Content+Technology April 2012 by Content+Technology

PP: 255003/06831

VOLUME 9 ISSUE 2 APRIL 2012

MEDIA + PRODUCTION + MANAGEMENT + DELIVERY

Preview Issue ISSN 1448-9554

Media in the Cloud

www.content-technology.com

Sky Full of Trucks

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VOLUME 9 ISSUE 2 APRIL 2012

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

Cover Story – Storm Surfers 3D

24 REGULARS

EDITOR’S WELCOME

CLASSIFIEDS AND EVENTS

NEWS ICAA Gets New CEO, Harvey Norman Installs Fujivision, PAT Supplies Global, Huawei Joins Optus

OFF-AIR What Happened on Tour,

TAKING STOCK Becoming a New Media

Gets Printed Right Here!

TIME SHIFTER The History of TV Technology

Powerhouse

FEATURES

18 24

NAB PREVIEW Conference Preview

3D – THE THIRD DIMENSION Storm Surfers Rides the 3D Wave

ACQUISITION ARRI Goes West, Sony

MEDIA IN THE CLOUD Engine in the Cloud, plus Ad Replacement

AUDIO ABC Audio Description

Educates, I-MOVIX Gets Ultra-Slow.

NEWS OPERATIONS Sunrise in

Trial, Loudness Monitoring, Wireless Microphones

Antarctica, Ross Gets Robotic

SPORTSCASTING Surfing the Web, plus Control and Monitoring

POST-PRODUCTION Oktobor’s Shotgun Backbone, Video Personalisation, Neat Assimilates

STORAGE & ASSET MANAGEMENT Dubsat to the Extreme, Spectra Expands, Etere Archives South-East Asia

RADIO CRA Spruiks Radio, plus New Commercial Radio Standards

TRANSMISSION Unblocking the HD Bottleneck, plus the New Story of DVB-T2

CONTENT+TECHNOLOGY: ISSN 1448-9554 PP:255003/06831 Broadcastpapers Pty Ltd (ABN: 34 095 653 277) PO Box 259, Darlinghurst, NSW 1300 Australia www.broadcastpapers.com PUBLISHER: Phil Sandberg Tel: +61-(0)2-9332 2221 Fax: +61-(0)2-9332 2280 Mob: +61-(0)414-671-811 papers@broadcastpapers.com

SUB-EDITOR: Keith Ford PRODUCTION MANAGER: Lucy Salmon Tel: +61-(0)29332 2221 production@broadcastpapers.com DESIGN & LAYOUT: Wide Open Media Tel: +61-2-9690 2835 info@wideopenmedia.com.au PRINTING: Pegasus COPYRIGHT NOTICE: All material in Broadcastpapers’ Content+Technology Magazine is protected under

Australian Commonwealth Copyright Laws. No material may be reproduced in part or whole in any manner without prior consent of the Publisher and/or copyright holder. DISCLAIMER: Broadcastpapers Pty Ltd accepts no responsibility for omissions or mistakes made within, claims made or information provided by advertisers.

EDITOR’S WELCOME

Playing the Smart Card By Phil Sandberg AS WE WERE GOING TO PRESS for this issue, reports emerged in the mainstream media of alleged support by a secretive section of NDS Group for a hacking website and associated hackerswith the aim of undermining both NDS’ competitors in the pay TV encryption space and News Corporation’s pay TV operator rivals in various countries. Reports published in the Australian Financial Review and on its web site are based on over 14,000 emails dating back to around the year 2000. C+T has downloaded those that the AFR has made available online and put them through the search engine for terms and names that we would expect to pop up. Yes, there are C+T readers mentioned in some of the emails, but these are in run of the mill memos or corporate announcements or, funnily enough, where they have unwittingly invoked the ire of NDS Operational Security by simply doing their jobs – which got in the way of the NDS OpSec agenda. While there is a lot of banality in the email collection – meeting times, restaurant reservations, circulated jokes, there is also enough questionable material in there to give the AFR confidence enough to publish the allegations. These reports will do little to help News Corporation’s reputation as it comes to terms with the UK phone hacking scandal and payments to public oﬃcials (and there are more of those mentioned in these emails), but this latest episode does raise the question, can you trust your technology or service provider? The Australian Government and intelligence service ASIO obviously had a trust issue when it came the use of Chinese technology company Huawei as a supplier to the National Broadband Network Co. While it has been reported that NBN Co itself was happy enough to use Huawei, the Australian intelligence agency had cited potential cyber attacks from China in its advice to Government.

The Australian Financial Review timed its reporting well, following as it did the announcement that Cisco intends to acquire NDS Group Ltd from News Corporation for approximately US$5 billion. Upon completion of the transaction, NDS’ global operations and around 5000 employees will join the Cisco Service Provider Video Technology Group (SPVTG). Dr. Abe Peled, the NDS Executive Chairman who was at the helm of the company throughout the period referred to in the AFR reports, will be named Senior Vice President and Chief Strategist for Cisco’s Video & Collaboration Group, of which SPVTG is a part. The acquisition is expected to close during the second half of calendar year 2012, subject to customary closing conditions, including regulatory review in the United States and elsewhere. Thanks for reading Phil Sandberg Editor/Publisher papers@broadcastpapers.com T: +61-(0)2-9332 2221

Whether this was a likelihood or not, in this age of outsourcing and the cloud, for content producers and rights holders, the choice of technology and/or service providers demands greater demands greater attention – not just on technical specs and support, but security as well.

2012 C+T DEADLINES MAY-JUNE 2012 VOL 9 ISSUE 3

Editorial/Advertising Bookings Ad Material

Save the date!

ABE2012 Australian Broadcast Exhibition

exhibition

EDITOR’S WELCOME

featuring the latest in digital broadcast & production technology

Tuesday 7 – Thursday 9, August 2012 Novotel Manly Paciﬁc Hotel www.abeshow.tv

April 27, 2012 May 4, 2012

JULY-AUGUST 2012 VOL 9 ISSUE 4

Editorial/Advertising Bookings Ad Material

June 28, 2012 July 5, 2012

SEPT-OCT 2012 VOL 9 ISSUE 5

Editorial/Advertising Bookings Ad Material

Aug 13, 2012 Aug 20, 2012

FOR MORE INFORMATION

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

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

Video-8 Brings EastEnders to Foxtel from London IN AN INDUSTRY FIRST Video-8 Media have completed bringing multiple episodes of the hit UK TV soap opera EastEnders from London to FOXTEL in Sydney via its SohoNet infrastructure. Video-8 General Manager Rod Capon explained, “We, along with a few other companies, were approached by London-based Television Versioning and Translation (TVT) to see if we could accept, QC and deliver full episodes of EastEnders from their HQ in London to FOXTEL in Sydney. We trialled bringing over a few episodes and it was a success. It was very important to TVT that their Sydney technology partner oﬀered the best and most reliable service.” The global file transfer was taken care of between TVT and Video-8’s SohoNet connections. The files

Cutting Edge’s Strategic Development Head CUTTING EDGE HAS APPOINTED Alan

were sent at transfer rates of up to 100mb/s and once downloaded at Video-8 were QCd in-house. Video-8 Client services Manager Matt Christie added, “After we QCd the episodes we had to ensure everything was correct and to the required quality. Then we conformed the files to FOXTEL’s delivery requirements and the episodes were sent over. This is quite a unique service due to the speed of the connection, the amount of data and having the infrastructure in place for QC and delivery into FOXTEL. We drew on many years experience with file-based transfer solutions and QC to ensure all went smoothly and I’m happy to say it all did and it was a seamless process.” Visit www.video-8.com

VIDEOPRO Hires Graham Cherry VIDEOPRO BUSINESS SOLUTIONS has

Bruty as its Head of Strategic Development and Innovation, based in the Chippendale Sydney facility. In this role, Bruty will build strategic opportunities and relationships throughout the Asia-Pacific region.

announced the appointment of Graham Cherry as Operations Manager at the VIDEOPRO Business Solutions oﬃce in Sydney, New South Wales. Cherry will take operational responsibility for and assist in the development and growth of VIDEOPRO’s expansion into the NSW market.

Bruty honed his expertise at Adstream and Redbox Digital, gaining significant exposure to large international brands while building revenue across major media, entertainment, online, agency and film networks.

