the hunt for a Da Vinci Resolve system and needed it in a hurry for their latest project, LBF, a film adaptation of the novel by Cry Bloxsome.

Renowned for their work in digital media, music and animation, The Gingerbread Man has recently added feature films to their portfolio. This expansion was made possible through acquiring a Da Vinci Resolve system from Storm FX which was used on LBF. The system was put through its paces by colourist Trish Cahill, known for her work on many major films like Samson and Delilah, Australia and Superman Returns.

“We wanted to prove it in a real world environment before our next feature film project, Toomelah, an Ivan Sen and David Jewsey film,” said Craig Deeker, Managing Director of The Gingerbread Man. “We needed an optimal solution. Storm FX came through with a world class product, speed and reliability.”

Visit www.stormfx.com.au

48 Post Production

to get right,” explained Derek Smith, SpectraCal CEO. “With the extremely well implemented CMS interfaces in the new JVC line, and CalMAN’s DDC, you can create stunningly beautiful and accurate images – and you don’t need a Ph.D. in physics and all day to make it happen.”

The flagship projector of the JVC Reference Series product line, the DLA-RS60U delivers 100,000:1 native contrast ratio, which is achieved through JVC’s wire-grid optical engine and D-ILA imagers, not a dynamic iris to artificially enhance contrast specifications. The DLA-RS50U offers 70,000:1 native contrast ratio. Both projectors support custom gamma tables, colour space, and colour point, and are THX and ISF Certified.

An evaluation version of the software is available at www.spectracal.com Visit http://pro.jvc.com/visualization

CUTTING EDGE’S JAPAN COKE TVC – A WILD RIDE Cutting Edge, the Australian provider of creative, broadcast, visual effects, film and technical services to the media and entertainment industries, has announced the production of ‘Wild Health’ for CocaCola Zero.

The fourth installment in the ‘Wild Health’ campaign for Coca-Cola Zero, features Japanese pop-megastar Namie Amuro racing against seven killer female robots all riding the hottest motorcycles ever conceived. Ms. Amuro challenges the robots to a ‘hell ride’ across a futuristic desert.

The Coca-Cola ‘Wild Health’ TV spots are legendary for their cult following through out Japan.

This VFX intensive project drew upon talent from across Cutting Edge’s Japanese and Australian operations. Cutting Edge’s VFX Supervisor, Colin Renshaw and his team in Brisbane, strived to create the best ‘Wild Health’ spot ever.

Masao Imanaga, Creative Director Dentsu Japan said of Renshaw and Cutting Edge, “This was truly outstanding work from the Cutting Edge team. We are very proud of the spot and the team achieved well beyond, even surpassing our expectations.”

Dentsu’s vision for the ‘Coca-cola Wild Health’ spot was given to leading freelance Japanese director, Junji Kojima of tvee graphics. Since founding tvee graphics in 1995, Kojima has become notable for his incredible ability to cross multiple genres.

Junji Kojima said of Colin Renshaw “Thanks to Colin and his talented team for what is a truly awesome action packed film.”

“The Cutting Edge VFX team was fully involved in the project from very early stage,” said Takeshi Takada, Executive Producer Cutting Edge. “From concept design to delivery, there were over 20 artists involved at Cutting Edge – all talented, and specialists for each specific role. This project was so large in scale with limited production time that everything needed to be planned precisely. This project reached its full creative potential, due to the passion and creative artistry found at Cutting Edge.

Visit www.cuttingedge.com.au

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Make the Most of Your Media with Avid Interplay Your media is your lifeblood. From it flows the two most essential elements of your business: creativity and profit.

Avid® Interplay® is the media management foundation of today’s competitive media organization, providing you with the most innovative MAM and PAM technology available. Whether you produce or manage news, sports, reality, drama, documentaries, or any other type of content, Interplay enables you to: • Create more content, and distribute it to more outlets than ever before • Instantly find, access, and use media anywhere, anytime • Dramatically boost efficiency and profitability

Find out how. Visit www.avid.com/mmm/interplay © 2010 Avid Technology, Inc. All rights reserved. Product features, specifications, system requirements, and availability are subject to change without notice. Avid, the Avid logo, and Interplay are trademarks or registered trademarks of Avid Technology, Inc. in the U.S. and other countries. The Interplay name is used with the permission of the Interplay Entertainment Corp, which bears no responsibility for Avid products. All other trademarks contained herein are the property of their respective owners.

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Storage & Asset Management NEED the FEED >>

www.content-technology.com/mediamanagement

storage &

ASSET MANAGEMENT DAMsmart helps AusStage Save Performing Arts History Australian digitisation agency DAMsmart has been appointed by AusStage to design and build an innovative mobile migration unit to digitise Australia’s most valuable performing arts heritage.

AusStage, together with some of its member organisations, has embarked on an exciting preservation project called the Visual Searching project through the creation of a publicly-accessible audiovisual archive of the history of Australian performing arts. Jenny Fewster, Project Manager at AusStage, says, “We will begin to create a virtual archive of performance footage in Australia, benefiting both the future development of the arts as well as the greater community. We engaged

DAMsmart as they have a proven track record, not only with expertise in AV archiving technology, but they also have specialist JPEG2000 knowledge. We have appointed DAMsmart to design and build two mobile digitisation units that will allow us to digitise the collections on location.”

AusStage collaborated initially with Sydney University’s Russel Emerson to investigate the most suitable archival file formats and metadata strategies to best enable the archive users to directly access new digital resources held in online repositories. In line with the findings of this research, AusStage decided to adopt the optimal format of JPEG2000 wrapped in MXF as the

Video 8 Media choose Amberfin iCR Sydney video and audio facility Video 8 Media recently installed the Amberfin iCR HD/SD ingest, automated quality control, and file transcoding system at its Sydney facility.

The system, supplied and integrated by leading Australian distributor, Quinto Communications, will be used to transcode master files to a variety of broadcast and web ready file formats. By using this workflow, Video 8 will be capable

of producing multiple SD and HD broadcast deliverable files produced from a single playback of an HD master tape.

Video 8 Media and Operations Manager Rod Capon commented, “We have been very pleased with the excellent quality of the video files that we are able to deliver to our clients with iCR. In some of our testing the quality of the results we have achieved when converting

Isilon Appoints DVT in New Zealand Isilon has appointed Auckland-based Digital Video Technologies Ltd (DVT) as a reseller of its storage products for the New Zealand media and entertainment market. The move continues Isilon’s planned expansion in the region through specialist reseller partnerships.

“Storage products have been complex to set up, install and maintain. Isilon’s value proposition is the simplicity with which the system can be put together, and it’s long-term reliability,” says Stuart Barnaby, Managing Director, DVT. In another development, Isilon has appointed ASI Solutions (ASI) as a Gold Fast Track Partner for storage products in the markets served by ASI in Australia.

“The news that EMC has bought Isilon is a real bonus for us as we can now offer the best storage technology in the market,” says Maree Lowe, ASI co-founder and Director.

ASI is working closely with universities, telcos, film/TV production houses as well as mining and resource clients.

Visit www.isilon.com www.asi.com.au www.dvt.com.au/

VIDEO-8 ECODISC SET TO STORM AUSTRALIA Video-8 announced a major push of its environmentally friendly DVD media EcoDisc. Video-8 MD Gareth Collins says, “2010 was a very good year for Video-8 across all aspects of our business and as a result the directors decided to invest further in new products and services. One of the major investments was in the area of DVD duplication and replication where we have already enjoyed considerable success. The task we set ourselves was how to further capitalise on our success in DVD duplication at a comparable cost to our customers but with a much lower impact on the environment – that’s where EcoDisc came in.”

Collins continued, “The standard depends on a non-biodegradable, toxic resin to bond the two halves a DVD is constructed from. EcoDisc has been engineered with its impact on the environment in mind.

Visit www.video-8.com

50 Storage & Asset Management

preservation format for the project.

Phase four of the AusStage project requires the digitisation of several large videotape collections from around Australia. In order to achieve this, AusStage needed a digitisation solution that offered them both flexibility and cost-effectiveness.

AusStage turned to industry leader, DAMsmart, to find a solution to their geographically scattered library.

In response to this challenge, DAMsmart created a range of ground-breaking mobile digitisation units that can be transported directly to the library to digitise the tapes safely and cost-effectively on site.

Visit www.damsmart.com.au www.ausstage.edu.au

between high definition and standard definition files, for example, has exceeded the performance of expensive hardware based conversions. iCR’s intelligent quality control features also mean we catch and deal with any video or audio quality control issues as early as possible and stop the ingest if necessary.”

Visit www.video-8.com/web/index.html www.quinto.com.au/

Digistor Appointed as Extensis Reseller Digistor has announced the company’s appointment as an Extensis reseller to sell and support Extensis’ range of digital asset management products.

Digistor will focus on integrating Extensis’ Portfolio software products into professional studio environments.

“We’re delighted to have been appointed an Extensis preferred partner and are very impressed with the functionality and scalability of the Extensis Portfolio Server,” stated Digistor Managing Director, Andrew Mooney. “Our clients have been asking us for Asset Management solutions and it’s great to be able to offer such a professional product.”

Extensis Australia and NZ Business Director Richard Bamford sees Digistor as an ideal addition to the Portfolio reseller channel.

“We’re very excited to be working with Digistor and believe that Portfolio Server’s ability to handle large collections of rich media files will fit in neatly with Digistor’s customers’ requirements,” Bamford said.

Visit www.extensis.com, www.digistor.com.au

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Storage & Asset Management/Whitepaper Management

Storage & Asset Management

Storage Economics – Four Principles for Reducing Total Cost of Ownership

By David R. Merrill, Chief Economist, and Grant Moore, Principal Business Consultant, Hitachi Data Systems PRESSURE

ON

TELEVISION

broadcasters and post production houses to reduce capital expenditures (CAPEX) and operational expenses (OPEX) will continue through 2011 and beyond. Technologists must look beyond simply lowering HDTV and SDTV content storage acquisition costs and search for additional ongoing operational savings. As pressures mount to reduce all types of spending, engineering and operations, internal organizations will need to create robust business cases to gain C-level management support for strategic and tactical investments.

Based on several years’ findings, Hitachi Data Systems (HDS) has developed techniques to identify, quantify and then reduce content storage infrastructure costs.

Many media organizations limit their strategic planning to technology or operational functionality. By adding basic cash flow analysis and measuring return on investment (ROI), return on assets (ROA) and total cost of ownership (TCO), managers can undertake initiatives based on more meaningful economic observations. This improves the organization’s longterm sustainable business strategy and performance.

When proposing content storage cost reduction initiatives, organizations must identify clear (and often separate) CAPEX and OPEX metrics with a full analysis of the payback period and savings potential.

Fortunately, there are proven strategic and tactical investments to reduce the costs of content storage infrastructure. These range from technology components to organization changes, and even include methods of provisioning content storage capacity to the broadcast station or post production organizations’ end users.

As new technologies become available, smart organizations will follow the principles of Storage Economics to evaluate these investments for their technical prowess, their support of strategic business performance and, particularly, their efforts to economize.

The Hitachi Data Systems (HDS) strategic framework for Storage Economics is proven to help IT organizations achieve economically superior deployment and growth of their storage and see sustainable and measurable OPEX cost savings. These savings include reduced waste, data remastering, reduced labour time per terabyte of capacity, lower costs of growth, reduction in power, cooling, floor space and maintenance fees for a unit of storage capacity.

Some of these organizations’ economically superior architectures let them defer capital spending

by reclaiming or recovering existing but stranded capacity.

The first step is to define and measure current costs since an organization cannot improve what cannot be measured. This is the core of econometrics and key to providing continuous improvement of the storage domain.

STORAGE ECONOMICS

some cases it increases as other components of the TCO (labor, maintenance, power, floor space and migrations) become more costly. When the focus is on procurement costs and not total costs, real business efficiencies are sacrificed.

TCO per terabyte per year can be represented in several ways. A stacked bar chart, such as the one shown in Figure 1, provides a comparative view of the various costs that make up storage TCO. Not all Storage Economics components are quantitative. Some are qualitative in nature. For example, reducing the risk cost of broadcasters’ onair outage can be part of an effective business case for change. When possible, converting technical and operational benefits into monetary terms will help make the business case for a robust content storage strategy. Every content storage action or reaction can be stated in economic terms. Soft costs still need to be identified and estimated in a structured way to present the full impact of all risks, benefits and actions.

To make progress, broadcasting or post production organizations must map costs to proven methods and techniques that can actually reduce

Hitachi Data Systems has been researching and creating thought leadership in Storage Economics since 2001. The principles developed are tried and tested in good and tough economic times, providing a perspective at the intersection of storage technologies, operational benefits and financial principles.

Storage Economics aligns the operational and technical dimension of content storage infrastructures to a corresponding financial viewpoint. As disk prices drop 15% to 30% per year, it is easy believe (erroneously) that a lower cost of acquisition results in lower cost of ownership. Storage Economics methods provide measurable techniques, exposing the true costs of storage decisions, and can help broadcast and post production engineering and operations managers systematically reduce these costs over time.

In recent years, the cost of acquisition has gone from 50% to 60% of the TCO to about 20% today.

Relying on Moore’s Law alone to provide lower price per gigabyte will not deliver lower costs of ownership since a reduction of price impacts only 20% of TCO. The other 80% of storage TCO is what must come Figure 1. Comparative View of Content Storage TCO under scrutiny in tough economic periods. In broadcast and post production engineering, the real costs of storage infrastructure those costs. HDS has identified 33 different types of are operational expenses (OPEX). It is these recurring content storage costs that can be employed to create costs managers need to identify and take action to a TCO per terabyte baseline. It is then possible to reduce. map content storage initiatives or investments to areas Economically astute managers see the value in of measurable costs. This information can be used to measuring storage infrastructure with a TCO baseline. design and prioritize investment initiatives, and create A unit cost of ownership (cost per terabyte per a roadmap of activities (based on their projected cost year is a simple method to depict all of the costs to reduction potential) to support the organization’s own a terabyte of storage capacity. People are often business needs. It can also assist organizations in confused when the price of disk declines and their their prioritization of investments and coordination of storage TCO does not change at the same rate. In cost-reduction plans.

52 Storage & Asset Management/Whitepaper Management

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For example, power down disk, massive array of idle disks (MAID) and new 2.5 in. drives can reduce the total power consumption, but if the cost of power is not a significant element of content storage TCO, then this investment may not be fully justifiable.

KEY PRINCIPLES OF STORAGE ECONOMICS

Where content storage technologies and economics meet, there exist four key strategic planning tenets that can lead to continuous improvement and operational excellence: 1. The cost of storage includes more than price.

Hitachi Data Systems has identified 33 types of costs that compose TCO. Not all have equal relevance to each unique organization. Some are more strategically important to bear, reduce or eliminate than others.

2. Each unique organization must determine which costs are relevant to measure and control. A baseline allows for the presentation and measurement of all costs of the storage infrastructure, over time.

3. There are economically superior content storage architectures. New technologies, processes and operational best practices have been proven to reduce costs. Over time, newer and better technologies will be introduced and enable economically superior content storage architectures, but the principles will remain constant. Organizations should evaluate new technologies for what they can contribute to business operational and technical functionality, combined with reducing real economic costs.

4. Cost sensitive organizations should use economic measurements as a content storage improvement measurement. Once an organization has identified which costs are most strategic to control, it must develop an economic measuring system to quantify current costs and track progress in reducing them.

These principles transcend vendors, products and content types. Relevant econometrics can be chosen based on the organization’s corporate strategy, applied to the entire content storage infrastructure and brought to bear when evaluating future architectures.

Each of the four principles of Storage Economics is discussed below.

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1. Price Does Not Equal Cost The total cost of acquisition (TCA) is roughly 20% of TCO. A few years ago, the price of the hardware and software was a much higher portion of TCO. Price erosion has changed that. Often procurement is determined by the lowest storage bid, without considering that low-cost architectures may produce higher costs of ownership. Personnel responsible for (and measured on) acquiring lowest cost solutions do not have to answer for the total CAPEX + OPEX costs incurred by the organization over the lifetime of the infrastructure. If long-term, true CAPEX + OPEX reduction is really the goal, then a total cost model and correlating architecture is essential.

Over time, the TCA will become less significant.

Labour, maintenance, power and cooling will increase three to four times higher than the cost of the acquisition itself. Content storage planners must use TCO econometrics to better isolate and measure cost efficiencies in the storage infrastructure.

2. Thirty-three Types of Money Since 2001, HDS consultants have characterized 33 different types of costs making up storage TCO. Some of these costs are hard or direct, others are soft or indirect. Still more are OPEX or CAPEX. Each organization needs to define what cost categories are relevant to creating their baseline cost picture and plan subsequent actions to reduce them. This link provides further details on these 33 types of costs: h t t p : / / w w w. h d s . c o m / a s s e t s / p d f / f o u rprinciples-for-reducing-total-cost-of-ownership.pdf Reducing costs is an engineering, operational function and econometrics architecture design effort, not a product selection process. HDS has identified that there are economically superior content storage architectures, defined in part by how well they deal with various storage ownership cost categories. Each unique organization must establish which of the 33 cost categories are relevant for it.

Not all 33 cost categories are equal in weight, importance or time relevance for each unique organization.

In the experience of HDS, content storage planners tend to choose between 8 and 15 of these costs to create their unique organization’s own TCO baseline.

As in all cost analyses, some are hard (real measurable

CAPEX budget spent) while others are soft (hard to quantify, such as the cost of a future potential on-air outage). Whatever hard and soft costs are chosen for measurement based on each unique organization’s business needs, organizing and weighting their significance is essential for implementing a plan to reduce the total costs of content storage. You can’t improve what you can’t measure.

3.

Economically Superior Storage Architectures Economically superior content storage architectures can be put into place, either incrementally over time or as part of a complete content storage technology refresh. They may not be the cheapest to buy in terms of CAPEX, but they are cheaper to own in the long term when considering CAPEX and OPEX components together. Some are best suited for highgrowth environments, some reduce compliance costs and others are best if power and space are the major concern. Currently, some of the key ingredients (or technology action items) for economically superior content storage architectures can include: 1. Virtualization of volumes, file and storage systems; 2. Dynamically tiered storage – placing data in the right tier according to performance, availability, price, cost; 3. Intermix storage – combining several disk types (solid state drives or SSD, SAS, SATA) in the same frame; 4. Thin provisioning or overprovisioning of storage volumes; 5. Power down disk, MAID; 6. Multiprotocol SAN storage; 7. De-duplication; 8. Integrated data archive, with federated search capabilities; and 9. Policy-based provisioning The HDS Storage Economics methodology provides a technical management framework for these key ingredients to be prioritized, enabling prescription of an economically superior architecture for each organization. This approach can provide a holistic approach aligning storage with sustainable strategic business needs to produce short- and longterm cost savings. Each organization’s best Continued page 55

Storage & Asset Storage Management & Asset /Whitepaper Management 53

Storage & Asset Management

Storage & Asset Management Storage Economics - continued from page 53

SGL WILL SHOW NEW FLASHNET 6.4 FEATURES At NAB SGL will unveil its new archiving systems, which for the first time will provide true interoperability between systems from different vendors including FlashNet and non-FlashNet systems. SGL will show key new features to FlashNet 6.4 highlighting its Open System architecture and the benefits of providing reliable, scalable solutions with substantial cost and workflow improvements for broadcasters, post production facilities, news/sport organisations and film preservation archives. The company will also highlight its support for the latest version of Apple’s Final Cut Server (FCS) and Avid Interplay 2.3.

NAB 2011 will see the launch of the innovative system for writing data to the LTO Program (HP, IBM & Quantum) Linear Tape File System (LTFS). This cutting-edge solution has the potential to significantly change broadcast workflows. Specific to the LTO5 tape format and all future LTO tape formats, LTFS enables true interoperability between what were once disparate systems.

A key new feature of SGL FlashNet 6.4 is the Amalgamation Service, a workflow enhancement tool that allows small files to be archived more efficiently.

Visit www.sglbroadcast.com

DIVAPUBLISH WIDENS OPTIONS Front Porch Digital has enhanced its DIVApublish video publication platform in order to handle more complex broadcast workflows. Front Porch Digital has also developed a new utility, DIVAframe, to incorporate the unique metadata-creation tools that were formerly a part of DIVApublish. And to reflect the cloud-based publishing platform’s new capabilities, Front Porch Digital has added to the DIVApublish product name the suffix mpx.

Going forward, it’s the integration of DIVAframe with DIVApublish mpx that enables management of content distribution to key platforms, and the automated creation of deeply searchable framelevel metadata for video content.

DIVApublish mpx enables users to extend their digital file-based workflow from DIVArchive straight through to publication of content to online communities and VOD systems. With DIVAframe, users can scrutinise their content down to the frame-level, then annotate it automatically and precisely using advanced tools such as facial recognition, scene detection, speech recognition, natural language processing, ad-break detection, and closed-caption time alignment. Visit http://fpdigital.com

WORKFLOW AUTOMATION WITH SINGULAR SOFTWARE Singular Software, developer of workflow automation applications for digital media, will be showcasing extended support from its audio and video synchronisation product line.

Singular Software’s automation tools include PluralEyes and its recently expanded support for Avid Media Composer software. DualEyes, which utilises the same advanced technology as PluralEyes, will also sport its own significant release. Once Windows-based, the standalone application is now available for Mac OS X. Singular plans to showcase both products’ in-demand audio and video synchronisation capabilities.

Singular will also feature its upcoming release of Singular Software Presto for Final Cut Pro. Currently compatible with Sony Vegas Pro, Singular Software Presto has already won the hearts of Vegas Pro users tasked with preparing presentation videos. Ideal for conferences, training sessions, and workshops, Singular Software Presto leverages sophisticated computer vision and audio synchronisation techniques to automate the assembly of presenter footage, slideshows, and audio elements, creating professional-looking video packages much sooner.

Visit www.singularsoftware.com

GLOBAL DISTRIBUTION, MEDIA ASSET MANAGEMENT FROM GLOBECAST, NETIA GlobeCast and NETIA will be co-exhibiting once more at the NAB convention. The themes of the booth will be global distribution, Media Asset Management and playout of international content. The booth will have demos and animations of satellite and fibre delivery of their channels around the world, and how GlobeCast and NETIA can help them: • manage file-based assets for multiple platforms • create versions of content for different markets • ingest content locally, and playout globally • ensure global distribution GlobeCast provides Media Asset Management solutions powered by the NETIA Content Management System, and distribution services through its worldwide

satellite and fibre network as well as its playout suites in Miami, London and Singapore.

Demos at GlobeCast/NETIA Booth SU-911 include: WorldTV aggregates and distributes international content for all types of platforms: DTH satellite, IPTV, Cable and more. The GlobeCast booth will feature a show reel of just some of the 170 channels in 35 languages being distributed by WorldTV. Content Management System (CMS) GlobeCast and NETIA will highlight the ability of broadcasters to ingest content locally, to manage their media and to playout content in several regions of the world. The main tool for this is the Content

Management System (CMS). Netia’s CMS allows customers to globally streamline all of their production processes. The new software suite allows users to connect all their partners within one ecosystem.

NETIA will showcase its Radio-Assist 8 range of digital audio automation software. The newest version of NETIA’s software suite now extends beyond traditional broadcasting, allowing users to prepare publication at an early stage of the workflow.

Publication is prepared at the same level as the on-air.

NETIA’s Radio-Assist family of digital audio software programs covers each part of the production and broadcast workflow.

Visit www.globecast.com

NVERZION’S NEW WORKFLOW OPTIONS AT SHOW At NAB, NVerzion will introduce the latest enhancements in its line of automated workflow control solutions. The NVerzion booth will also feature the latest complements to the company’s automation platform, unveiling a traffic and billing system and increased capacity in its network-attached storage solution.

NCompass – Pathfire and Pitch Blue Interface NVerzion’s NCompass software platform allows stations to manage each platform with a single, common user interface that provides access to program metadata and helps them take the content directly from the provider to the on-air video server. Key Features include: • Automatic or manual mode enables the

54 Storage & Asset Management

operator to choose specific media to move to the server or to create user-defined rules to simply move content from the delivery system to the proper destination • When integrated with NVerzion’s NBase media database manager, NCompass automatically updates metadata, and in most cases, automatically segments the program • Material can be moved from the source device to configurable destinations, such as Flip Factory and Carbon Coder • TeraStore — Increased Storage Capacity NVerzion is expanding the capacity in its TeraStore line of disk-based storage solutions.

NVerzion can now support up to 144 TB of network-

attached storage with the addition of a 3-TB/48bay configuration. The NVerzion TeraStore line features unlimited expandability and integrates with all the popular server platforms.

Keep It Simple Scheduler NVerzion will present a technology preview of its new traffic and billing system that is fully integrated with its popular automation platform. This new traffic system will address the needs of both television and radio broadcasters and will be marketed with a unique pricing structure.

NVerzion will also be demonstrating the latest software solutions in its flagship automation platform.

Visit www.nverzion.com

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infrastructure is unique.

Over time, new technologies to build economically superior content storage architectures will arrive on the scene. The experience of HDS points to three critical technologies that broadcast and post production organizations can implement in concert to create their individual best content storage architecture: virtualization, thin provisioning and dynamic tiering.

These three elements have technical and economic benefits on their own, but the compound effect of content storage virtualization, dynamic tiered content storage and dynamic provisioning is greater than the sum of its parts, and can be measured in terms of: 1. Significant content storage reclamation: both one-time reclamation and significantly lower cost of growth over time; 2. Return on assets (ROA): content storage assets that are better utilized beyond depreciation life; 3. Smaller content storage estate delivering the same quality of service; 4. Device migration: non-disruptive heterogeneous content storage migration; 5. Reduced costs per terabyte as capacity grows; 6.

Scheduled downtime: non-disruptive maintenance, migration, upgrades, provisioning; 7. Change management: common management of heterogeneous content storage assets, nondisruptive configuration changes and less labour required for provisioning; and 8. Environmental: reduced real estate, power, cooling, measured per terabyte (kW/TB) The measurable economic impact on TCO by adoption of the three critical technologies can be dramatic. HDS has measured TCO and ROA with clients who have implemented these key technologies.

The resulting TCO improvement averages 25% within the first year. Advanced storage architectures offer real cost savings compared to traditional or simple tiered-island architectures.

Figure 2 illustrates the measurement and impact of new architectures compared to a monolithic baseline.

The most significant TCO gains come from reductions in the cost of waste, migration, copies and labour.

4. Content Econometrics The old saying, “you can’t improve what you can’t measure,” certainly applies to Storage Economics.

Organizations should develop a new series of management dashboards to follow the money spent over the lifetime of content storage assets.

Econometrics can be applied to a single content storage system, a particular tier of content storage, the backup-and-restore process or disaster protection costs. Higher-level abstractions can be created to show top-level costs. The TCO of terabyte-per-year metric is a simple model to create and update, providing a means to make critical comparisons and strategic business-oriented decisions over time.

Another key metric used by some is total cost of content ownership (TCCO). The difference between TCO and TCCO is that the content storage costs are not divided by the total usable capacity, but by the total amount of content. This approach exposes several problematic cost areas:

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Figure 2. Cost Savings of Advanced Storage Architectures

Figure 3. Impact of Strategic and Tactical Investments in Storage

1. Cost of waste: usable and unallocated, and allocated but not used space; 2. RAID overhead costs; 3. Cost of copies; and 4. Example: The TCO for 1TB of content storage might be calculated as US$12,000/TB/year. If the amount of content stored in that 1TB is only 200GB, the TCCO would be US$60,000/TB/year.