Graham has had extensive experience in the AV integration industry, having founded BRE Communications in 1998. Graham’s experience in the audiovisual industry makes him the ideal appointment to head the new Sydney premises.

“In my experience as an independent producer, I have always known Cutting Edge as a provider of first rate service that delivers award winning results”, said Bruty.

“The opportunity to become part of this team and leverage VIDEOPRO’s reputation and successes so as to create and grow a significant presence in the NSW market is an exciting opportunity,” Graham said.

Visit www.cuttingedge.com.au

Visit www.videopro.com.au

ADDERLink INFINITY dual allows you to build a flexible infrastructure, the likes of which have not been possible before. Locate computers anywhere you like, share connections to computers, watch the interactions others have with computers, share control, collaborate, switch computers, and more. The ADDERLink INFINITY range is also the first of its kind to allow multicasting across your network. The ADDERLink INFINITY dual interfaces USB peripherals such as the keyboard, mouse or graphics tablet, together with DVI for the video display, over a layer 3, standard gigabit ethernet network, on copper or fiber.

NEWS + PEOPLE

• Dual Link DVI • Dual Head DVI

• Dual IP Carrier Type (copper & ﬁbre) • Fully compatible with ADDERlink INFINITY and A.I.M. management interface

Digital Pulse Launches New Post Facility MANAGING DIRECTOR of award-winning audio-visual content creator Digital Pulse, Brett Heil, has launched Lustre Pictures, an integrated production and post-production facility to service advertising agencies and independent producers throughout India, the Middle East, South East Asia and Australia. Lustre Pictures brings together a team of talented directors and draws on the resources and success of Digital Pulse. The unique expertise of each director introduces a fresh and unified approach to the production of TVCs, branded content, viral campaigns and facilitation services. Mr Heil has been at the forefront of worldclass content creation for the past 16 years, specialising in digital production and post-production for television commercials, experiential campaigns for major brands, corporations and content for international events. Senior producer at Lustre Pictures, Sandeep Verma, has worked across several international productions and has held the position of broadcast producer at JWT and McCann Erickson in India. Lustre Pictures directors panel has been involved in both Australian and international television production and direction. Extensive backgrounds in live action execution, conceptualisation, specialised auto-centric skills, storytelling, photography, practical shooting techniques, design, animation, visual eﬀects, 3D directing, and scriptwriting, demonstrate Lustre Pictures’ ability to approach each project creatively. Visit http://lustrepictures.com

Observe

Control

Introducing the world’s most advanced live production switcher! ATEM switchers include advanced technology and powerful features, all built into a familiar M/E design that’s fast and easy to use! With an advanced broadcast SDI based design, ATEM also includes HDMI connections for connecting HDMI consumer cameras or computers! The new ATEM has been totally redesigned with Blackmagic Design technology and quality. Live switching multiple cameras is the lowest cost and fastest video production possible! Live Creative Power Get the most creative solution for live switching, with cut, mix, wipe, dip, DVE, graphic wipe and stinger transitions! Load clips into the 2 built in media players for exciting custom animated stinger transitions! ATEM includes a built in DVE with 3D borders, light source and drop shadow! You can even use the DVE for transitions!

More Connections ATEM includes loads of SDI and HDMI connections for professional SDI cameras or HDMI consumer cameras! All inputs feature re-sync so you can plug in anything! You get 6 program outputs in SDI/HD-SDI, HDMI, HD component and USB 3.0, plus down converted SD-SDI and composite video. The multi view includes SDI and HDMI, plus you get 3 aux outputs. Built to Perform ATEM uses a familiar M/E style of operation so you get an instantly familiar workﬂow that’s fast and easy to use. ATEM includes a software based control panel for Mac and Windows! If you need a hardware control panel then simply add the ATEM 1 M/E Broadcast Panel for a true broadcast grade solution. ATEM even uses an FAA certiﬁed operating system for a high reliability broadcast grade design.

Incredible Features Only ATEM includes 4 upstream keyers, each with independent chroma, pattern, shaped and linear keying, 2 downstream keyers, graphic wipes, stinger transitions, 2 built in media players, DVE transitions and more! The built in multi view allows all cameras, preview and program to be viewed on a single SDI or HDMI monitor, so ATEM is perfect for portable location use! Now you can cover any live event, anywhere!

ATEM 1 M/E Production Switcher

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ATEM 1 M/E Broadcast Panel Traditional M/E style broadcast quality hardware control panel.

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Learn more today at www.blackmagic-design.com/atem

NEWS + PEOPLE

ICAA Appoints New CEO THE INDEPENDENT CINEMAS ASSOCIATION OF AUSTRALIA (ICAA) has announced Adrianne Pecotic as its new CEO. Adrianne comes to ICAA following her successful stint as the founding Executive Director of the Australian Federation Against Copyright Theft (AFACT). “The ICAA Board is delighted to have found someone of Adrianne’s calibre to take ICAA to the next level of its development as a full service and professional industry body” said Kieren Dell, ICAA President. “We received an extraordinarily high quality of applications, which is a measure of the esteem ICAA is held in, due in large part to the exceptional work of our founding CEO, the late Mark Sarfaty.” Pecotic welcomed her appointment, “I am looking forward to working closely with independent cinema owners and ensuring this very important sector continues to thrive. ICAA has built solid foundations and is well placed to develop wider services and benefits to its members. We will work to ensure that independent cinema businesses and their customers embrace and enjoy the opportunities of the digital era.” Visit www.independentcinemas.com.au

Darren Webb Named MD APAC at C&W

Simon McFadden Joins BA SIMON MCFADDEN has joined Broadcast Australia and will head the company’s Site Sharing business as General Manager, in a push to accelerate wireless operators’ roll out in 3G and 4G. Broadcast Australia’s Site Sharing business leases space on facilities, including towers, equipment buildings and ground space within Broadcast Australia’s compounds – all widely spread around the country, often in hard to access areas of regional, rural and remote Australia.

CABLE&WIRELESS WORLDWIDE has appointed Darren Webb as the company’s managing director for Asia Pacific to oversee the expansion of its business in the region. In his new role, Darren will have overall responsibility for enterprise and carrier sales, service delivery, marketing, finance, and people functions. Darren has relocated from the UK to C&W Worldwide’s Singapore oﬃce, and will retain his current responsibilities as the Director of Global Enterprise Sales. He will report to Nick Lambert, Managing Director - Wholesale, Mid-market and Global Markets.

Simon McFadden is an MBA qualified engineer with experience of multiple telco roll outs, both in Australia and overseas. Simon has worked in the acquisition, design and construction of wireless sites and understands how to accelerate site access for wireless operators.

Darren has successfully demonstrated his ability to drive growth for the business in each of his previous assignments at C&W Worldwide. He joined the company in 1996 and has held various sales and management positions, such as managing the International Voice business and leading the EMEA enterprise sales function.

Simon has held executive positions with Evans & Peck (part of Worley Parsons) and in a number of roles for Crown Castle International, Sydney.

“The company’s business prospects in Asia Pacific are growing and with Darren at the helm, I am confident that we will be able to expand our footprint in the region and do even better in servicing our customers,” said Nick Lambert.

Visit www.broadcastaustralia.com.au

Visit www.cw.com

WTS

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

NEWS + PEOPLE

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

FUJIFILM HAS ANNOUNCED that Harvey Norman chose to install its Fujivision networked digital signage solution in over 100 stores nationwide. FUJIFILM Australia Business Advisor for the company’s Fujivision and CloudNET services, James Saldanha, explained, “Harvey Norman are one of the country’s biggest advertisers across TV, print and online. They recognised digital signage as an important part of communicating with their customers and wanted to install a networked solution that would maximise their in-store experience.” After a comprehensive assessment and evaluation process Harvey Norman chose Fujivision’s most advanced media player, which runs up to 6 HD channels simultaneously, to form the cornerstone of their digital signage system. Ben McIntosh, General Manager Harvey Norman Computers said, “We judged the Fujivision digital signage solution as the one that best met our many in-store requirements. By using the Fujivision system we now have the potential for generating additional revenue through sales lifts and the ability to create eﬀective co-branding opportunities with suppliers.” Visit www.fujivision.com.au