Econometrics provides a modelling framework for mapping storage ownership costs (or budget) to activities producing resulting savings. These activities can be put into short- or long-term roadmaps deriving the correct dependencies and priorities. For instance, planners can link infrastructure investment considerations to projected TCO or TCCO reduction.

Any content storage architecture investment under consideration should be mapped to cost categories it can substantially change, so that investments can be evaluated for their sustainable strategic business performance, not just their technical performance.

Organization planners need to steer away from only a capital budget view, which is mostly driven

by content storage growth appetite. A best practice is to ensure content unit cost improvements that are projected or realized over time. Comparative graphs like the one shown in Figure 3 can show the impact of strategic and tactical investments in content storage TCO over a number of years.

This method gives C-level management confidence in cost reduction initiatives. The actual savings impact can be seen and compared to prior years.

CONCLUSION

These are the four key principles of Storage Economics: 1. The cost of storage includes more than price.

2. Each unique media organization must determine which costs are relevant to measure and control.

3. There are economically superior storage architectures.

4. Cost sensitive organizations should use economic measurements as a content storage improvement measurement.

Storage & Asset Storage Management & Asset /Whitepaper Management 55

Digital Signage NEED the FEED >>

Australia’s only Digital Signage event

www.d-sign.tv

digital SIGNAGE

SCG Scores with Three-Storey Panasonic Screen DURING THE 2010-11 (southern) summer cricket season, 170,000 fans have been able to experience a new three-storey high Panasonic LED screen installed for the Australia-England Ashes Test at the iconic Sydney Cricket Ground (SCG).

The 157 square metre super-bright screen is located on the parapet of the Dally Messenger Stand and it kept fans up-to-date with every ball thanks to detailed live onfield vision, full score updates and venue information.

It is expected that over 1.5 million people will experience the impressive screen in 2011, with the cricket season now over and many more events lined up to be held at the SCG throughout the year.

SCG Trust Chief Executive, Jamie Barkley, is committed to continually improving and updating facilities, and offering fans an experience that cannot be matched in the home, even with live television broadcasts.

“Our key aim is to make the fans’ match day experience the best it can be, so it was crucial for us to choose a provider who could deliver long term quality performance, flexibility, reliability and support,” he said.

“Panasonic has an excellent track-record in these elements and is supported by a strong local presence, so we are confident that the new screens will help make our customers’ experience even more enjoyable,” he continued.

Banner eight metre square LED signage has also been installed on the parapet levels of the Bradman Stand and the Churchill Stand to provide fans with a news ticker of the latest score and information updates.

Mark Deere-Jones, Director – Business Systems Group, Panasonic, said he is confident the new screen will be a key focal point for fans within the historic SCG. “Panasonic is very proud to provide one of Australia’s finest sporting venues with the latest technology to enhance the at-ground experience for sporting fans,” said Mr Deere-Jones.

“We are a nation of sports lovers, with research predicting that over seven million Australians will attend a sporting match this year. At Panasonic, we are looking forward to working with local venues to get fans through the front gate and help make sure they want to come back again and again,” he added.

The SCG joins some of the world’s most prominent

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venues such as New York City’s Madison Square Garden and the Beijing Olympic Stadium in deploying Panasonic LED screens.

The new screen is 18.8 metres wide and 8.3 metres high, displaying vision in an impressive ultrawide 23 x 9 ‘cinemascope’ format. It is designed for outstanding viewing with a vivid picture even in bright Australian conditions and direct sunlight, featuring a 7000 cd/m2 (candelas per square metre) display and 23 trillion colours.

Panasonic will also install its first semi-permanent LED stadium screen at the adjacent Sydney Football Stadium (SFS) in March. The screen will be located above the SFS forecourt and will allow incoming crowds to enjoy the on-field action from outside the stadium. The widescreen panel will be 44 square metres in total, standing 5.12m high and 8.704m wide.

The screen is designed to be dismantled and moved to the adjacent Sydney Cricket Ground for both sporting and concert events.

Mark Deere-Jones, Director – Business Systems Group, Panasonic, said the LED screen was the perfect match for the SFS. “With the improved quality of television broadcasts and excellent technology now available in the home, venues must be able to deliver something special at the venue to encourage fans to attend events,” he said.

“We are delighted with this upcoming installation at one of Sydney’s most popular sporting grounds – it is yet another fantastic example of how digital vision live from the SFS or other grounds, video replays and other information can be employed to further enhance the customer experience and engage with your audience,” he said.

According to SCG Trust General Manager – Properties, Mr Michael Bangel, the screen was a

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standout choice featuring convenient portability, superior image quality and clean design.

“We are always looking at ways to enhance our customers’ experience and ensure their time at the SFS is unforgettable, whatever the event. With this goal in mind, we wanted a solution that not only offered high quality images, but was also portable and able to be transferred to the SCG for key events,” he said.

“Furthermore, the frameless design made it an attractive and unobtrusive display option in keeping with the modern design of the SFS and we are confident that the screen will truly enhance the overall venue experience for our customers,” he added.

The screen employs LED technology with over 281 trillion colours and a 7,680 hertz refresh rate for a vivid, clear and flicker-free display of broadcast footage. It is ideal for outdoor displays and bright Australian conditions.

Visit www.panasonic.com.au View video associated with this story at www.d-sign.tv

Digital Signage Privacy Standards The US-based Digital Signage Federation (DSF) has announced new industry standards for digital signage privacy. The “Digital Signage Privacy Standards” are a set of voluntary privacy guidelines recommended

by DSF for digital signage companies, their partners and the venues that host these systems.

The DSF Standards Committee is made up of eight members from different sectors of the industry, and is chaired by Ken Goldberg, CEO of Real Digital Media. Harley Geiger, a committee member and Policy Counsel at the Center for Democracy & Technology, was instrumental in leading the effort to develop policies that safeguard consumer privacy and preserve the public’s trust in the digital signage industry.

The Digital Signage Privacy Standard addresses issues such as: Transparency; Individual Participation; Purpose Specification; Data Minimization; Use Limitation; Data Quality & Integrity ; Security; and Accountability Visit http://digitalsignagefederation.org/other_ resources

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9 – 10 June 2011, Sydney Exhibition Centre

3 FREE educational seminars & exhibition access 3 Three world-class conferences 3 Interactive tradeshow with 60 exhibition stands Do you offer digital signage solutions?

Then you need to be at Digital Signage World 2011.

To discuss sponsorship and exhibition opportunities, contact: Clint Farmarkis on +61 2 9021 8889 or clint.farmarkis@terrapinn.com Organised by:

www.terrapinn.com/2011/digital Gi13191

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Digital Signage

NEED the FEED >>

HARRIS PARTNERS WITH DIGITAL DISPLAY ON 7-ELEVEN TV Harris Corporation and Digital Display Networks are bringing one of the largest digital out-of-home (DOOH) advertising networks in the United States, 7-Eleven TV, to full nationwide deployment.

Under a 10-year agreement valued at US$75 million, with additional revenue-sharing potential, Harris is providing its Digital Out-of-Home hardware and software, InfoCaster and Punctuate, in addition to its Managed Services offering to Digital Display Networks, which is providing turnkey services, as well as managing content production and advertising sales for 7-Eleven TV. Launched in 2010, 7-Eleven TV provides 24/7 programming in 7-Eleven convenience stores, featuring national and local entertainment, and news and weather, as well as advertising highlighting 7-Eleven proprietary brands, in-store and out-of-store

PANASONIC’S ARTISTIC DISPLAY AT NSW ART GALLERY The Art Gallery of New South Wales has purchased a 103-inch Panasonic Full High Definition commercial display panel that is now located on Level 3 in the foyer of the Aboriginal and Torres Strait Islander Gallery.

Laurence Hall, Audio Visual Services Manager for the Art Gallery of NSW, says: “The 103-inch Panasonic panel gives us the opportunity to deliver exceptional images without changing the space or needing to install special lighting or an intrusive projector.”

The museum is currently displaying High Definition video of artists working on their creations.

“Not only does the panel offer rich, vivid images in stunning High Definition,” said Laurence Hall, “it is also very simple to use with intuitive menu and input functions and we can update the files we wish to display as required via a PC using Quicktime.”

Visit www.artgallery.nsw.gov.au and www. panasonic.com.au

DIGITAL SIGNAGE FROM THE CLOUD Stinova and eKiosk have announced the joint launching of a Software as a Service (SaaS) portal for Digital Signage applications that can be reached at www.ekiosk.digital-signage.cc.

SaaS bring significant advantages and allows customers to get started quickly, with no large upfront investment and no cost for upgrades and server maintenance.

The PHEX models are eKiosk’s professional Digital Signage hardware products including stand-alone public displays in portrait and landscape formats or for wall mounting. Now customers can test the eKiosk PHEX hardware with Stinova’s intuitive and centrally manageable Digital Signage software for up to 12 months without any extra cost or extendable with low monthly cost. The client software can be pre-installed by eKiosk to provide customers a real plug & play experience.

Visit www.stinova.com

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brands, and special 7-Eleven promotions.

7-Eleven TV already is operating in 500 stores in some of the top DMAs and highest traffic volume 7-Eleven stores in the U.S., including New York, Los Angeles and Chicago. When fully deployed, it will be carried in 6,200 stores – reaching more than 200 million shoppers monthly. Based on an analysis of various Nielsen ratings data, the GRPU (gross rating point units) of 7-Eleven TV will make it the U.S.A’s fourth largest broadcast TV network when fully deployed.

7-Eleven TV delivers programming and promotional advertising tailored to specific markets, customer segments and day parts. Harris DOOH software provides the scheduling flexibility for network programming to be divided into multiple day parts, making it possible to promote specific items at times

most relevant to customers. To maximise viewing, each store features two strategically placed LCD highdefinition TV monitors and directional audio to attract consumers, and display promotions and products that shoppers can take advantage of in-store.

Harris is building 7-Eleven TV around its InfoCaster DOOH software, which provides content creation, network management and media player monitoring with flexible proof-of-play reporting, and its Punctuate DOOH business management software for content scheduling and campaign management to facilitate advertising and scheduled distribution tuned to specific demographics, geographies, and day parts.

The Harris DOOH software can manage 40,000 playlists, national and local ads, and all the software supporting transactions on a network.

Visit www.ddninc.tv and www.harris.com

FANLESS INTEL CORE I7-620M MINI-ITX SYSTEM IBASE Technology, manufacturer of Mini-ITX motherboards and industrial computers, has released the AMI200-953 barebone system that comes with IBASE MI953AF Mini-ITX motherboards with the Intel Core i7-620M (2.66GHz) processor.

With a small footprint size of 199mm by 232mm, the sleek-design AMI200-953 has a silver aluminium housing that works as a desktop PC or a wall mount system. The front panel lights, buttons and interface include the Power LED, HDD LED, reset button,

power button and two USB 2.0 ports.Rear I/O configuration is equivalent to the motherboard edge connectors comprising those for DVI-D, VGA CRT, serial port, six USB, PS/2 KB/MS, audio and a DCin jack.

Designed for fanless operation and powered by an 80W power adaptor, the versatile AMI200-953 features a 2.66GHz Intel Core i7-620M processor, 4GB of DDR3 memory and 40GB of industrial-grade hard disk drive.

HITACHI TO LICENCE SCALA SIGN CHANNEL IN JAPAN Scala Inc. has announced that the company and Hitachi, Ltd. have reached an agreement that will provide Hitachi with an exclusive license to operate and resell Scala’s SignChannel low-cost digital signage software services throughout Japan. Hitachi is already one of Scala’s larger customers, having deployed more than 5,000 Scala driven displays throughout Japan. Scala’s software powers Hitachi’s Mediaspace digital signage ASP services, which are used by customers such as barber shops, general retail and convenience stores, shopping malls, train and subway stations, real estate chains, etc.

Scala CEO, Gerard Bucas, says “The success of Hitachi with Scala in Japan and their new investment in the SignChannel business is validating Scala’s strategy of expanding to cover more markets and price points.”

Visit www.scala.com/signchannel www.hitachi.com

TABLETOP D-SIGNAGE SOLUTION BrightSign, a developer of products and software for digital signage, has released a new turnkey Tabletop Digital Signage Solution.

The solid-state tower is a freestanding, end-to-end digital signage solution that doesn’t require a PC nor any external power or wiring.

Ready to use right out of the box, the BrightSign TD1012 features a durable steel enclosure with builtin features ranging from a replaceable/rechargeable battery that provides approximately 12 hours of battery life, to Wi-Fi (802.11a/b/g/n) capabilities and a 12.1” high-resolution screen. Users simply add their content for an instant digital sign that fits easily on a table, counter or desktop.

The BrightSign TD1012 delivers straightforward looping playback of pristine video and images to impress any audience. Its PC-less, fan-less, solid-state platform gives users the best of both worlds – high reliability and low power consumption for a green solution.

Since no cabling is necessary for playback, the tower is highly portable, versatile and flexible for placement virtually anywhere.

This makes it suitable for a wide range of industries such as retail, museums, hospitality, tradeshows, healthcare, banking and more.

To keep the display current and engaging, content updates can be made remotely with the built-in wireless networking and support for BrightSign Network and Simple Networking solutions. Users can even subscribe to RSS feeds for breaking news, stock values, local weather, etc.

Visit www.brightsign.biz

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Broadband IP & INTERACTIVE

TEN – Seriously Online!

By Phil Sandberg

AUSTRALIA’S TEN NETWORK

really took a running jump into the deep end of online. Its extensions to the free-to-air broadcast offering have provided visitors with an experience equal to, and sometimes more engaging than, the traditional TV experience.

Its 10 Digital division operates a network of sites.

Those sites are built around supporting its three digital terrestrial channels – ONE, 10 and 11 – as well as major programme franchises like Masterchef and Biggest Loser.

“Ten.com.au is our major site and it provides extensions online for the main broadcast channel. It provides viewers with the ability to interact and engage in a deeper manner with their shows,” says Vincent Dempsey, Head of Product for Digital Media at TEN. “So, they can get information around talent, around what the show’s about, about the next episodes coming up. It also offers full TV guides, trivia.

“We also operate a significantly large forum discussion area where we have community moderators who actually discuss major shows that are on the network. And that is moving into the world of social networking as well.

“Our shows lend themselves well towards social networking. Glee is extremely popular here with certain age groups. They are passionate, they love talking about it between each other and they’ll take any advantage they can to make that happen.

“We offer full episode catch up for over 60 shows at any one time. That’s been very successful. We relaunched our watch TV section site last year and saw a significant increase in traffic due to that.

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“We found that what people are looking for is not just behind-the-scenes, but in depth interviews with the stars. Understanding how the show is made and really getting involved in those shows. We started our TEN news content there as well.

“It sounds like not a huge thing to do, but we do a lot of competitions. And those competitions are allowing people to really get involved with the shows as well. For example, last year we did a win a walk on part for Glee in the US. So, again, it’s providing those fans opportunities to get involved.

From a Facebook and Twitter perspective, Dempsey says TEN has been heavily involved in social networking – as a TV network.

“We’ve engaged it wholeheartedly,” he says.

“Across our network of social network sites, our fans number in the hundreds of thousands and they’re very, very active, as well as the people on our forums.

“We’re undertaking a ‘three-screens’ strategy within Network TEN as well. We just launched our mobile offering for iPhone in January. We’ve had downloads in the hundreds of thousands in the first month of availability. So, really we have engaged across multiple platforms and we will grow that.”

Among new platforms in the TEN stable is the new digital terrestrial channel, 11. Launched in January, the network’s plan from the start was that it be supported by a strong online offering.

“We provide entertainment, news and gossip around the shows that are on air,” says Dempsey.

“These are first-run, high quality shows like Supernatural, Smallville. They have great cult followings and are really engaging from a user perspective. We provide

full episodes for that content online as well, but we also provide music and interviews for those shows, too.

“We’ve gone one step further from a social networking perspective on 11, and we were looking for a core difference >> >> Vincent Dempsey, Head of Product for Digital here versus the Media at TEN. other multi-channels, like Go and 7Mate. We realised the channel was targeted at a young demographic, and we know that social networking is vitally important to those people.

“What we’ve done is we’ve created a social networking hub, and we’ve created a platform called Show Chat, which allows all of the social networking chatter around those shows to be serviced on the Eleven website.

“It pulls in from Twitter, it pulls in from Facebook and pulls in from our forums as well. So, the conversation can happen on our site and you can have multiple social networks going at once.

“We actually put the tweets on air. So, during the afternoon, we have a segment called Couch Time, where we have talent who introduce the shows in the afternoon and early evening. They create conversations around the shows. They request people to actually respond via Twitter, via Facebook and we drive conversation around the talent on the shows

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Broadband & IPTV

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HAIVISION UNVEILS NEW H.264 APPLIANCE

and around what’s happening in the storyline.

“That’s been really successful and the reason that’s been successful, it’s the 15 seconds of fame that these people can get. They get to have their tweet on air, and as soon as they get their tweet on air you see it going crazy on the web and also through Twitter, telling their friends about it. So, a really strong extension across those screens. A mobile offering is available there and that offering is similar to the Network 10 application.”

Ten also caters to the sporting fan online through onehd.com.au, the website extension of the ONE free-to-air sports channel.

“It offers everything from all major codes, including codes that we as a network cover,” says Dempsey, “like NFL, NBA, major league baseball and also UFC. We offer latest news scores results.

“We focus very much on video. We leveraged the resources of the TEN news capability and also ONE to really provide a rich video model for our visitors. We’re also heavily involved in allowing citizen journalism to occur.

“So, I think, across the three channels, it’s a very comprehensive differentiated offering.”

TEN has also moved aggressively into online extensions for some of its programme franchises, often replicating the successes of the broadcast format.

“If you look at Masterchef,” says Vincent Dempsey, “it was a huge success on air. It was equally as big a success online. We had well over 30 million video views for the series with dwell times of over 20 minutes for those sessions. Across Biggest Loser and across Masterchef, we really try and provide the viewer with the ability to go deeper and connect in a deeper manner with the fans.

“We provide full catch-up TV for the service, and behind-the-scenes video has proved very popular.

With Biggest Loser; we’re about to launch webisodes, for the nights that the show’s not on air.

“We offer large social networking presence there, we offer deeper engagement around the show structure. So, for example, with Masterchef people go to the site, download the recipes and attempt to make some of those dishes. From a Biggest Loser perspective, we offer a significant amount of content around health and fitness and so on as well.”

According to the TEN Head of Product for Digital Media, “It’s vitally important as networks that we ensure that our shows are available across multiple platforms.

“We maximise the number of eyeballs and really

60 Broadband & IPTV

leverage that when they want it, where they want it from a consumer perspective.

We want to make sure we leverage the current assets. We’ve got a lot of content, but whether it’s back catalogue or whether it’s new content, it’s important that we monetise those.

“I think it’s very important that as an online offering from a TV network, we’re no longer working in the linear model. I talked to the guys back in the broadcast business around the fact that at any one time I have 60 shows running in parallel as opposed to one show going out on the network. What we’re looking to do as well is invest in other content that may complement that. So while you’re on watching a TV show online, there are other shows that you may be interested in watching as well. They may not be on air, but these are opportunities we need to investigate.

According to Dempsey, watching TV is no longer watching TV. “It’s actually using multiple devices in that model,” he says. “This whole environment is creating new competitors. We think of competitors traditionally from a free-to-air perspective as the other free-to-air networks. However, we’re actually way beyond that, it’s growing on a daily basis. YouTube has been a phenomenal success. However, it’s known as the home of online short-form video, or not to be rude, but cats on skateboards type of video.

“That’s obviously got a market, but viewers are looking for long-form content and we’ve got an opportunity to make that happen.

Citing the fact that the Network tries to ensure it screens current season programmes soon after they air in the U.S. or other home markets, Dempsey says, “We’ve also, as networks, got to ensure that we provide timely and quality content to our viewers.

What we’re trying to do here is say, ‘don’t go download Glee’. We’re bringing it to the market quickly and THEN putting it online. We’re offering it free, so they’re able to watch their favourite shows with an advertising model, there’s no barrier to entry for that, and we’re offering it in quality that’s guaranteed. We make sure we offer it so they can watch it as best as possible.

NAB 2011 will see Haivision unveil its fifthgeneration compact H.264 appliance, a platform that enables simple multistream content capture, streaming, and rebroadcast regardless of network capabilities. Based on Haivision’s H.264 technology, this new appliance from Haivision combines real-time encoding, high performance storage, and abundant processing power with simple, task oriented user controls for recording, and automated publishing of multistream content.

Haivision will be demonstrating the evolution of its Furnace IP video distribution system. Furnace 6.0, with enhanced workflow and a new InStream player, now supports MultiStream, the ability to record, distribute, and playback multiple synchronised HD H.264 media streams. Furnace 6.0 with MultiStream enables users to record in presentation environments,

with both the speaker and any computer content streamed and captured simultaneously at full frame rate, in high-definition (HD)/high resolution, and in real time. With Furnace 6.0, applying real-time metadata and automatically publishing multistream content to authorised users is simple with new and optimised recording workflows. Furnace 6.0 can also be extended to capture more than two media streams, making it ideal for recording and reviewing simulations and events with HD video sources.

Also at the Show will be the Makito Air, a ruggedised version engineered for airborne video and ideal for military, security, and law enforcement applications.

Haivision’s Makito H.264 decoder offers extreme low-latency decoding with less than 70 milliseconds of latency at video resolutions of up to 1080p60.

Visit www.haivision.com

WOWZA MEDIA SERVER 2

Dempsey also stresses the importance of strong cross-promotion across a network’s platforms.

“It sounds strange to say that you’ve got to make people aware of all this content. We are TV stations, we’re good at that. But, our new viewers don’t always live or consume the media, our media in the same way or they’re not living in the same sort of media world.

“We’ve got above the line campaigns which run on air, but also at the end of each show we have call to actions about catch up TV. We run display media campaigns across our network of sites and other sites as well to make other people aware of the fact that these shows are online and available.

“We heavily engage in search engine marketing. The places that people come from to find our content vary, it’s huge. We need to be able to allow them to find the content and get them to ten.com.au, or Eleven or OneHD through search engine marketing.

“We’re also not only using social networking as a way to engage and start conversation, but also as a way to advertise. It’s extremely effective. When you look at the number of click throughs and the cost per click and so on from places like Facebook, it’s a very, very useful and cost effective model.”

Dempsey’s view is that the TV industry will have to become more and more one-on-one rather than one-to-many.

“Digital or online is not a threat for TV networks,” he says. “It’s an opportunity.

“If you look at Google, if you look at the analytics that they do on their users, they know everything about who’s there. It’s important for us to do the same thing.

“But, the final thing is content, content, content!

Consumers seek engaging content. Being a pipe is not just important enough, you’ve got to have that content.”

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Wowza Media Systems offers a unified, any-screen media delivery solution with multiplatform flexibility, reliability, scalability, and extensibility. Wowza Media Systems powers some 70,000 licensees worldwide.

At the 2011 NAB Show, Wowza Media Systems will celebrate four years of its server’s success by introducing technology that will change the way adaptive multi-bitrate streaming is delivered.

Wowza Media Server 2 unifies delivery of live and on-demand video and audio streams to multiple clients and devices. It extends the reach of content to

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any platform and any screen, encompassing Flash, Silverlight, QuickTime, IPTV set-top boxes, gaming consoles, as well as mobile devices like Apple iPhone and iPad, Android, and Blackberry.

Wowza Media Server 2 makes it easy and affordable to deliver a high volume of audio and video content over IP networks, either public or private, to desktop/laptop computers (Web TV), mobile phones/tablets (mobile TV), or IP set-top boxes (IPTV).

Visit www.wowzamedia.com

ACMA RELEASES FIVE-YEAR SPECTRUM OUTLOOK FOR 2011-2015 Assisting the government to achieve digital switchover, delivering key projects to address ongoing spectrum demand, and planning for new services have been identified as key tasks in the Australian Communications and Media Authority’s key spectrum management roadmap, the Five-year spectrum outlook 2011-2015, published.

Now in its third edition, the Outlook sets out the ACMA’s annual assessment of existing and future demand for spectrum and its work plan for managing spectrum from 2011 to 2015.

“The breadth of the work plan reflects the reality that managing the high demand for spectrum and the supporting regulatory framework required is a complex challenge – even more so with rapid changes in technology and Australia’s appetite for high data services increases,” said ACMA Chairman, Chris Chapman.

Projects identified in the work plan include: – The progression of review outcomes for the 2.5 GHz and 400 MHz bands – Service planning for smart infrastructure and mobile broadband services – Review of the 900 MHz band Continuing work on digital switchover, restack and allocation – Consideration of future for Earth station siting.

Visit www.acma.gov.au

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Audio

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AUDIO

RTS Telex Has Nine Network Talking AUSTRALIA’S NINE NETWORK

has made two significant RTS Telex Talkback purchases from Magna Systems and Engineering for the GTV9 Melbourne studio relocation and Sydney-based National Play-out Centre build.

For the GTV-9 relocation the system was based around some of RTS Telex’s latest products including a 132×132 ADAM matrix, KP32 panels, TIF 2000A Telephone Hybrid interfaces, 16-channel VOIP card kits, PAP32 panels and LCP 102 Level Control Panels.

Magna Systems Product Specialist Lucas Bohm said, “Despite its considerable size, the system design and delivery requirements were all met without issue.

This included having to provide kit and cabling that would work over two levels connected by cutting through high ceilings. The system was designed to be very flexible removing the need for specific cards to perform most job functions.”

The second major Nine Network installation was the new build of its Sydney-based flagship National Play-out Centre. Again based around a Telex 132×132 ADAM matrix the National Playout Centre system also includes KP12 panels, KP32 panels, PAP32 panels, RVON-16 16 channel VOIP

>> >> Jason Pendleton, Engineering Manager of GTV-9, Melbourne.

card kits and TIF 2000A Telephone Hybrid interfaces.

Lucas Bohm explains, “The National Playout Centre is now the major playout hub for the Nine Network and thus the RVON (Request to Send Voice Over Network) connectivity over IP was critical in its role within the overall design. Nine have now implemented RVON nationally via IP so all their facilities can communicate directly. The National Playout Centre receives information and communications from all the Nine broadcast locations across the country and distributes it accordingly.”

Jason Pendleton, Engineering Manager of GTV-9,

TEN Goes MADI Over RTS Also tuning into RTS Telex is Australia’s Network TEN which has taken delivery of the first MADI-16 Plus card available in Australia, also from Magna Systems and Engineering.

Magna Systems Product Specialist Lucas Bohm said, “The market has been waiting for the MADI16 Plus card for some time and Channel TEN had the foresight to order the first one before they had even started shipping. The reason that the MADI-16 Plus card is so unique is that it expands the Telex

ADAM talkback system configuration capabilities by utilizing MADI (Multichannel Audio Digital Interface) technology to connect any AES-10 compliant devices over coaxial or fibre connections at sampling rates of 44.1kHz and 48kHz. The MADI-16 Plus also has a point-to-point configuration which provides for little or no delay in the transmission of audio across lines.”

The MADI-16 Plus is fully scalable allowing 16 to 64 channels of audio in and audio out and supports all standard, hot-swappable and configurable

says, “Nine have a long history with RTS Telex dating back to early Nine outside broadcast trucks where we started off using the CS9500 frames and KP95 key panels which in those days was considered cutting edge, fitting into a 50-port matrix. With the ADAM frame purchased for Melbourne I find us populating 160 ports and 128 at the Playout Centre and still looking to take advantage of the RTS high density ADAM frames that allow up to 272 ports in a single system.