Optus Partners with Huawei for 4G LTE HUAWEI AUSTRALIA has been confirmed as the vendor partner for Optus’ rollout of LTE mobile technology across Newcastle and the surrounding region. Utilising Optus’ 1800MHz spectrum, the network is built on Huawei’s world-leading SingleRAN innovation – capable of delivering 2G, 3G, and 4G LTE from a single base station site. Huawei Australia CTO Peter Rossi said, “Huawei and Optus have seen good results during our recent LTE trials, and we’re looking forward to delivering nextgeneration mobile services to customers in Newcastle.” Huawei began the project in late 2011, with services due to come online in April 2012. Visit www.huawei.com.au

Gampell Sales Consultant Launches GAMPELL SALES CONSULTANT, a new Business Development Company for the Asia Pacific region, has launched with the signing of major broadcast brands, Sonifex, Channelot and Broadcom Ltd. Guy Gampell, a sales professional with extensive experience in the broadcast industry, established the company in January 2012. Gampell oﬀers proactive and targeted sales management for broadcast manufacturers who wish to establish or grow their sales within the APAC region. Gampell said, “Some companies want to leverage success that they have had in one market in to the wider APAC region, others may simply want to build on sales already achieved without a previous specific focus on Asia. With the aid of my sales expertise, broadcast manufacturers can quickly and easily establish a new foothold in the APAC region or expand upon what they already have, without the need for a full-time resource.” Visit www.gampellsalesconsultant.com

Magna Supplies Chief Entertainment with BTS MAGNA SYSTEMS and Engineering has announced that they have supplied Chief Entertainment with a BTS channel management system. Chief Entertainment is a new-media content production and encoding company, specialising in Internet broadcasting and boutique television production. Chief has pioneered new directions and initiatives in web streaming and provides programme streams to Telstra’s Bigpond TV. The BTS application will be used to manage the scheduling of Chief’s broadcasting output and is scheduled for full operation early in 2012. Jason Roberts, the BTS Project Manager, said, “We were able to deliver the system over the Internet and start on-line training in conjunction with Magna Systems and Chief within a few weeks of receiving the order, ensuring a fast start to the project.” Visit www.magnasys.tv

PAT Supplies Global with VSM system for HD6 PROFESSIONAL AUDIO TECHNOLOGY have announced that they have supplied, programmed and commissioned another VSM control system to Global Television for their newly equipped HD6 OB truck. A VSM control system was chosen by Global Television to provide control for the entire audio, vision and communication system. A VSM server and a redundant server were installed, configured and commissioned providing all of the control requirements Global TV had for HD6. This included an array of hardware which consisted of Multi-Bus Panels with 17 RGB coloured LCD buttons, MultiBus Panels with 34 LCD buttons and some panels with 33 LCD buttons with incremental encoders, Comm Servers and GPIO panels. Global’s Technical Service Manager, Milan Milenkovic, commented, “Global Television has continued with the proven integration of VSM in our newly equipped Outside Broadcast trailer – HD6. We find the flexibility of the VSM system allows us to easily configure and control the majority of equipment within our HD OB units.” Visit www.proaudiotechnology.com.au

Haywood Distributes Panasonic Broadcast A NEW ARRANGEMENT for distributing the Panasonic broadcast product range in New Zealand will be handled by Rick Haywood who, until recently, was the divisional manager for broadcast and display systems at Panasonic New Zealand. He has set up Pro Video Systems to distribute the products. The change came after a review of the specialised broadcast area within the mainly consumer electronics focused company. “Reaction has been fantastic,” Haywood says. “Even the big accounts tell me it is the people and the brand that are important, not the company name. The Panasonic mother ship will continue to provide both service and warranty support exactly as it always has.” Visit http://provideosystems.co.nz

NEWS + PEOPLE

Harvey Norman Installs Fujivision D-Signage

NEWS + PEOPLE

Magna Hires Barry Pegg MAGNA SYSTEMS AND ENGINEERING has announced that Barry Pegg has joined their team as Systems Architect. Pegg is responsible for the service and support of existing customers’ and new clients’ systems integration projects.

THE AUSTRALIAN NATIONAL ARCHIVES has welcomed David Fricker, who took up his role as the new Director-General in January. He comes to the Archives from the Australian Security Intelligence Organisation (ASIO) where he was Deputy Director-General, Corporate and Strategy.

Magna Systems CEO David Bowers said, “Barry’s appointment significantly bolsters our team across the region as he will be working closely with our oﬃces in Singapore, Hong Kong, Sydney, Auckland and Jakarta.” Pegg said, “I am delighted to have joined Magna Systems and Engineering, one of Asia Pacific’s leading systems integration specialists and I very much look forward to working with all of our clients across the region.”

In 1993 David founded Business Synetics, a consultancy company providing services to a broad range of federal government agencies. He left the company in 2002 to join ASIO as it was embarking on an extraordinary period of growth and change.

Visit www.magnasys.tv

Visit www.naa.gov.au

The Playroom Expands Transmedia Services

Adobe Appoints Ben English

THE PLAYROOM HAS ANNOUNCED that it has launched its new Transmedia Services Division and hired two new digital specialists in the process.

launch The Playroom has hired Mitch Harris (previously with EA Games) as Digital Creative Director and Magnus Morris (previously with Cummins Nitro) as Lead Developer.

ADOBE SYSTEMS INC. has announced the

The Playroom Digital Media Director, Cora Spear, said, “The Playroom Transmedia Services Division is our digital experience engine room and oﬀers a number of services. “We are predominantly working with clients to extend their content IP across digital platforms and also developing and extending brands into new platforms and experiences.”

The new team will work closely with head of IPTV at the Playroom, Scott-Bradley Pearce who says, “Consumption of IPTV based content is quickly moving to television and mobile based apps, and with the addition of this new team we are able to provide our clients the opportunity to innovate and extend their audience reach to capitalise further on their content.”

As a result of the Transmedia Services Division

Visit www.theplayroom.tv

Visit www.adobe.com.au

Alex Chelleri Joins Tiﬀen Asia Pacific

Switch Media Expands VOD Development Teams

Storm FX Grows to Support Australian Industry

SWITCH MEDIA have boosted their company

STORM FX DISTRIBUTIONS has added to

by expanding their video-on-demand (VOD) development teams in Sydney and Mumbai.

its support services team, new team members James Bourne and Mark Sopuch. Their focus will be on ensuring the architecture, design and implementation of high performance networking, storage, virtualisation, security, render and related systems in Australia is world class.

Switch Media CEO Christopher Stenhouse explained, “Our development teams are in Sydney and Mumbai as this is the best way to capitalise on local expertise and requirements. India has a greater focus on live events and Australia emphasises VOD. As a result, it’s the VOD team that’s developing here, and the live skills team in India.”

NEWS + PEOPLE

TIFFEN INTERNATIONAL LTD has announced the appointment of Mr Alex Chelleri to the position of Director of Sales, Northern Asia.

National Archives Appoints New Director-General

appointment of Ben English as Group Marketing Manager, ANZ. Ben will lead Adobe’s marketing strategy to meet the company’s business objectives and drive brand awareness across the region. With more than 15 years’ experience in ICT marketing, Ben will play an instrumental role in the development and execution of customer focused strategies. Prior to joining Adobe, Ben held senior roles at Microsoft, IBM, and ran his own marketing consulting business.

“Our clients are demanding the very best and only want to deal with people who understand their business, workflows and technology,” said Martin Leibowitz, Managing Director of Storm FX.

Terry Carey, Tiﬀen International’s MD said, “Alex’s experience in this region gives us the ability to rapidly respond to the needs of our distribution partners and customers throughout Northern Asia.”

Stenhouse added, “We stream the weekly horse racing at the Royal Western Indian Turf Club in Mumbai and Pune, with over 65,000 viewers watching the races each month. By comparison, the focus in Australia on VOD means that we were recently asked to design, build and launch the Australian Financial Review’s TV service on the iPhone.”

“In addition, we only want A-game players on our team. Having James and Mark join us means we can now provide an end-to-end service that’s truly the best and most experienced in Australia.”

Visit www.tiﬀen.com

Visit www.switch.tv

Visit www.stormfx.com.au

The technical expansion at Storm FX is part of the company’s continued push to build a worldclass team rich in experience, knowledge and execution.

Technology – Leading you into the future OmniTek OTR 1001 – High-Precision Video/ Audio Waveform Analyzer A unique combination of high-precision video and audio analysis tools partnered with a comprehensive full-motion signal generator system in a single 1RU rackmount unit.