“In my opinion RTS Telex continues to be the leader in large format communications matrices and will serve the Nine Network well into the future under the support of the team at Magna Systems. Now that all of our sites are RTS Telex we can look to centralising from our Network Playout Centre in Sydney and taking advantage of the intelligent trunking systems using VOIP connectivity. Our outside broadcast partner, Global TV, also offer us an RTS Telex solution and via RVON systems over Telstra’s BDSL Network, connect Nine Sports and Entertainment’s contribution to the Playout Centre.”

Visit www.magnasys.tv

features through RTS’ AZedit configuration software.

Bohm continued, “The MADI-16 Plus card also allows for fibre connections that offer single and multiple mode connection with a range of up to 15km between intercom frames, has RS232/485 via an RJ45 serial connection for a serial pass-through port connection and installs easily in any available slot in an RTS Telex ADAM Intercom/Talkback System.”

Visit www.magnasys.tv

Australia’s Network TEN created a new audio postproduction studio for its new channel ‘ELEVEN’. The centrepiece is a brand new Fairlight EVO console.

TEN has an automated file based workflow based on AVID ISIS and Ardendo MAM. Central to the decision to go Fairlight was the ability to seamlessly handle the MXF file traffic. The studio will handle around 30-40 promos a day, each with multiple versions, and the EVO’s intuitive Xynergi controller will enable the high volume of editing and mixing.

“Fairlight is extremely happy to welcome Network TEN to the growing number of broadcasters around

62 Audio

the world choosing Fairlight technology for their HD studios,” commented Fairlight’s Product Support Director, Joe Hammer who has worked closely with TEN’s audio department to specify and deliver the console.

“The launch of the latest free-to-air channel ‘ELEVEN’ saw the requirement for additional audio post facilities that were both flexible and stable but could also seamlessly integrate into our existing production systems. After extensive technical and operational evaluation the EVO proved to be successful on all fronts particularly from a speed of

workflow and user interface perspective,” says Lee Elsdon, Network TEN’s Supervising Audio Director.

Visit www.fairlight.com.au and www.gencom.com

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© 2011 Linear Acoustic Inc. All Rights Reserved.

TEN Turns Fairlight up to Eleven

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

Audio

TC ELECTRONIC’S LOUDNESS METERS, BROADCAST PROCESSORS NAB 2011 will see TC Electronic exhibit its precision loudness meter range, as well as a number of professional broadcasting processors that take broadcast audio to a new level.

Radar Meter provides a standardised, precise and clear presentation of any audio signal. This meter comes standard with several TC Electronic broadcast units such as the rack-mountable, stereo loudness meter, LM2, and the brand new DB4 MKII and DB8 MKII broadcasting processors. For a more handson experience, the Radar Meter is an expansion option for TC TouchMonitors, TM7 and TM9, which

deliver the ultimate audio overview on either a 7” or a 9” touch screen. Radar Meter is also an optional algorithm for System 6000 MKII. The DB4 MKII and DB8 MKII broadcast processors conform to new EBU, ATSC and ITU Loudness and True-peak level standards across all platforms and all formats. The new MKII versions feature EBU R128 and ATSC A/85 compliant LM6 Loudness Meters, new SNMP functions and one week of detailed logging. Further, with several thousand units operating constantly and globally, there is plenty of proof that the original DB4 and DB8 processors rarely fail. The

MKII versions increase this stability by doubling up on the power supply, fuses, mains inlets and the Swissmade Papst fans.

The System 6000 MKII is a processor capable of pristinely handling any signal. Each of its four engines may be used for loudness and dynamics processing, reverb and effects processing, loudness and truepeak metering, format conversion and pitch change.

One or more System 6000 MKII frames may be controlled from a TC Icon touch screen and motorised fader remote, and from a Mac or a PC. Visit www. tcelectronic.com/

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

EYEHEIGHT AUDIO PLUG-INS FOR MAC At NAB, Eyeheight will feature KARMAudioAU, a new plug-in for the Apple Mac Final Cut & Soundtrack Pro that performs offline scaling of an entire program file to match audio loudness to a target LKFS level. KARMAudioAU also performs an 8x oversampling true-peak analysis and corrects for true-peak overshoots.

KARMAudioAS is a new plug-in for Avid Media Composer and Pro Tools that performs offline scaling of an entire program file to match audio loudness to a target LKFS level. KARMAudioAS also performs an 8x oversampling true-peak analysis and corrects for true-peak overshoots.

Eyeheight’s KA-2 Loudness processor with

KARMAudioRT is a hardware solution based on a geNETics processor that allows real-time, unattended adaptive loudness and true-peak correction of stereo, 5.1 surround, dual stereo or dual 5.1 surround audio.

KARMAudioRT monitors the amplitude of incoming audio and makes gradual adjustments to ensure that content complies with predefined loudness targets.

LE-2-K Video Legalizer with KARMAudioRT loudness processing combines Eyeheight’s composite, RGB and composite + RGB legaliser functionality with KARMAudioRT real-time, unattended adaptive loudness and true-peak correction of stereo or 5.1 surround audio in a single card. complianceSuiteMC is a new suite of plug-ins for

Avid Media Composer, which provide advance video legalisation and graphics compliance tools. legalEyesMC provides composite, RGB and composite + RGB legalisation with support for NTSC (7.5 or 0 IRE setup) and PAL composite colour spaces and Eyeheight’s clobbeRing overshoot suppression technology, which proactively reduces technical rejections. safeEyesMC provides comprehensive graticule support including the latest SMPTE, ARIB, EBU and ITU-R requirements including those for 14:9.

Visit www.eyeheight.com

EMOTION WORKFLOW

SOUND DEVICES LAUNCHES CL-WIFI

Digital workflow experts Emotion Systems is featuring EFF (Emotion File Finish), a software application that automatically analyses and fixes audio loudness violations in filebased media. EFF automatically remedies audio loudness violations in file-based media to ensure compliance with the latest ITU-R BS.1770, BS.1771, and EBU R128 standards. EFF ensures that users make the right decisions to resolve audio level problems by efficiently analysing file-based media and utilising accurate modelling of analogue Peak Program Meters (PPMs) and loudness detection parameters.

Visit www.emotion-systems.com

At NAB Sound Devices will introduce the latest hardware accessory for its best-selling 788T Digital Recorders, the new CL-WIFI, at NAB. The CL-WIFI allows users to control the already powerful 788T from anywhere on set.

The CL-WIFI works together with its companion iOS software app to allow iPads, iPhones and iPod Touches to control a connected 788T. The CLWIFI turns an iOS device into a simple, portable control surface that allows a sound mixer to move around on set, away from the sound cart, yet still have extensive control and monitoring of their 788T recording system.

The hardware CL-WIFI is a Wi-Fi access

point, when the iOS device connects to it over Wi-Fi. The CL-WIFI app then uses the Wi-Fi connection to communicate with the 788T. The iOS app controls metering of 788T input and track levels, time code, file length, frame rate display and record start/stop control input-to-track routing enabling take list and take name editing.

Sound Devices’ 788T digital audio recorder is designed specifically for multi-track, on-location productions, and features a significant expansion of input and output capability with eight fullfeatured microphone inputs and 12 tracks of recording.

Visit www.sounddevices.com

2RU AUDIO PROCESSOR

TSL LAUNCHES INTEGRATED AUDIO MONITORING SYSTEM

Linear Acoustic’s 2RU version of the TV audio processor AERO.air has reduced size and weight from the 3RU unit. Its key features will be standard on 2011 versions.

The AERO.air deals with the “commercial loudness problem” and offers more features in a lighter 2RU chassis. Many optional upgrades on last year’s model are now standard features. HD/SD-SDI I/O allows for de-embedding and re-embedding up to 16 channels of audio plus SMPTE 2020 (VANC) metadata.

Visit www.linearacoustic.com

TSL operates two separate businesses – an international, independent broadcast systems integrator and a Professional Products Group that designs, manufactures and sells worldwide a range of TSL-branded products.

TSL Professional Products at NAB 2011 include: TSL has launched PAM2i-C. A member of the PAM (Precision Audio Monitor) family, PAM2i-C utilises TSL’s PAM2-3G16 and adds external screen monitoring capability, IT network integration and advanced signal management functionality such as Loudness Logging, Audio Alarm reporting and 3rd party system control.

PAM2i-C forms part of an integrated facility wide audio monitoring and management system collecting and collating signal data from Ingest, Master Control, QC and any other critical element of the broadcast workflow.

Visit www.tsl.co.uk

Introducing

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

A TELOS COMPANY

AxiaAudio.com/iQ/

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64 Audio

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Audio

Audio

LOUDNESS METERING WILL BE DK’S NAB FOCUS DK-Technologies will highlight the numerous audio and video metering products in its range that are compliant with ATSC recommendations, as well as the European EBU R128 and ITU BS1770/1771 recommendations.

The company is also promoting a free software update offer to all customers with a MSD or PT0 600 series audio meter, which will enable them to use the new recommendations. All new MSD and PT0 600 series meters will automatically have these specifications included, allowing customers access to use both ATSC and EBUR128 recommendations.

DK-Technologies will also be showing a number of new innovations to its range of metering and monitoring products.

These include the PT0700R Client Panel - a remote unit for the PT0760M HD/SD Multi-channel Video Waveform Monitor. This product is aimed at broadcast engineers who want to access the facilities of the PT0760M (and the entry level PT0710M) from an entirely different location. With the Client Panel in place, an engineer in one location can see exactly the same audio and video display as the engineer in the Master Control Room – and can access all the facilities of the PT0760M without interrupting its use at the master location.

Both the PT0760M and the PT0700R display can be independently controlled, allowing for either identical or individual display of video and/or audio signals at both locations.

Visit www.dk-technologies.com

SOLID STATE LOGIC RELEASE DUENDE NATIVE PLUG-IN

MICROMEDIA AG BECOMES AXIA PARTNER

Solid State Logic, manufacturer of professional Swiss-based Micromedia AG, technology digital and analogue consoles, has announced the and engineering provider for radio and TV release of Duende Native. Duende Native plug-ins broadcasters in Europe and Africa, is the newest are functionally and sonically identical to the highly technology company to adopt the Axia Livewire acclaimed, but now discontinued DSP powered standard. Livewire is the IP-Audio networking Duende plug-ins, but they run natively using the host standard that utilises Ethernet to provide an easy computer’s processing resources. way to route and share audio and logic throughout The Duende Native Plug-in suite is a collection of the broadcast plant. audio processing tools that bring professional audio As an Axia Partner, Micromedia will offer their quality, sophistication and benchmark performance clients software solutions that integrate the Axia IPwithin reach of all DAW users. Duende plug-ins Audio Driver with their own Digimedia Professional provide the superior precision, advanced feature set content delivery software. Micromedia will also be and legendary tonal characteristics of SSL console able to provide broadcasters with integration services products in affordable VST/AU/RTAS plug-in form. that include complete Axia AoIP console + routing The foundations of the Duende Native collection networks. are plug-in adaptations of two SSL console classics: Micromedia AG joins the growing list of Axia the EQ & Dynamics Channel plug-in provides an EQ partners offering products that integrate with Axia IP& Dynamics processing solution with all the power, Audio networks. Axia products include the popular precision, flexibility and signature tone of an SSL Element 2.0 modular broadcast console, an IP-Audio console channel strip, and the legendary Stereo Driver that allows PCs to exchange audio directly Bus Compressor plug-in gives the classic SSL stereo with Livewire networks via NIC, the PowerStation master bus compressor that brings power and punch integrated console engine, the IP-Intercom system, a to your mix without compromising clarity. family of “audio nodes” that allow easy mixing and All Duende Native Plug-ins are available for a free, matching of digital, analogue and microphone audio, fully functional initial 30-day demo and for ongoing and a comprehensive suite of network administration periodic free demos. and routing control software.

Visit www.solidstatelogic.com/duende Visit www.micromedia.ch www.AxiaAudio.com/ CT_mar11_TAP_4c_DDplus_R128_awards_215_65_5bleed.pdf 25.02.2011 17:47:20 www.lawo.de/en/home.html partners/

LAS VEGAS WILL SEE MC² CONSOLES ALSO WITH LOUDNESS METERING Loudness metering, the latest feature of Lawo mc² consoles, will be demonstrated at the company’s booth at the NAB show this year.

Following EBU R128 and ATSC A/85 specifications, and based on ITU1770, the mc² series will feature loudness metering for every channel. The metering is shown in the Channel Display and the GUI Main Display; a permanent display of the integrated measurements is provided within the GUI. Additionally, visitors to the company’s NAB booth will be able to familiarise themselves with Lawo’s V4.12 software release, which will be demonstrated on the mc²66 MKII and the mc²90 consoles. This new software release provides many new features such as AMBIT – the powerful DSP module that facilitates the upmix of stereo sources to fully-fledged surround signals. For hands-on experience, a mc²56 mixing system will be set up on the Lawo booth.

Lawo will also introduce the Lawo Remote App at this year’s convention.

This application for the iPhone, iPad and iPod Touch can remote control faders, load snapshots and trigger many custom functions such as ‘Routing Connects’ or GPIs. Furthermore, the iPhone can become an additional user panel for Nova73 HD routing systems and mc² consoles.

The high-performance Nova73 HD router, with a capacity of 8192² I/O and fully redundant design, will also be on show.

The Nova73 HD router’s mxGUI software fully supports users in signal distribution and control.

The new 4.12 software release provides access to the router Lawo’s Remote App, and enables user buttons to be easily configured.

Lawo’s crystal console, designed for onair radio and edit suite applications, will be shown at Las Vegas in its 8-fader version.