Evertz VIPA DUO MultiViewers • Single card handles 8,16,18, 24 or 32 inputs • Two independent display outputs • Subtitle decoding and display • Audio Metering and display • UMD, Tally, clock and timer displays VIPA – the cost effective multi-image system

Marshall 17” HD Rackmount Monitor

Blackmagic Design – HyperDeck Shuttle 2

• Full HDTV 1920 x 1200 operation • Quad Split option • In picture waveform monitor & vectorscope • UMD’s & Tallies

The world’s smallest solid state video disk recorder with SDI and HDMI

Marshall – the widest range of picture monitoring

Elemental Technologies The ultimate platform for delivering multiple simultaneous video streams for the web and mobile devices. • Over 100 major deployments • GPU accelerated live video streaming • Fast turnaround preparation • Deliver on-demand contend in multiple formats

• Compressed DNxHD or Uncompressed operation • 10-bit video quality • Ideal portable ﬁeld recorder • Compact, affordable • Record/Playback HDMI,HDSDI, or SDI

Omneon MediaGrid – High performance shared storage system for media production • High performance for accelerated workﬂows • Ability to scale capacity and bandwidth linearly, without any downtime • Massively scalable architecture • Wide range of MediaGrid Apps

Autocue – LED Prompting pting Master Series Prompters

Nucomm – MicroLite Lite miniature wireless microwave ave link

• Bright ultra-thin LED monitorss (8” – 20”) • Integrated power supply and tally light • Simple and ﬂexible camera mounting systems

• SD/HD operation • H.264 video encoder • True broadcast quality video • Supports embedded audio dio • Video, audio, data and telemetry

QUINTO COMMUNICATIONS PTY LTD SYDNEY (02) 9894 4244 MELBOURNE (03) 9558 9377 AUCKLAND (09) 486 1204 Email: sales@quinto.com.au Website: quinto.com.au

TAKING STOCK Moves in the business of content + technology

www.content-technology.com/mediabusiness

Ericsson to Acquire Technicolor’s Broadcast Services Division ERICSSON (NASDAQ:ERIC) has announced that it has submitted a binding oﬀer to acquire the Broadcast Services Division of Technicolor, headquartered in France. The closing of the acquisition is subject to relevant customary regulatory administrative approvals and consultations. The acquisition will bring approximately 900 highly skilled professionals and playout operations located in France, UK and the Netherlands serving several leading broadcasters and will allow Ericsson to substantially increase its current broadcast operations, in terms of channels managed and households reached. The announced acquisition intention is in line

with Ericsson’s managed services strategy to broaden its capabilities in the broadcasting area. Ericsson applies the managed services business model established in telecom operations, to improve eﬃciency, introduce innovation and increase revenues for the broadcasters. “As the TV industry is undergoing fundamental changes with the transition to multi-platform, on-demand television, teaming up with a trusted partner enables broadcasters to meet the increasing commercial and technological complexity and competition in the TV market,” says Magnus Mandersson, Executive Vice President and Head of Business Unit Global Services, Ericsson. “We combine our service and

technology leadership with strategic investments in play-out operations, broadcast capability and competence.” Frederic Rose, CEO of Technicolor, said, “This transaction is consistent with Technicolor’s strategy to focus on media monetisation solutions, new growth businesses, and strengthen its balance sheet. For Ericsson, managed services are a core business and after completion of this divesture, the Broadcast Services activity will benefit from the company’s know-how and global scale necessary to remain a key player in the worldwide Broadcast industry.” Visit www.ericsson.com

Miranda Still Open to Oﬀers MIRANDA TECHNOLOGIES INC. (TSX: MT)

international markets.

has provided an update regarding various initiatives with which its board of directors and management have been involved over the last year. The board has decided to hold discussions with potential strategic partners as a review of ways in which to continue to enhance value and build on the positive momentum that it has generated over the past two years.

Over the past twelve months, the Corporation has received “a number of unsolicited expressions of interest regarding potential transactions and partnerships”.

In 2011, the Corporation’s directors and management were focused on implementing their strategy to grow the Corporation’s business and to strengthen its market position. The Corporation achieved success in both of these areas, significantly increasing sales and profits over the previous year in both domestic and

In May 2011 a committee of five independent directors was formed to review expressions of interest received and to review strategic options. To assist with this process BMO Capital Markets was retained as financial advisor and Osler, Hoskin & Harcourt LLP as legal counsel. Due to the growing interest expressed in the Corporation and the Corporation’s strong operating performance, the board of directors determined that a more structured process

should be put in place in order to review further expressions of interest and to hold discussions with potential strategic partners. Meanwhile, Miranda Technologies has announced that Thomas Cantwell will retire from the Company’s Board of Directors at the upcoming AGM, scheduled for April 17, 2012. At the same time, the Company introduced its new director nominee, Tim Thorsteinson. Thorsteinson currently serves as CEO of Enablence Technologies Inc. Between 2006 and 2009, he served as President of the Broadcast Division at Harris Corporation, where he was also a member of their Executive Committee. Visit www.miranda.com

SeaChange to Sell Broadcast and Storage Business SEACHANGE INTERNATIONAL, INC. (NASDAQ: SEAC) has announced that it

TAKING STOCK

has signed a definitive agreement to sell its broadcast server and storage business, allowing the Company to focus on its core software and services operations, including its next generation back oﬃce, video streamers, gateway software and advertising solutions.

The sale to a group of financial investors, led by a leading US-based venture firm, is expected to close after customary regulatory approvals. The new, independent company will be named XOR Media.

SeaChange CEO Raghu Rau commented, “This divestiture is an important part of our strategy to transform SeaChange into a pure play software company, significantly reduce our overall cost structure, and strengthen our ability to compete in delivering next generation multiscreen video solutions, while generating cash.” SeaChange will continue to provide customer service and support to all of its VOD streaming service provider customers, with renewed focus as a result of this transition, and will also provide customer service and support to any customers who purchase storage products as part of its reseller agreement with XOR Media.

Zheng Gao, President of SeaChange Storage and Servers, who will become CEO of the new XOR Media, expressed his outlook of the group’s undertaking, “We are excited about the opportunity to take an industry-leading business unit and make it an even more successful independent company. XOR Media is a new business entity in name, but the same team and processes will be there for our loyal client base – only now, we have the focus and resources to bring to market storage platforms representing the next-generation NAS-SAN convergence.” Visit www.schange.com

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TAKING STOCK

Work-Life balance! Media staﬀ & strategy by Karl Jansson to bury himself into work. This is where he can potentially overlook, or recognise and avoid, blistering relationships that can easily fester into a personality tumour. The result is that Mr G will take it home and pass it oﬀ as a consequence of someone at work, or the position itself and its pressures. This is the work miss match, in his mind. The next day he returns with attached resentment and although in his mind it’s Groundhog Day again, he’s unable to acknowledge the growth on his personality. It now carries a lesion from home. So how does poor old Mr Grumpy become the likeable and approachable Norm again? Get a Work-Life balance check-up! You can do it yourself or better still, involve your closest family member, or a close work colleague, or both, particularly if you’ve been watching them perfect a hang man’s noose, over and over again! Let’s call them your “Mentor”. Much more palatable. Now, to perform this procedure you need to be holding only two instruments; Honesty, and Trust.

Most of us would certainly take the line that we are working so we can live, and in doing so we aim to build around us the comforts of a place we call home, a place of warmth and security. IT’S A PLACE WHERE our spiritual and physical being can come together to rejuvenate so we can push through the potential challenges of another day. For some who awake to face another day at work, it starts with very few concerns and regrets. They are apparently ready and willing, to the point of anticipation, of facing another day with open arms! Well that may be a tad exaggerated, but they are certainly very keen to the point of annoyance to others. They live for the satisfaction and rewards, which may not necessarily be for the dollar! For others they feel as if they are in life’s holding pattern, a perpetual groundhogs day that seemingly never ends. They seek their rewards and satisfaction at home, and find going to a place of work a real chore! This person will ask why you’re painting the fence, and give you enough reasons why it’s a waste of time. It’s much easier for them to bring you down to their level of no chores than to elevate themselves to equal your achievements. Does anyone come to mind at home or work who fits the profile? So what is the definitive diﬀerence between the above two people in their work environments? It’s almost as if they are across town from each other, suburbs away, with one of them in a hot and sweaty demanding job, and the other, not! The truth of the matter is, that they are more than likely to work in the same company, possibly the same department, and in identical jobs!

TAKING STOCK

So what makes the diﬀerence?

Well, there are considerable diﬀerences that exist within the work and home environment for each person, and as the home environment is totally unique with unique pressures, demands, and commitments, we can only address the workplace of both individuals as the common denominator. This is where we discover the proverbial “Work-Life balance”! Ok, there’s no brain surgery in understanding that Mr Grumpy, is a product of a miss-fitting environment. As the work environment is more sterile of emotions than the home environment, there’s much more chance for Mr G

That’s it for a start, and maybe a dose of humility and gratitude as you progress through it, in small doses of course. Ok, let’s start with the three main components. (the abridged version) 1. Time is a precious thing that we all take for granted. It’s the one untouchable that can feel like it’s either dragging along, or it’s simply flying away. The diﬀerence is how you use it. Be honest with yourself and ask how you believe you are managing it, and then ask your mentor. Check the diﬀerence and make the adjustment. 2. Next, check that your head is in balance. Remember, you were born with two ears and one mouth, the ratio is simple! Ask your mentor, their opinion. 3. Take time to smell the roses, take a walk, go to the gym, ride a pogo stick or do something at the beginning of the day to kick-start your metabolism. Ok, just a couple of personal habits I’d like to share in regards to No.3. When you awake in the morning, change your vocabulary to reflect a positive start to the day. When your alarm sounds, sit up immediately without thought, and yell “Yea haa, its opportunity knocking!” Next, without hesitation, sit up in bed, clap your hands so loudly it tingles then jump out of bed. Now the first time you try this, your partner may fall out of bed with you in fright, but that’s OK. Next, skip to the bathroom! Trust me, your partner falling out of bed is of little consequence at this stage, as they follow the skipping stranger down the corridor. Ahh yes, if you look in the mirror and you see a tired weary body, just say out loud for all to hear (and probably your partner who is now standing at the doorway) “I feel unbelievable!” If this has put a smile on your face then that’s what it’s all about, wear it with pride because it’s infectious, and sometimes a little nuttiness is necessary to blow away groundhog day. Try all three, yes all three, and vary it to suit! I guarantee it will give you, and those around you, untold pleasure as you start each day. Karl Jansson previously owned and managed “J-Curve Broadcast Recruitment”. He has since merged his business within “Interlogic Placements” at North Sydney. Contact: karl@interlogic.com.au or 9922 2711 or 0408 274 413

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TAKING STOCK

Briefs Panasonic Incorporates Sanyo Projector Division

NAGRA-OpenTV Extends Partnership with TWC

Telstra Finalises NBN Agreements

Panasonic has oﬃcially integrated Sanyo Oceania’s projector division into its Australian operations, and is set to launch its broadest line-up of projector models in Australia.

NAGRA-OpenTV, a Kudelski Group (SIX:KUD.S) company, has announced that they have extended their advanced advertising partnership with Time Warner Cable Media. This renewed partnership presents two significant milestones: the selection by Time Warner Cable Media of NAGRA’s latest generation campaign management product, EclipsePlus/ xG Billing, and the renewal of a deal between both companies for NAGRA-OpenTV’s advanced advertising products.

Telstra has announced it has finalised its Definitive Agreements with NBN Co and the Commonwealth for Telstra’s participation in the rollout of the National Broadband Network. CEO David Thodey said the agreements and associated Government policy commitments were expected to provide Telstra approximately $11 billion in post-tax net present value over the long-term life of the agreements.

The Panasonic Australia Business Systems Group (BSG) is now responsible for sales and service of this commercial and consumer projector range. The newly combined range will consist of more than 50 Panasonic-branded models. Sanyo Electric was acquired by Panasonic Corporation in April 2011. Visit www.panasonic.com.au

Ross Acquires Robotics Company Ross Video has acquired FX-Motion, a robotic camera systems company based in Brussels, Belgium. FX-Motion is now Ross Robotics, a new product line in Ross Video’s portfolio. Terms of the deal, which closed in December, were not disclosed. FX-Motion is best known for bringing film-style motion control technology to television remote control and robotics systems. Stijn Vanorbeek, an electrical engineer and former Hollywood cinematographer, founded the company and is now president of the Ross Robotics division. Visit www.rossvideo.com

Gampell Sales Consultant Launches Gampell Sales Consultant, a new Business Development Company for the Asia Pacific region, has launched with the signing of major broadcast brands, Sonifex, Channelot and Broadcom Ltd. Guy Gampell established the company in January 2012 and oﬀers proactive and targeted sales management for broadcast manufacturers who wish to establish or grow their sales within the APAC region. Visit www.gampellsalesconsultant.com

TAKING STOCK

Singtel’s New Structure

Singapore Telecommunications Limited (SingTel) has announced a new organisation structure to capture emerging opportunities in a new era. Comprising three units, the new structure reflects the Group’s re-alignment of people and resources by customer segments. Group Consumer, led by Paul O’Sullivan; Group Digital Life, headed by Allen Lew; and Group ICT, also headed by Mr Lew as the Group searches internally and externally to fill the position. The new structure takes eﬀect on 1 April 2012. Visit http://info.singtel.com

EclipsePlus/xG Billing allows a service provider’s advertising sales team to combine data from multiple order management and traﬃc systems into individual invoices based on each ad’s metrics and pricing and for any type of ad campaign. Visit www.nagra.com/dtv and www.twcmedia.com

Broadcast International Partners with ipCapital Group Broadcast International (OTC.BB: BCST), a leading provider of video management software and services for next-generation video internet protocol networks, has entered into a strategic alliance with ipCapital Group, Inc. (ipCG), a leading intellectual property (IP) strategy firm, to drive the strategic expansion and protection of its IP portfolio. Under the agreement, ipCG will provide ongoing IP management support and facilitate a series of invention sessions in 2012 using its proprietary tools and techniques for invention and IP strengthening. Visit www.brin.com and www.ipcg.com

TelkomVision Achieves 800% Growth in Sales TelkomVision, Indonesia’s leading Direct-toHome (DTH) broadcast operator, has recently reached one million subscribers. TelkomVision has achieved double its original target of 500,000 subscribers by end 2011 while relying on Irdeto’s Conditional Access System (CAS). The Irdeto solution allowed the pay TV operator to offer Indonesian subscribers a choice of attractive pay TV service packages at aﬀordable prices.

Visit www.telstra.com.au

Merger Forms Cordell Jigsaw Zapruder Zapruder’s Other Films owner Andrew Denton and Cordell Jigsaw founders Michael Cordell and Nick Murray, have announced they would merge their companies. The merged operation Cordell Jigsaw Zapruder (CJZ) will be both the most prolific producer of Australian created shows, and the biggest privately owned production company in Australia. The combined group currently has 10 shows in production for the ABC, Foxtel, Nine, SBS, and Ten. Visit www.cordelljigsaw.com and www.zof.com.au

Triveni Teams With Gencom Triveni Digital has announced that Aucklandbased Gencom Technology will serve as the company’s representative in Australia, New Zealand, Southeast Asia, India, and South Africa. In these markets, Gencom will oﬀer and support the full Triveni Digital product portfolio. Visit www.gencom.com and www.trivenidigital.com

Digital Realty to Create New Tech Jobs in Victoria

TelkomVision’s subscribers currently represent half of Indonesia’s pay TV market which surpassed two million in 2011 and is anticipated to reach 2.5 million subscribers in 2012, according to CASBAA.

Minister for Technology Gordon Rich-Phillips has announced that Digital Realty is planning to invest in and develop two new data centres in Melbourne’s west, bringing an estimated economic benefit of around $365 million to the region, and securing jobs for Victorians. Oﬃciating at the announcement at the company’s Deer Park site, Mr Rich-Phillips said Digital Realty would invest $150 million in the project which is expected to create more than 450 indirect jobs when fully operational.