Visit www.lawo.de/en/home.html

TM

• Level Magic Loudness Control • 5.1 Surround Upmix • ATSC A/85 / CALM • EBU R128 • SDI Embedded Audio • Dolby® Digital+ and Dolby® Digital incl. Metadata Management

Television Audio Processor www.junger-audio.com 66 Audio

www.jungeraudioasia.com

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T*AP > NAB 2011, C6742

TC GROUP JOINS AVNU ALLIANCE TC Group - parent company of audio manufacturing brands TC Electronic, Tannoy, Lab.gruppen, Lake and TC Helicon - announced at the opening of Integrated Systems Europe 2011 that it is to become part of the AVnu Alliance, the industry forum dedicated to the establishment and promotion of the IEEE 802.1 Audio/ Video Bridging (AVB) open network standard. As TC Group is a major player in key sectors of the pro audio market, the move adds further momentum and specific market and technological expertise to the efforts in establishing AVB as the preferred Ethernet-based audio and video networking environment for next generation products.

Interoperability has long been a key consideration for the group, as it strives to align its diverse portfolio of audio products, with the objective of offering the customer ease of integration and complete system compatibility. TC Group is fully supportive of the move towards IEEE 802.1, stating that the establishment of AVB as the leading open standard will benefit customers, manufacturers and the industry as a whole by providing a level playing field for future product development while giving end users greater confidence in, and choice of, network-compatible devices.

TC Group sees networked audio as a critical issue in pro audio - in both the install and tour world - and has already utilised digital audio networking across multiple branded components, such as the implementation of established Ethernetbased protocols in Lab.gruppen’s PLM Series and Lake’s LM 26. Development of technologies intended to be in line with proposed AVB standards is already being carried out by the group’s specialist division TC Applied Technologies and this formal announcement by TC Group to join AVnu Alliance goes some way to underlining those advances.

Visit www.tcelectronic.com/

The MKE1 Whether for musicians, live shows or broadcasting applications, the MKE 1 clip-on microphone performs in any situation.

Ideally suited in situations when the microphone needs to be virtually invisible but still be able to deliver 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 up what it is meant to pick up - perfect sound. The MKE 1 is robust in every respect.

DAYSEQUERRA INTRODUCES MOBILE MEDIA LOUDNESS PROCESSOR DaySequerra, DTS hardware and audio partner, will introduce a mobile media DTV loudness processor at the NAB Show in Las Vegas.

Mobile handheld device speakers and ear buds have a limited dynamic range over a narrow frequency band. This combined with noisy listening environments compromise the quality and intelligibility of the audio content streamed to handheld mobile devices. The DaySequerra M2DTV Mobile Media loudness processor has been optimised to keep dialogue intelligible without users constantly adjusting their volume control, even in noisy environments.

The M2DTV has 5.1 surround, stereo and EAS inputs, and features the industryproven DTS Surround Sound DownMix along with two codec pre-processing channels. Each channel is optimised for HE AAC v2 operation at 24 kbps, 32 kbps, 48 kbps and 64 kbps to reduce artifacts from lossy compression and lowbit rate transmissions. The M2DTV uses a proprietary perceptual loudness model to provide accurate loudness measurements and look-ahead technology to make large gain corrections imperceptible to viewers.

Visit www.daysequerra.com

JÜNGER’S HIGH PERFORMANCE PROCESSING Dynamics processing specialist Jünger Audio will be showing a number of new products at NAB, including an updated version of its B46 LEVEL MAGIC digital dynamics processor and new software to enable broadcasters to log loudness levels.

The stand-alone B46 processor is a professional non-destructive normaliser that performs automated levelling of digital audio signals. The unit integrates LEVEL MAGIC, Jünger Audio’s adaptive loudness algorithm based on a Multi-Loop dynamic range control principle where slow changes (AGC), fast changes (Transient processing) and Look Ahead peak limiting are handled simultaneously, thus offering level management with exceptionally high audio quality and without coloration, pumping, breathing, distortion or modulation effects.

This easy to use unit remains one of Jünger Audio’s most popular products thanks to its exceptional audio quality and its ‘set and forget’ operation. Now the company has added a web interface that allows users to operate the unit remotely from a host computer. It also has a new front panel design and is now compliant with all current loudness recommendations including ATSC, ITU and EBU R128.

Visit www.junger-audio.com

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Sennheiser Australia & New Zealand

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

Audio 67

Radio

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NEED the FEED >>

RADIO

Oz Parliament Switches on to DAB+ Digital Radio MARCH 1ST SAW

the Australian Minister for Broadband, Communications and the Digital Economy Senator Stephen Conroy officially switch on a system for the broadcast of DAB+ digital radio in Canberra’s Parliament House, allowing Federal politicians to experience first-hand the broadcast of 12 local stations on the DAB+ platform.

Government, Opposition and Independent MPs and Senators, plus digital radio manufacturers and retailers attended the official switch on function hosted by Commercial Radio Australia’s Board and commercial radio CEO’s and owners.

MC Neil Mitchell, of Melbourne’s 3AW, introduced Commercial Radio Australia CEO Joan Warner who spoke briefly, thanking the Government for support so far and reinforcing the radio industry’s desire to rollout digital radio throughout all of Australia.

Before pushing the button to begin the digital trial, Senator Conroy spoke of the success of digital radio in Sydney, Melbourne, Brisbane, Adelaide and Perth, mentioning more than 200,000 radios had been sold a year on from the August 2009 launch, time spent listening to radio via a DAB+ device has outstripped listening to radio on the internet by around 2 to 1, and 5% of all radio listening is now via a DAB+ device.

“Digital Radio has proven to be a popular option for radio listeners in mainland state capital cities,” Senator Conroy said. “Consideration of the complex policy and planning issues associated with the rollout of digital radio to regional areas is underway and the Government looks forward to working collaboratively with the radio industry to achieve the best outcome for regional radio audiences.”

All Members of Parliament and Senators were presented with a digital radio donated by digital radio manufacturers; Bush, Grundig, NextWave Digital, OXX Digital, Philips, Pure, Roberts, Sangean, Tangent and Teac.

“The radio industry believes that by transmitting the DAB+ trial signal into Parliament House and providing digital radios to all Members of Parliament and Senators, they will experience the benefits of digital radio and support the rollout of digital radio for all Australians,” said Ms Warner.

The Parliament House digital radio signal is a reboost of the Canberra regional trial that commenced on 22 July 2010. Reinforcement of the signal was required to navigate the manmade and natural

68 Radio

>> >>

Senator Stephen Conroy and Commercial Radio Australia CEO Joan Warner Turn Aussie politicians onto DAB+.

challenges of the unique Parliament House structure.

Commercial radio broadcasters, Capital Radio, ARN and Austereo; and public service broadcaster SBS, have jointly funded the trial.

Supporters include; broadcast transmission infrastructure company Broadcast Australia, and multiplex infrastructure providers and systems integrators UGL Infrastructure/Radioscape as well as digital radio receiver manufacturers; Bush, Grundig, NextWave Digital, OXX Digital, Philips, Pure, Roberts, Sangean, Tangent and Teac.

Stations available on the Canberra & Parliament House DAB+ digital radio trial include: • 2CA - Capital Radio Network • 2CC –Capital Radio Network • my Canberra Digital - Capital Radio Network • Hot Country Canberra Digital – Capital Radio Network • Mix 106.3 FM - Canberra FM (Austereo/ARN) • 104.7 FM - Canberra FM (Austereo/ARN) • Radar Radio (Austereo) • Classic Hits Plus (ARN) • SBS Radio 1 – News & Information Network • SBS Radio 2 - News & Information Network • SBS Pop Asia • SBS Chill Visit http://www.digitalradioplus.com.au

.

Regional Footprint Grows for Digital Radio Digital radio services are making inroads right throughout the Asia-Pacific with broadcasters embracing a variety of standards.

Beijing Jolon, the biggest local broadcaster in Beijing is continuing with its ‘Push Radio’ service based on DAB. Beijing Jolon broadcast 30 hours - or 25 program channels every day through Push Radio. 16 Audio programs are broadcast 15 times per day and downloaded onto receivers. Value added services such as news, data and slideshow have been provided into the Push Radio services. In Nov 2010, Beijing Jolon and Commercial Radio Australia agreed to develop ‘Push Radio’ applications based on DAB+.

In Vietnam, VTV has been broadcasting T-DMB services on air in Ho Chi Minh City since Dec 2010 with three transmitters covering the city area. VTV launched two TV channels and one radio DAB service in Hanoi at the beginning of 2010 and, by the end of 2010, had increased their services to six TV channels and one radio channel. There are currently three multiplexes in Hanoi.

In 2008, Korea’s Electronics and Telecommunications Research Institute (ETRI) performed a T-DMB Total Solution integration test with VTV. ETRI’s T-DMB Total Solution has been developed to provide a T-DMB pay service and includes CAS (Conditional Access System), MOS (Monitoring Operating System), CMS (Customer Management System), and BS (Billing System). VTV plans to draft a Memorandum Of Understanding with ETRI and launch a T-DMB commercial service in Hanoi in 2011. VTV is planning to apply for a new national licensee to carry out T-DMB services nationwide, which aims to cover 10 cities in Vietnam in the next two years.

In Hong Kong, DAB+ licences are going to tDBCHK (formerly Wave Media), Metro Broadcast and Phoenix U. The number of DAB+ channels to be broadcast is expected to be 7, 3, and 3 respectively.

RTHK will be allocated five channels, hence the total on Mux 11C in VHF Band III is 18.

RTHK will operate the network while capital costs will be shared among the four players.

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© 2010 TLS Corp. Omnia.11 is a trademark of TLS Corp. All rights reserved.

Radio

Radio

Tassie Stations Come Home with BE and Lumina DECEMBER SAW

Broadcast Electronics (BE) cap off 2010 with the completion of an AudioVAULT project that restored six Tasmania stations to their local markets after 13 years in exile as part of a larger broadcast network.

The long journey home started more than a year earlier, when Tasmanian Broadcasters acquired AM 7AD and Sea-FM licensed to Devonport, AM 7BU and Sea-FM licensed to Burnie, and AM 7SD and Sea-FM licensed to Scottsdale, Tasmania.

More than a decade and two ownership changes ago, the three AMs and three FMs had been removed from their local communities and set down in a single shared studio facility in Launceston. The net effect was that local programming had all but vanished from Devonport, Burnie and Scottsdale in the name of efficiency with the stations reduced to little more than icons on a PC screen.

That was the status quo until Tasmanian Broadcasters took over the stations in 2009, moved them into a refurbished studio facility centrally located in Devonport, and brought in a Broadcast Electronics AudioVAULT digital studio system to reintroduce local programming.

The plan was to continue sharing resources where it made sense, but to re-establish local news, weather, and other programming that had been cut out 13 years prior.

Frank Massa of Broadcast Electronics, along with systems expert and BE representative Peter Warren of Lumina Broadcast Systems, Australia, were brought in to help re-establish the stations.

Both had worked with Tasmanian Broadcasters’ parent company, Grant Broadcasters, on similar projects. Grant Broadcasters has installed more than 40 AudioVAULT digital automation systems as one of the largest, most progressive proponents of local radio in Australia. The group wholly owns 29 commercial radio licenses in Australia, with an interest in 35 additional licenses and more than 50 narrowcast licenses.

Grant Broadcasters operates almost all its stations as fully autonomous entities serving their markets of license – even extending that same philosophy to its translators in some cases.

Previously, Massa, Warren and Grant Broadcasters’ Group Engineering Manager John Sandles had configured the AudioVAULT system for a variety of music, talent and individual market needs.

In the case of the six stations in northwest Tasmania, they set up one main ingestion point for centralized music archiving and access - the network efficiency part of their plan.

They then set up dedicated AudioVAULT workstations with local storage and separate libraries for each station - the local part they wanted to reintroduce.

70 Radio

MY105FM selects WideOrbit Automation My105FM, a community radio station based in Mackay, Qld, has recently purchased WO Automation for Radio, the industry’s leading radio automation system by WideOrbit.

To be supplied and installed by local distributor Techtel, the system is set to revolutionise on-air operations at the station as it drives studio efficiencies and functionality to new heights combining unsurpassed power with unrivalled ease of use.

Further benefits were recognised by My105FM due to the seamless integration between WO Automation for Radio and the Axia digital audio equipment they plan to upgrade to next year.

“Besides the obvious appeal of the GUI, the audio importing and distribution facilities in the system will result in less work for station personnel,” commented Techtel Radio Specialist, Greg Altena.

“The Remote Voice Tracking facilities and web based tools approach of the software allows for far greater freedom to decide where and when certain tasks are performed”.

My105FM provides an important voice to Mackay’s indigenous population and others in the community, addressing issues relevant to the local area and its people. As a not-forprofit organisation it is important that the station is able to operate

Commercial Radio Revenue Up

But, getting the two to coexist – local and network operation – required a little more out of the average automation system. Although the plan was for all six stations to produce local content with little to no advertising in common, they needed to share some programming.

Examples include a live morning show shared by the three FMs and another morning show shared by all three AMs. The automation system needed to be able to precisely insert spots specific to each of the three markets, or in some cases to just an AM or FM, similar to a syndicated network operation. An occasional voicetrack originating from a remote location added even more complexity to the operation.

The AudioVAULT’s flexible set up and operation were put to the test once more and succeeded brilliantly with the completion of the entire project in a little over seven weeks.

In that time, the group rebuilt three new on-air studios, starting with initial planning and arriving at full on-air operation for six independently networked stations.

“The way we’ve configured the AudioVAULT is sort of unique,” explains Sandles. “We can at any time insert a local break into that local market, even in a live studio.

For example, we’ll have a news bulletin that will go to all three stations, and when you switch to the weather, there can be three voice-tracks for each separate market. Then, later in the hour we may have two or three voice-tracks that are common to all stations, and another that is specific to that market.

AudioVAULT keeps track of it all and provides for a good level of efficiency.”

Part of AudioVAULT’s flexibility is its ability to schedule based on triggered or timed events well in advance of air but with override controls that make it

possible to instantly drop in liners, retrieve audio files and make changes minutes before air.