Visit www.telkomvision.com

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TECHNICAL STANDARDS www.content-technology.com/standards

DVB Starts Investigating New Standards SATELLITE COMMUNICATIONS SPECIALIST, Newtec, has taken the lead, teaming up with DVB members Arabsat, Cisco, SES and Thomson Video Networks, to get the discussion for an update to the DVB-S2 standard on the DVB agenda. Last week DVB took up the task and has already started investigating the commercial reasoning behind a specific standard for satellite broadcast contribution and high speed IP trunking and backbone links. As a first step in extending the current DVB-S2 standard, Newtec is launching its Clean Channel Technology at the up-coming Cabsat and SATELLITE exhibition and conference. Clean Channel Technology further improves satellite eﬃciency for IP trunking and backhauling, but also broadcast contribution by up to 15% compared to the current DVB-S2 standard. Newtec’s customers will be able to immediately benefit from Clean Channel Technology as it is available as a software field upgrade for existing Newtec equipment. According to Newtec the time for change is now and there are a number of critical items that can be addressed in the improvement of the current DVB-S2 standard including:

an optimisation per application for ranges of typical and realistic conditions; an increased number of modulation and coding schemes and Forward Error Correction (FEC) choices. “We predict that a new DVB standard will lead to significantly more eﬃcient solutions than any DVB-S2 based satellite equipment on the market today is capable of. This step forward is critical to ensuring the continuation of a vibrant and profitable satellite industry,” Dirk Breynaert, CTO and co-founder of Newtec, said. “The current DVB standard has served the industry well, but it is now more than 10 years old. We do feel that our satellite industry will benefit even more by having DVB and its members support the idea of developing an extended standard in line with today’s technological advances” Visit www.newtec.eu

HEVC Achieves First Milestone

WBU-ISOG HAS RELEASED the results of interoperability tests HD video equipment that is required for the transmission of HD video around the world. The tests of MPEG-4 HD encoders and decoders from 6 vendors recorded a 98% pass rate for video and a somewhat lower pass rate for audio – a significant improvement from earlier tests.

ISO/IEC’s Moving Picture Experts Group (MPEG) has announced the completion of the ISO/IEC committee draft of the High Eﬃciency Video Coding (HEVC) standard developed by the Joint Collaborative Team on Video Coding (JCT-VC), a joint team between MPEG and the ITU T’s VCEG. HEVC is expected to be submitted for final standardization approval in January 2013, and will be delivered as Part 2 of MPEG-H. The design of HEVC incorporates the latest technologies and algorithmic advances to address the persistent demand for broader usage of video content, video migration to broadband networks, diversification of mobile devices, ever-higher resolutions for cameras and displays, and increasingly high video quality.

Thomas Gibbon oversaw the tests on behalf of WBU-ISOG. “The WBU-ISOG MPEG-4 interoperability program is critical for the global broadcasting industry because it gives assurance to broadcasters and satellite and fibre carriers that MPEG-4 HD video may be seamlessly transmitted around the world regardless of the particular HD encoder or decoder that is used.”

The primary goal of the project is to develop the next generation video coding standard that could achieve the same level of video quality with a substantial savings relative to the bit rate required by AVC. Initial measurements of the capability of HEVC indicate that its performance is already meeting or exceeding the targets set by this goal.

Visit www.worldbroadcastingunions.org

Visit http://mpeg.chiariglione.org

ETSI M2M Foundation Standards

SMPTE Standard a Safe Harbour

ETSI HAS PUBLISHED the first release of its Machine-to-Machine (M2M)

THE U.S FCC has declared the closed-captioning standard for online video content developed by the Society of Motion Picture and Television Engineers (SMPTE) to be a safe harbour interchange and delivery format.

service standards, providing a standardised platform to manage the complexity of multiple M2M services and technologies.

TECHNICAL STANDARDS

a diﬀerentiation between contribution and distribution to make the greatest eﬃciency gains by making the standard aware of the application in which it is being used;

WBU-ISOG MPEG-4 Results

Each participating vendor created 22 HD transport streams based on parameters set by WBU-ISOG. The transport streams were uploaded to a server and made available for downloading to all participants for internal vendor testing. Vendors then took their equipment to Telesat of Canada, which conducted formal tests. A total of 588 video tests and 112 audio tests were conducted.

an extension to guarantee interoperability and better satellite eﬃciency for professional satcom applications;

The ETSI M2M Release 1 standards enable integration of diﬀerent M2M technology choices into one managed platform. ETSI M2M Release 1 is built upon proven and mature standards from ETSI and other bodies such as the IETF, 3GPP, the Open Mobile Alliance and the Broadband Forum.

The ruling means that captioned video content distributed via the Internet that uses SMPTE Timed Text will comply with the 21st Century Communications and Video Accessibility Act (CVAA).

Mr. Enrico Scarrone, Telecom Italia, Chairman of ETSI TC M2M, said, “The publication of the ETSI M2M Release 1 standards marks a new milestone for the M2M industry.”

“The ruling by the FCC ensures that all people, including people with disabilities, have access to and can enjoy online and Web-enabled programming,” said Ann Marie Rohaly, who chaired the Society’s standards eﬀort.

Visit www.etsi.org

Visit www.smpte.org

If You Want To Stay Ahead, Make Sure We’re On Your Calendar

If it’s not the explosion of mobile media use, it’s multi-screen viewing, a fast-moving digital cinema rollout, and a projected one trillion devices connected to the Internet by next year. Not to mention cloud-based production, laser cinema projection, content security, and business models emerging

Technology Summit On Cinema 2012 NAB Show 14-15 April 2012 Las Vegas, NV – United States www.smpte.org/tsc2012 Co-produced by SMPTE for the 2012 NAB Show, this year’s summit will feature panels on high frame rate stereoscopic 3D production, the state of laser projection, content protection, 4K updates, cinema sound advances, content accessibility, LED lighting – and feature technologists, ﬁlmmakers, theater operators, manufacturers, and other experts focused on advancing the state of the art in cinema.

from all corners of the globe.

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As the worldwide leader in motion-imaging standards and education, SMPTE’s work touches everything from digital cinema and 3D television to closed captions for Internet video. And only SMPTE connects leading research and standards development to drive business success.

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2012 PREVIEW US Spectrum Auctions Provide ‘Incentive’ for Broadcasters ILLUSTRATIVE IN POSSIBLE APPROACHES for other countries in the process of digital TV switchover, much of the broadcasting policy debate in and around this year’s NAB Show will focus on the process of spectrum auctions as the US Government pushes to free up frequencies for mobile and other broadband services. The US Congress recently authorised the Federal Communications Commission (FCC) to conduct incentive auctions of spectrum. According to the FCC, an incentive auction is “a voluntary, market-based tool to compensate existing spectrum licensees for returning their licenses to make spectrum available for innovative new uses like mobile broadband. The FCC would auction the spectrum that licensees voluntarily return for wireless broadband services, with licensees retaining a portion of the auction proceeds. “The incentive auction proposal is an incentivebased, market-driven path to tackle America’s spectrum crunch and would provide a capital infusion for licensees that choose to participate with some or all of their spectrum, strengthening their economic position.” The new law authorises the Commission to oﬀer a broadcaster at least three ways to contribute spectrum, giving an individual broadcaster not only an exit route previously unavailable, but

also multiple ways to receive auction proceeds to strengthen ongoing broadcast operations. A multi-station owner can contribute one or more licenses and use the proceeds to strengthen its other operations; and a broadcaster can receive auction proceeds for contributing spectrum and keep even the affected station on the air, through channel sharing or moving. In addition, the US Congress expressly preserved must carry rights for stations that choose to channel share, and provided a US$1.75 billion repacking fund to pay costs of channel changes by broadcasters who don’t participate. The FCC has retained leading experts in auction theory and implementation to facilitate the auctions. These include experts from Auctionomics, Power Auctions and MicroTech. According to FCC Chairman Julius Genachowski, “Our plan is to ensure that incentive auctions serve as an effective market mechanism to unleash more spectrum for mobile broadband and help address the looming spectrum crunch. Our implementation of this new Congressional mandate will be guided by the economics, and will seek to maximise the opportunity to unleash investment and innovation, benefit consumers, drive economic growth, and enhance our global competitiveness. The knowledge and experience of this team will complement the substantial expertise of agency staff to meet these goals.”

The team of auction experts is led by Auctionomics Chairman Paul Milgrom, the Ely Professor of Humanities and Sciences in the Department Economics at Stanford University, and a member of the National Academy of Sciences and the American Academy of Arts and Sciences. Milgrom helped create the first FCC spectrum auction design, which has served as a blueprint for similar auctions worldwide. Also with Auctionomics are Professors Jonathan Levin and Ilya Segal of Stanford University. Power Auctions LLC is led by Lawrence Ausubel, a Professor of Economics at the University of Maryland. Professor Ausubel is a widely published author on auctions, industrial organization, and financial markets, and is a leading expert on eﬃcient auction design. Power Auctions, based in Washington DC, has extensive experience in the design and implementation of high-profile auctions around the globe and currently provides spectrum auction design and software services to the Governments of Canada and Australia. MicroTech, a leading technology and systems integrator for critical infrastructure and information technology solutions, will provide state-of-the-art security, systems development and implementation support directly tied to their cloud computing solutions.

NAB Technology Achievement Awards THE US NATIONAL ASSOCIATION OF BROADCASTERS has announced that radio

NAB SHOW 2012 PREVIEW

engineering expert Paul Brenner and television technology innovator Glenn Reitmeier have been named the 2012 recipients of the NAB Engineering Achievement Award. They will be honoured with the award at the NAB Show Technology Luncheon on Wednesday, April 18 in the Las Vegas Hilton.

Brenner, this year’s Radio Engineering Achievement Award winner, is senior vice president and chief technology oﬃcer for Emmis Communications. He specialises in technology business development, broadcast engineering strategy and developing new broadcasting and Internet content distribution systems. The perspective he gained from interaction with automakers, Internet software companies and portable device makers led him to product developments such as live traﬃc

information through the Broadcaster Traffic Consortium and TagStation song tagging for radio broadcasters, developed in partnership with Broadcast Electronics. Brenner currently serves as president of the Broadcaster Traffic Consortium, LLC a partnership of 16 radio companies throughout the U.S. and Canada formed to distribute data via FM-RDS and HD Radio. He also served on the FCC Communications Security, Reliability and Interoperability Council (CSRIC) working group for EAS CAP. Glenn Reitmeier is senior vice president, Technology Strategy & Policy for NBC Universal. He leads NBC Universal’s technical efforts on industry standards, government policy, commercial agreements, anti-piracy operations and advanced engineering. He was involved in the creation of NBC’s first high-definition cable channel, Universal-HD, launched DTV multicast

programming and mobile broadcasting and the distribution of NBC-U content to new digital consumer devices, including PCs, game consoles and personal devices. From 20062009, Reitmeier served as chairman of the Advanced Television Systems Committee, which developed the ATSC Mobile DTV standard under his leadership. Prior to joining NBC Universal, Reitmeier spent 25 years in digital video research and development at Sarnoﬀ Laboratories. He is widely recognised as an architect of digital television. He was instrumental in establishing the ITU 601 component digital video standard, which is currently in worldwide use as the backbone of modern television broadcasting facilities. He holds over 50 patents in digital video technology and is recognised in the New Jersey Inventors Hall of Fame. Visit www.nabshow.com.

The great content shift — the demand for content anytime, anywhere — has set in motion a kaleidoscope of inﬁnite consumption options with unlimited business models, all enabled by shifting technologies. Broader-casting® professionals are leading this device-driven expansion by collaborating across screens, and leveraging multiplatform distribution, as the new paradigm for success. From creation to consumption, every aspect of the content lifecycle is being dramatically impacted by changing technologies.

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CONFERENCES April 14–19, 2012 EXHIBITS April 16 –19 Las Vegas Convention Center, Las Vegas, Nevada USA

www.nabshow.com

NAB SHOW 2012 PREVIEW

Thomson Video Networks Maps Route to 4K Broadcasting AT THE 2012 NAB SHOW, Thomson Video Networks will map out the route to what it says is the industry’s next great advance toward an immersive viewing experience — 4K. Thomson’s Jean-Louis Diascorn will deliver a summary of the technologies that will drive 4K broadcasting, together with some of the implications and challenges for broadcasters. As part of the 2012 NAB Show theme, “The Next Digital Transition for Television,” the session is scheduled for 9:30 a.m. on April 15. In the presentation entitled “On the Road

to 4K, How Can HD Picture Quality Evolve?”, Diascorn will survey the future development of 4K from the viewer’s angle, posing the question: How much better can television get? With its potential for very large-scale displays, 4K holds out the promise of a picture that could fill the entire field of vision, but new transmission technology would be needed to transmit the eightfold increase in pixels that 4K requires. The presentation takes in the range of approaches the industry can take on the

route to 4K, from broadcasting a high-quality 1080i source that is scaled up to 4K by the viewer’s display technology to the possibility of transmitting a full 4K image, with the advances in compression technology that are becoming available. Using research data on objective and subjective assessments of picture quality, the presentation gives pointers to the diﬀerent ways viewers may experience 4K pictures, and the suitability of diﬀering technologies for a variety of programming types. Visit www.thomson-networks.com

Reducing the Cost of Captioning SOFTEL HAS ANNOUNCED that its Chief Executive Sam Pemberton will deliver a session at the 2012 NAB Show on Sunday, April 15, at 4pm titled “Using State of the Art (Including Speech Analysis Technology) to Reduce the Cost of Captioning/Subtitling Creation and Repurposing.”

NAB SHOW 2012 PREVIEW

In this session, Pemberton will give an overview of the most recent technology developments that are helping broadcasters stay ahead of the curve in the face of ever-increasing

legislative and business pressures. In particular, Pemberton will review emerging automatic filetiming solutions that can automatically re-sync captions and subtitles after content edits, thus considerably reducing operational costs. Broadcasters today must support more channels and formats on an increasingly wide variety of platforms, such as the Web, iPads/tablets and mobile phones, and within very tight budgets. Meanwhile, important mandates for content accessibility (such as the Accessibility Act in the United States)

are becoming more stringent and have been extended to include emerging platforms. To optimise revenue, broadcasters are delivering more multilanguage channels using captioning and subtitling to reach a wider audience. Cost-eﬀective captioning and subtitling is a key challenge for broadcasters evolving to meet these demands, and so the session will oﬀer practical steps to assist the modern broadcaster. Visit www.softelgroup.com

NAB SHOW 2012 TAKING PREVIEW STOCK

Cinedigm Chairman to Keynote Technology Summit On Cinema THE SOCIETY OF MOTION PICTURE and Television Engineers (SMPTE), the worldwide leader in motion-imaging standards and education, today announced that Chris McGurk, the Chairman and CEO of Cinedigm, will address the breakthrough monetization opportunities for the entertainment industry created by the transformation of theatres from film to digital; Cinedigm is a leader in digital cinema theatre conversion and independent film and alternative content distribution. McGurk’s keynote at the Technology Summit On Cinema (formerly Digital Cinema Summit), coproduced by SMPTE at the 2012 NAB Show on April 14th at the Las Vegas Convention Center, is scheduled to take place at 1:00 p.m. in Room 222 of the center’s South Hall. Program and registration information are available at http:// smpte.org/tsc2012. “The digital theatre transformation is a complete game changer – not just for the exhibition community, but for the entertainment industry as a whole – because no longer is there one tried-

and-true way to approach business, nor one way to make profits,” said McGurk. “With the nimble and flexible programming options provided by digital cinema, we can now use theatres in new and unique ways. From programming theatre screens like TV channels and premiering recurring, relevant content - such as Kidtoons, our on-going kids matinee series - aimed at bringing niche customers to theatres in oﬀ-peak time periods, to creating unique primetime events like our quarterly LIVE 3D UFC bouts - to oﬀering independent films and documentaries to avid, underserved audiences, we have barely scraped the surface of the opportunities provided by digital cinema.” A two-decade entertainment industry veteran, McGurk has held senior leadership positions at MGM Studios, Overture Films, Anchor Bay Entertainment, Universal Studios, and Disney Studios. Today, he leads Cinedigm as it converts analogue theatres into digital and networked entertainment centres – and as it partners with Hollywood movie studios, independent movie

distributors, and exhibitors to distribute movies and alternative content in digital cinema format to audiences across the country. The annual Technology Summit On Cinema, co-produced by SMPTE for the 2012 NAB Show, brings together the world’s leading motionimaging researchers, scientists, practitioners, and manufacturers. This year’s event will also include filmmakers, movie theatre operators, manufactures, and other experts focused on advancing the state of the art in cinema. The two-day summit will focus on a number of critical cinema topics, including high frame rate stereoscopic 3D production, the state of laser projection, content protection, 4K production updates, cinema sound advances, content accessibility, LED lighting, tools for independent 3D filmmaking, the impact of multi-screen viewing, and digital deployment and standards updates. For complete program information visit: http://smpte.org/tsc2012.