For example, predefined quick-start buttons enable operators to instantly audition audio, position phoners, add in sound effects, and so forth.

In addition, the system runs background tasks such as replicating logs and coordinating event timers between workstations to make 24/7 local production even more goof-proof.

With local announcers producing a wide variety of content almost 24/7 for their markets, most workstations also have a full suite of AudioVAULT production tools capable of downloading, ripping and editing audio.

As for network efficiency, they use AudioVAULT’s FTP tool over IP to shuttle newscasts produced locally at one station but of equal significance to one or more of the six other stations.

With eight AudioVAULT workstations operating independently yet networked together for sharing resources between all six stations, the group signed on with local programming on December 9. A few weeks later, Tasmanian Broadcasters duplicated its success in Devonport and converted its Launceston studio for an existing FM and a new FM license in the area, again with AudioVAULT at the center of operation.

“Today is a very exciting day for our teams on the north-west coast,” said Tasmanian Broadcasters’ General Manager Sylvia Sayers, who is responsible for the group’s stations in the northern region.

“7BU-7AD-7SD Classic Hits Tasmania and Sea-FM Northern Tasmania are iconic brands that have been part of their local communities for a number of years and it’s fantastic to see programming come home to the north-west coast.”

Visit www.luminabsa.com and www.bdcast.com

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Australia’s commercial radio industry saw a 2.61 per cent rise in advertising revenue in January compared to the same month last year, according to figures released recently by Commercial Radio Australia.

Ad revenue rose to a total of A$44.75 million (US$45 million) across the five major metropolitan markets for the month.

According to the 2011 Metropolitan Commercial Radio Advertising Revenue, as sourced by Deloitte, advertising revenue grew in all five metropolitan markets in January with the strongest growth recorded in Brisbane.

Brisbane grew 4.29 per cent to a total of A$7.41 million; Perth grew by 3.72 per cent to a total of A$6.52 million; Sydney was up 2.6 per cent to A$13.71 million; Adelaide grew 2.17 per cent to A$4.16 million and Melbourne was up 1.29 per cent to a total of A$12.94 million.

efficiently and make the most of its small network of volunteer staff. “We’re really excited about getting the system on air and we already have plans to expand the automation system across four studios in Mackay and a remote studio in Prosperine within the next 18 months,” says General Manager at My105FM, Stephan Kent. “The easy-to-use interface will be a massive hit amongst the team and we’re generally just looking forward to operating a more efficient and productive radio station with WideOrbit.”

Visit www.wideorbit.com www.my105fm.com www.techtel.com.au

Austereo Picks Nautel

Austereo has taken delivery of four Nautel NV10 FM transmitters for installation at their Melbourne and Perth sites. Matt Steadman, Austereo’s National Broadcast Technology Manager, stated: “Austereo commenced a project to replace some of our high-power FM transmitters across the country. We have selected the Nautel NV series to become our new transmission workhorse – [it] has a very small physical footprint, and Nautel’s long-standing commitment to provide after-sales support for all current and past products gives us great peace of mind. Most importantly, the reliability of Nautel’s transmitters is very well known in the broadcast industry.” Innes Corporation’s General Manager Deborah Ford, says: “The NV series is cost effective and robust.”

Visit www.austereo.com.au/ www.nautel.com/ www.innescorp.com.au/ about.asp

APT | Audemat | Arctic Palm Kintronic Labs | Belar | Dielectric Exir Broadcasting | Meinberg Ariane | UBS 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.

Don’t hesitate to contact OnAir Solutions with your enquiry BACK TO CONTENTS PAGE

Phone +61 2 8882 7766

Email sales@onair.com.au

www.onair.com.au

Radio 71

Transmission

Transmission

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NEED the FEED >>

transmission

HARRIS TRANSMISSION CHAIN IN TRAIN AT NAB

SIGNAL DISTRIBUTION, TEST & MEASUREMENT

DVB-T2 Trialled in Malaysia, Thailand A DVB-T2/MHEG trial and workshop was recently hekl with the cooperation of DVB, ABU, Rohde & Schwarz, S&T, Media Broadcast GmbH, Broadcast Australia, state broadcaster RTM, Telekom Malaysia, the Malaysia Communication and Multimedia Commission, Strategy & Technology Limited, T-Vips AS and Digital TV Labs.

The workshop provided hands-on training on DVB-T2, including a comparison with DVB-T and included an MHEG application developed by Strategy & Technology Limited (S&T) for the test transmissions.

The DVB-T2 Test transmissions will run from 10am to 12pm and 3 to 5pm every day until 8 April 2011 and will give the Malaysian industry experience in DVB-T2 technology and enable receiver testing. This is the first such trial in the region.

Dr Peter Siebert, The Executive Director of DVB said, “This trial will give the opportunity for all broadcasters and the Broadcasting Industry in the Asia Pacific region to witness first hand the operation and performance of digital broadcasting technology.”

IMPALA, the International MHEG Promotion Alliance, said it was pleased that MHEG formed

a key part of the DVB-T2 technology workshop and transmission trial.

David Cutts, Founder Member of IMPALA and Managing Director of S&T, said “This is an important opportunity for broadcasters from across the region to see how efficient and effective both DVB-T2 and MHEG are. Of course, MHEG has already been successfully deployed in the region in Hong Kong and further south in Australia and New Zealand.

With an established supplier market and well developed conformance regime – plus the possibility of the MHEG Interaction Channel for connected TV services – the technology is ideal for markets across Asia.”

MHEG is included in the draft receiver specification

for the Malaysia DVB-T2 roll-out expected to start in 2012.

Meanwhile, the first DVB-T2 digital terrestrial transmission trials in Thailand were successfully completed at Channel 5, the Royal Thai Army Radio and Television station, using Harris Maxiva UAX aircooled UHF transmitters.

Based in Thailand’s capital Bangkok, Channel 5 is a 24-hour television station, broadcast over the air and streamed live over the Internet by the Thai Army on behalf of Royal Thai Army. The trial was managed and supported locally by Loxley Public Company Limited, the Harris dealer in Thailand.

The DVB-T2 standard delivers efficiencies of 3050 per cent in spectrum use compared to the DVB-T standard.

Global broadcasters are showing strong interest in using DVB-T2 to gain significant transmission efficiency improvements, allowing for increased capabilities for high definition, mobile and multicast content while reducing costs.

Visit www.abu.org.my, www.s-and-t.com, www.impala.org and www.harris.com/

At NAB the Harris booth will include the following: The Harris Magellan family of router control panels, available as a series of 10 programmable hardware panel types in both 1 and 2RU versions, provide intuitive, Web-based configuration for quick setup in both local and remote operations.

The Harris HView IP multiviewer provides all the monitoring capabilities of a traditional baseband multiviewer, but functions in a networked environment where the feeds being monitored are all compressed video or audio.

The Harris HView SX Hybrid multiviewer is designed for hybrid applications with routing and monitoring of both traditional and IP signals.

Combining baseband and broadband monitoring, superior graphics, and optional integrated test and measurement tools for baseband signals in a single chassis, the multiviewer/router solution is built to reduce integration costs.

The new Harris 6800+ Application series is a cost-effective alternative to the feature-rich main 6800+ series of signal processing and distribution products. The Application Series instead emphasise only the most necessary features for each module.

Harris NEXIO Farad is an online storage system ideal for large-scale ingest, editing and playout for production, sports, news and live-event applications.

Harris is introducing ingest and playout support for two new codecs in its NEXIO platform: for playout,

VIDEO SIGNAL TOOLS

the H.264 video compression standard; and for production, the popular Avid DNxHD “mastering” format for post-editing. Native playout support in NEXIO AMP and Volt servers means that no transcoder is required to handle H.264 or DNxHD. Harris Selenio is a modular solution that combines traditional baseband video and audio processing, compression and IP networking features within a single, 3RU platform. Selenio hosts up to 28 channels of high-density baseband video processing.

Harris will show the LLM-1770 loudness logger and monitor — a compact audio monitoring tool.

Harris adds 3DTV signal monitoring for its VTM4150PKG monitor and TVM-9150PKG signal analyser packages.

The first new plug-in module provides an IP input for ASI streams. This module allows the user to manage the interface while retaining the existing backup ports in native ASI transport stream format.

For DAB broadcasters. Harris is also offering a Satellite Receiver module.

The Harris Multi-System Controller (MSC) for redundant television and radio transmission systems extends a transmitter’s redundancy and power range by enhancing the functionality and control of two or more transmitters. The MSC is configurable across applications such as main/alternate, N+1, and dual transmitters.

Visit www.harris.com/

Miura is a range of software based video signal processing tools for broadcast and professional video applications. BLM provides flat and simple perpetual licensing terms with simplified support as well as tariff based, managed service contracts for organisations that wish to control CAPX spend, or where a pay-per-use model is more appropriate.

Miura File Logger is a logging tool for file based content and has been designed to enable metadata to be easily appended to content using configurable templates. Operators may review media in real time.

Miura Ingest is a complete client/server based video and audio ingester that offers the highest standard in linear to file based content acquisition for both SD and HD sources. Utilising the Blackmagic DeckLink capture card, Miura Ingest accepts an (HD or SD) SDI signal at any standard of frame rate/resolution and writes a full resolution master file at high bit rate together with a lower resolution, frame locked, browse quality proxy at the same time, and in real time. Across the tool set usability and ease of deployment has been paramount in the product design.

Device control is achieved using an intuitive software control client running directly on the host machine or any remote client PC on the network.

Visit www.emotion-systems.com

Imparja Picks Etere for Expansion Imparja is owned and controlled by Northern Territory and South Australian Aboriginal shareholders. In 2007 Imparja selected Etere and went on-air in 2008 in its new facility. It was a big jump from a tape-based system to full automatic and tapeless.

Now after that experience Imparja has again chosen again Etere for its big expansion from a single channel TV to a 5-channel system.

The new challenge was to have a single operator for multiple channels. Imparja is not a movie channel and has a complex scheduling including lives. At certain times of the year the channel broadcasts in three time zones necessitating perfect time delay synchronisation between the different channels and an accurate scheduling frame accurate. Etere performs all those functions including the break-away

for live sports with a single click. The new Imparja setup will also include a full HD channel.

With Etere the number of clicks between bookings to billings will be reduced, and the share of information will allow multiplying the number of feed by five.

Visit www.imparja.com/ www.etere.eu

Singapore Scraps Broadcast Receiver Licences The Singaporean Government has announced, as part of its FY 2011 Budget, that the Radio and TV (RTV) licence will be abolished. This applies to RTV licence fees for the period from 1 January 2011.

RTV licence fees were first introduced in 1963. They are payable by households and non-residential premises (such as hotels, offices, food and beverage and retail outlets) that have TV or radio sets. They are also paid by

72 Transmission

vehicle owners (for in-vehicle radio sets), as well as dealers who are engaged in the import or sale of any broadcasting apparatus. The fees collected are used to fund public service broadcast content. In 2009, Singapore’s Media Development Authority collected S$132.5 million in RTV fees. All 2011 RTV licence fees that have been collected will be refunded by April 2011.

“Over the years, PSB content has enabled the

broadcast of a diverse range of programmes in Singapore’s four official languages. From 2011, MDA will receive Government funding for public service broadcasts. MDA will work closely with the industry to continuously improve the quality and reach of PSB content, including making them available on new platforms, in step with Singaporeans’ changing media habits,” said Aubeck Kam, Chief Executive Officer, MDA. Visit www.mda.gov.sg

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WTS

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

Transmission 73

Transmission

Transmission

VSN TO UNVEIL NEW BROADCAST ARCHITECTURE Among the new features that VSN will be presenting at NAB, the following stand out: integration of all Archive, News and MAM modules with current domains (Active Directory, LDAP, etc.) and Avid editing software, the UMP transfer accelerator integrated with VSNIPTRANSFER, a new version of its Traffic system and new workflows for graphics.

VSN will be presenting important new features for its broadcast software solutions for tapeless digital environments at the forthcoming NAB Show 2011. The company will exhibit new versions of its products covering most areas of a broadcast workflow such as Archive & MAM, News Production, IP Video, Scheduling & Traffic and Master Control Room.

Within its Spider project, aimed to develop a new architecture and generate customised broadcast solutions and workflows, VSN will be showcasing a revolutionary workflow manager that employs a simple and innovative script editor. Also, the integration of all Archive, News and MAM modules with current domains (Active Directory, LDAP, etc.) will be presented. It can also be added to the list of new features, the ability of the VSN system to integrate with Avid editing software.

Version 7.0 of VSNIPTRANSFER integrates the new UMP protocol that increases transfer speed at rates 10 to 20 times faster than other technologies, like ftp.

Within its news production environment, and with a vision to develop “in the cloud” applications to facilitate journalists and TV channels’ work, VSN will present its news Web client VSNNEWS WEBTERMINAL and will also unveil its new Web pre-editor, VSNRCE, based on Silverlight.

Version 3.0 of VSNCREATV will also be shown for the first time at NAB 2011. A new module has been added that allows to register all aired commercials and generate reports integrated with the accounting and financial system (SAP).

The commercial opt-out system allows managing commercial airings and classifying them by channel or geographical area in order to meet different audience targets.

Version 9.1 0 of the automation solution VSNMULTICOM features a new sophisticated metadata automatic insertion system for branding, integrated with VizRT, Orad, Chyron and VSNCG+ graphic systems. This will allow for a customisable parameter editing advanced control thanks to the new ad hoc module VSNLOGGER. Visit www.vsn-tv.com

UTAH WILL LAUNCH NEW I/O BOARDS FOR ESP Utah Scientific specialises in analogue, digital, and HDTV routing switchers, master control switchers, and related control software.

At the 2011 NAB Show Utah Scientific will introduce a new family of I/O boards that enables embedded signal processing (ESP) functionality in multirate UTAH-400 Series 2 routers. Utah Scientific’s line of advanced routing switchers includes the full range of analogue, digital, and HD (3G) systems, with integrated high-density frame sizes from 32×32 to 1056×1056.

Also new for the UTAH-400 series is the UTAH400/MV, an integrated multiviewer option.

Utah Scientific will also demonstrate new internal squeeze and graphics capabilities for its MC4000 high-end master control switcher, the MCP4000 control panel option for its complete family

of master control processors, and the new MC-412 master control processor card for UTAH-400 Series 2 routers.

This year, Utah Scientific has enhanced its GS4000 graphics station by adding full-motion clip playback and enhanced data-linking facilities to enable automated presentation of newsfeeds, weather updates school closings, and other text displays.

For Utah Scientific’s control systems, NAB marks the launch of two major releases – U-Con configuration software and R-Man management software. The new systems will be on display with features including sophisticated SNMP-compatible alarm monitoring and management, an invaluable tool in critical installations.

Visit www.utahscientific.com

LYNX TECHNIK AG ADDS AMPLIFIER TO YELLOBRIK LYNX Technik AG, provider of modular interface solutions, is expanding its yellobrik line with a new distribution amplifier.

The yellobrik DVA 1704 is a compact “brickstyle” one input, 4 output (1>4) analogue video or sync distribution amplifier. It distributes analogue SD and HD video signals or SD bi-level and HD tri-level sync pulses. It features user-adjustable gain and cable equalisation for signal integrity.

It has been designed for wide bandwidth applications that require splitting an incoming signal into multiple outputs.

74 Transmission

The unit comes with a power supply and transport case and can be used as a standalone device or racked mounted using the yellobrik 1RU 19 chassis. Up to 14 modules plus central and redundant power supplies can be accommodated in the yellobrik rack.

The new yellobrik analogue SD/HD video/ sync distribution amplifier will be on display.

LYNX Technik AG is a provider of signal processing solutions for broadcast and professional use.

Visit www.lynx-technik.com, www.yellobrik.com

VISLINK TO SHOWCASE WIRELESS TRANSMITTER, SATCOM TERMINAL At NAB VISLINK will showcase the following: The LINK XP1310 is a high performance H.264 compliant High Definition wireless camera transmitter for the news and entertainment market. When combined with the new Lynx Diversity Receiver it offers a cost effective, web browser controlled rapidly deployable wireless camera solution for both traditional and new media broadcasters.

The new transmitter is field upgradeable with HD-SDI, ASI, IP and composite video inputs as well as dual input SD encoding, and is transmit capable with up to 200mW output.

ADVENT NewsLite is a portable, IPenabled SatCom terminal designed for use with current and new lightweight antenna systems. This modular solution combines the performance of high bandwidth broadcast contribution feeds with the flexibility of BGAN type newsgathering and creates new remote connectivity applications.

NewsLite’s ergonomic design is IATA weight compliant for airport baggage handling and its modular electronics support a broad range of satellite antennas. The system on display at NAB will introduce a cost effective “two box” sub 23kg solution when combined with the 1m Advent Mantis antenna.

MRC’s AMG2100 Advanced Mobile Gateway and ASG Advanced Studio Gateway are designed to enable file-based workflow to and from the field by providing robust mobile IP routing and wide area connectivity between the studio and remote ENG/Outside Broadcast resources. Always on connectivity to the OB system allows remote control and monitoring of the OB equipment, allowing engineers in the studio to configure or diagnose any issues occurring in the field from the studio.

The AMG2100 maintains mobile data connectivity 3G/4G/WiMax cellular networks. The AMG2100 can act as an 802.11b/g/n wireless access point and WiFi bridge. Typically, the AMG2100 is linked to a radio such as an MTX5000 ENG mobile transmitter or a DVE5100 satellite exciter to provide a high bandwidth connection to the studio network.

VISLINK News and Entertainment sells VISLINK’s three broadcast product brands, Microwave Radio Communications (MRC), which manufactures fixed and mobile microwave links with IP gateway products, wireless camera maker LINK Research and satellite uplink manufacturer ADVENT Communications. VISLINK offices are in the UK, USA, Dubai, and Singapore.

Visit www.vislink.com

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Media Convergence – A Unifying Platform

By Randy Conrod* THE RARE GREENFIELD site apart,

every broadcast facility at the moment features legacy content, legacy equipment and legacy workflows alongside the latest technology. Finding a way of making them all work together is the challenge facing today’s systems engineers.

A typical installation will feature analogue composite (NTSC, PAL or SECAM) signals. There may be analogue component (YPbPr) or digital component (SDI) interfaces. Digital composite SDI is probably the backbone of the system today. Some transport will be as files rather than linear formats.

The content will almost certainly be a mix of standard definition and high definition. There may be some 1080p 3 Gb/s HD in there, and possibly some stereoscopic 3D signals. Sources will be lines, VTRs, servers and archives.

There will be mono, stereo and surround audio.

Some may be analogue, some digital AES/EBU — balanced or unbalanced. And some sources will have embedded audio, either uncompressed or in an encoded format such as Dolby Digital, Dolby E, Dolby Pulse, AAC or SMPTE 302. And, of course, you have to maintain synchronisation between video and audio.

Destinations for these signals will be multiple channels, typically with different requirements for terrestrial, cable, satellite, IPTV, mobile TV, catch-up TV, video on demand and online services. Some content will also be delivered to aggregators such as iTunes.

Joining the paths from multiple sources to multiple deliveries calls for encoding, decoding, multiplexing and de-multiplexing, frame compatible and full-resolution 3D, up/down/cross aspect ratio, resolution and frame rate conversion, audio channel up- and down-mixing and loudness control, embedding and de-embedding audio, metadata population — including subtitles — Dolby audio control, active format description and more.

You are almost certainly dealing with this nightmare already. If you do not have to handle some of the potential permutations yet, then the chances are you will soon.

The traditional way to make it work is with modular systems. When you start to list all the possible paths, it is easy to end up with racks full of modules to provide the necessary capabilities, with all the power consumption, heat and air conditioning, and floor space issues that creates.

Harris recognised that a better solution was required. The result is Selenio, the broadcast industry’s first integrated media convergence platform. It brings together in a single device traditional baseband video and audio processing, video and audio compression and IP networking technology. It provides the conversion and the control for our highly complex world.

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>> >>

Front and rear views of Harris’

Selenio.

The model is not the conventional modular rack.

Instead, it contains massive amounts of both power and connectivity. The user interface – which uses Microsoft Silverlight on a web portal – allows you to set up paths between disparate signal types to meet the requirement of the operation, not the restrictions of the technology.

The device includes five 3 Gb/s busses between adjacent modules, a star architecture for Gigabit Ethernet for IP signals, a star architecture for 100Base-T Ethernet for control, monitoring, thumbnails and streaming, up to 3 Gb/s internal routing between each module and the controller module. And all of this is mirrored using a redundant controller for no single point of failure. It is designed to provide a single point of contact for all processing.

Imagine a compressed programme signal that arrives over an IP network. It is plugged into an RJ45 or SFP IP interface. Internally it is routed into a de-multiplexer, and the required signal carried to video and audio compression decoders. The baseband video and audio are then routed to conversion modules to provide the required format at the output.

The video signal can be colour corrected and legalised. If required, a channel ident bug can be burnt in. The audio is processed with loudness control, and all necessary conversions between mono, stereo and 5.1 are performed.

The data and metadata are verified and updated as necessary. All paths are timed back together.

Then the output signal is formatted as required, including recompression and multiplexing, and delivered to the appropriate port — whether that is IP or traditional baseband.

We see Selenio as the platform through which all signals are routed and processed, the hub of the operation. For this reason, very high availability was a primary design consideration. There is no PC software to load: the frame architecture has a built-in RIA (Rich Internet Application) that presents the frame

and modules as block diagrams to allow the user to design the signal flow and select parameters.

The redundant power supplies and connectivity modules can be hot swapped as required. Adding capacity is easily accomplished without taking the platform offline. Video and audio expansion modules are automatically recognised as soon as they are plugged in, with the user interface updated with the additional functionality.

The Selenio unit is just 3RU high. Forced air cooling ensures excellent thermal stability throughout the device, minimising the stress on modules and components.

One reason traditional modular architectures have taken large amounts of rack space is it leaves plenty of room for connectors. Putting something as powerful as Selenio into a 3U cabinet causes a major practical problem: There is not enough space on the back panel for all the video connections it is capable of handling.

The solution was to develop a new type of coaxial connector that would have the security of connection and high return loss of the conventional BNC, but in a very much smaller form factor. Harris worked with leading connector manufacturer Amphenol to enhance the HD-BNC for use in television and production applications This looks like a miniaturised BNC, and it shares the bayonet connection. Since its small size and consequent high density makes manual attachment difficult, Selenio is supplied with an insertion and extraction tool for the HD-BNC, as well as some adaptor cables for video and audio connections.

The HD-BNC’s small size and ability to allow a large number of I/O ports on the back panel also improves the ultra high-frequency performance of the connector, and so the return loss of the HD-BNC at 3 Gb/s is actually improved over the conventional BNC. The platform is designed to be flexible, with the ability to add new functionality as it is required. At the time of launch, the platform includes compression modules for encoding, decoding, multiplexing and de-multiplexing as standard.

Among the other modules available now is a dual-channel frame synchroniser and conversion with colour correction and legalisation, and logo generation and insertion. It provides audio processing, including channel shuffling, up-mixing and Dolby and DTS encoding, and video and audio analogue-to-digital colour decoding for legacy composite signals. Linear frame rate conversion can be added as an option.

Randy Conrod is Product Manager for Digital Products with Harris Broadcast Communications.

Visit www.harris.com

Transmission 75

content

Conference

conferences

EXHIBITIONS & ROADSHOWS MARCH >> ASTRA 2011 29 March, 2011 Sydney Convention & Exhibition Centre, Darling Harbour www.astra.org.au/ Conference2011 >>ad-tech Melbourne 30-31 March, 2011 Hilton on the Park Melbourne www.ad-tech.com/ melbourne

APRIL >> China International 3D World Forum & Exhibition April 8-10, 2011 Shenzhen Exhibition Center, Shenzhen, China http://insightmedia.info/ conferences/c3d2011Aprforum.php >>NABSHOW 9-14 April, 2011 Las Vegas Convention Center www.nabshow.com

MAY >> Internet, Telecoms and Convergence May 9, 2011 Gilbert + Tobin,

2 Park Street, Sydney www.networkinsight.org >> Asia-Pacific Pay-TV Operators Summit (APOS) May 11-13, 2011 Ayana Resort, Bali Indonesia www.visitapos.com >> Broadcasting and Convergence 19 May, 2011, Allens Arthur Robinson, 126 Phillip St, Sydney www.networkinsight.org

JUNE >> World Copyright Summit June 7-8, 2011 Brussels, Belgium www.copyrightsummit. com

JULY >> SMPTE Australia 2011 July 19-22, 2011 Sydney Convention & Exhibition Centre www.smpte.com.au

Digital, Cloud Focus at BroadcastAsia2011, CommunicAsia2011 From 21-24 June BroadcastAsia2011 and CommunicAsia2011 will serve as the launch pad for companies introducing solutions to TRADES enhance global connectivity for consumers and businesses.

HOW SNAPSH According to Victor Wong, Project Director of Communication Events, OT Singapore Exhibition Services, “Together, BroadcastAsia2011 and CommunicAsia2011 serve as the key international platform in Asia for business leaders, government officials and trade professionals to network, discuss the hottest industry trends and critical issues, and pursue high-growth opportunities that will shape the way digital content is delivered to and between us, both in work and play.”

Themed “Integrating Technology, Experiencing Content”, the spotlight at this year’s show will be on the latest in 3D, play-out services and special effects technologies as well as Hybrid broadcast broadband TV (HbbTV).

With the momentum behind the growth of 3DTV and HDTV panning out in the market, the BroadcastAsia2011 International Conference will offer more sessions to address the latest needs and technologies in the broadcasting industry. This year, more than 60 renowned speakers will cover topics related to IPTV, Digital TV and HbbTV. The Creative Content Production Conference returns this year with a behind-the-scenes look at innovative techniques on content creation in the film and TV industry.

CommunicAsia2011 offers attendees the unique opportunity to witness the forefront of industry technology and innovation, as well as the chance to preview and test the newest technologies that will shape the future of communications.

Themed “Shaping Vision, Creating Reality,” CommunicAsia2011 will spotlight broadband driven trends, Cloud Computing and Mobile Value Added Services. Extended sessions dedicated to these topics will be added to the conference, with the latest topics on Satellite Communications, Security, and the ever growing Mobile Marketing industry.

Visit www.broadcast-asia.com and www.communicasia.com

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76 Conferences Exhibitions & Roadshows

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Classifieds 77

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>> >> ACS Clubhouse >> >> Opening

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>> >> Broadcasting >> >> Australia

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>> >> ACS Clubhouse >> >> Opening

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>> >> >>3D >>Day

>> >> ACS Clubhouse >> >> Opening

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>> >> Broadcasting >> >> Australia

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>> >> >>3D >>Day

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78 Off-Air

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Off-Air 79

Time Shifter Putting the rock in rolling news is 1991’s hottest of hot wheels – the Ikegami O.B. Van. According to the accompanying blurb, “Ikegami O.B. VAN is equipped with the latest broadcasting system such as EFP/ENG cameras, digital VTRs, monitors, digital switchers, compact microwave link and satellite network system.

“Moreover, it is planned and manufactured very thoroughly considering various factors such as safe running, amenity , and practical ability .

“Now, Ikegami’s technology creates the best outside broadcasting van which fits its use and purpose, and all our O.B. VANs will win stable confidence of broadcasting stations and productions all over the world.”

Ikegami O.B. VANs were often based on a Mitsubishi Fuso Canter truck body, many of which were manufactured in Australia from the 1970s onwards using some locally manufactured components.

Gerry Brooks is on leave.

80 Time Shifter

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