Interstitials in the Stream from Mediaware

Mediaware’s InStream product range provides an innovative and cost eﬀective solution to native digital video management, distribution and real-time interstitial insertion. Whether it’s high definition or standard definition, InStream will optimise your content production and transmission workflows.

Mediaware’s Insertion Server is a real-time, frame accurate, long GOP, native MPEG compressed domain splicer and file-based MPEG insertion server. The core technology provides for seamless transitions between events, without the requirement for complex network timing systems and pre-encoded interstitial boundary intervention. Mediaware’s Insertion Server is the first splicing solution to enable live switching of native MPEG Transport Streams with true frame accuracy.

Accurate MPEG stream splicing is an essential element of content insertion and replacement for digital television and therefore forms a critical component for addressing market diﬀerentiation in the digital domain. InStream simplifies the process of addressing new and existing markets for broadcasters, increasing operational eﬃciency and reducing the burden of network complexity and bandwidth requirements.

Mediaware’s InFuze is a solution for inserting graphical overlays into MPEG video. InFuze enables the branding of master copies of video without image degradation. A single input file can be processed to provide multiple outputs, each with separate logos, copyright notices or usage rights inserted. Integrating InFuze into your existing system enables the move to a completely file-based syndication and rights

management platform. Flux is a new approach to content recording for VOD, Broadcast and New Media. It is a simple alternative to the current range of cumbersome oﬀerings. Content is recorded agnostically and without user intervention. Backed by Mediaware’s live-file, fast turn-around native editing solutions, Flux is the perfect solution to securing your content. Flux is a highly dependable, highly scalable software solution for capturing multiple UDP data channels. Using Mediaware’s MPEG processing technologies, InStream Edit delivers frameaccurate, compressed domain video clip extraction. Coupled with Mediaware’s Flux smart content recorder, InStream Edit reduces the endto-end turnaround time for re-purposed content from centralised distribution locations. Visit www.mediaware.com.au

NAB SHOW 2012 PREVIEW

GENERAL DYNAMICS MEDIAWARE will be showing their InStream product range at this year’s NAB Show, booth SU2602.

NAB SHOW 2012 PREVIEW

Donny Osmond to Keynote Radio Luncheon DONNY OSMOND will deliver a keynote address at the NAB Show Radio Luncheon, sponsored by ASCAP, on Tuesday, April 17 in Las Vegas. Osmond, who has entertained audiences for decades as a singer, musician, actor, dancer and former teen idol, is also a syndicated radio host. Osmond will discuss how radio has impacted his career over the years.

The NAB Show Radio Luncheon will include the 25th annual presentation of the prestigious NAB Crystal Radio Awards, which honour local radio stations for community service. Also, Mr. Baseball, Bob Uecker, will be inducted into the NAB Broadcasting Hall of Fame. Visit www.nabshow.com

Sarandos and Zeiler to Speak at NAB TED SARANDOS, chief content oﬃcer of Netflix, and Gerhard Zeiler, CEO of RTL Group will speak at the 2012 NAB Show in Las Vegas.

of presentations from industry leaders who

Ted Sarandos will participate in a Content Theatre Q&A session on Tuesday, April 17. Gerhard Zeiler will participate in a Content Theatre Q&A session on Monday, April 16. The Content Theatre, sponsored by FremantleMedia, features a series

NAB Show will recognize both Sarandos and

are transforming content creation and delivery. In addition to their speaking engagements, Zeiler with the Content Owner Revolutionizing Entertainment (CORE) Award. Visit www.nabshow.com

FMC Teams With NAB to Oﬀer Training Program FUTURE MEDIA CONCEPTS (FMC) will once again team up with NAB to oﬀer Post|Production World, a full slate of manufacturer-certified training courses for production and postproduction professionals, at the 2012 NAB Show in Las Vegas. Now in its eighth year, Post|Production World features more than 200 training sessions with learning formats that include half-day beginner boot camps, in-depth sessions, workshops, and full-day immersive programs. New this year are “Focus On” workshops; which are daylong, in-depth sessions about specific topics, led by people who are at the forefront

of their industries.This year’s conference also features a new field trip opportunity led by video production and multimedia expert Richard Harrington. It’s a session on HDSLR time-lapsed videography that culminates in a field trip to Red Rock Canyon outside Las Vegas. The third new oﬀering this year is a mobile app development workshop. Led by Ontario Britton, an iOS programmer, this all-day workshop will teach attendees how to develop an eﬀective mobile application, how to market an app, and how to manage a client’s expectations around an app. Visit www.nabshow.com and www.fmctraining.com

NAB SHOW 2012 PREVIEW

Pulitzer, Bafta, Sundance Winners Share Their Knowledge on Vitec Stand

THE VITEC GROUP will host some of the most renowned figures in the broadcast and film making industry in its dedicated Live Event Area at this year’s NAB 2012, stand C6929, in the Central Hall. The independent experts, ranging from directors of photography, to directors and filmmakers, will share their knowledge and expertise on the latest products, technology and techniques.

Speakers confirmed so far include director and Pulitzer Prize winning photographer, Vincent Laforet and the BAFTA nominated film maker, Philip Bloom.

The Live Event Area will feature six, daily one-hour sessions covering hot topics and tips on everything from emerging technologies to discussions on innovative lighting techniques. Brand advocates for Anton Bauer, Autoscript, Bexel, Litepanels, Manfrotto, Microwave Service Company, Nucomm, OConnor, RF Central, Sachtler, Vinten and Vinten Radamec will lead the sessions.

There will also be a panel of experts leading a more general session discussing the latest hot topics on Tuesday 17 April.

Other key speakers at the event include Pulitzer Prize winner and former newspaper photographer of the year, Bill Frakes, Sundance Film Festival winners, the Bui Brothers, and American filmmaker, Freddie Wong.

Joop Janssen, CEO of Vitec Videocom says, “We had a fantastic response from the first Live Event Area at last year’s NAB. We remain dedicated to providing continued innovations to our customers.” Visit www.vitecliveevent.com

Briefs 4K Production and Beyond The 4K session at the Technology Summit on Cinema at 2012 NAB Show will review the maturity of 4K cinema cameras and commercial projectors - and chart the movement of 4K resolutions and higher into the home. It will also address the practicalities of 8K and examine the progress of UHDTV among standards bodies and in Japan, and feature simulated demonstrations of the diﬀerence between all these resolutions. Visit www.nabshow.com

Brian Cooley to Keynote Technology Luncheon CNET’s Editor at Large Brian Cooley will deliver a keynote address at the NAB Show Technology Luncheon on Wednesday, April 18 in Las Vegas. His presentation will include insights into consumer technology trends and the opportunities they present for broadcasters. “Brian’s energy and deep knowledge of technology trends are always welcome at the NAB Show,” said NAB Executive Vice President and Chief Technology Oﬃcer Kevin Gage. “Technology Luncheon attendees will come away with a better understanding of how digital media products are impacting businesses and consumers.” The NAB Technology Luncheon will also feature the presentation of the NAB Engineering Achievement Awards and the Technology Innovation Award. The NAB Best Paper Award will also be presented to the author(s) of a paper of exceptional merit published in the NAB Broadcast Engineering Conference Proceedings. Visit www.nabshow.com

Bruce Rosenblum Super Session Bruce Rosenblum will be a featured 2012 NAB Show Super Session speaker, addressing attendees from noon to 1:00 p.m. on Tuesday, April 17. A 25-year veteran of Warner Bros., Bruce Rosenblum was named president of the Warner Bros. Television Group in 2005 where he oversees the industry’s leading television operation, including worldwide production (network, cable, syndication and animation), traditional and digital distribution and broadcasting. An architect of the CBS joint venture forming The CW, Bruce also oversees Warner Bros.’ interest in the network. Visit www.nabshow.com

NAB SHOW 2012 TAKING PREVIEW STOCK

Ben Silverman to Keynote Disruptive Media Conference produced in partnership with Digital Media Wire, gathers broader-casters who oversee the digital and interactive divisions within their companies to explore developments in online video, mobile and branded entertainment. The two half-day programs cover disruptive media as well as more traditional OTT technologies and how these are impacting business models for distribution and consumer engagement. Ben Silverman, who launched Electus, in partnership with IAC, will be the keynote speaker. Electus unites producers, creators, advertisers and distributors under one roof to produce all

forms of content for distribution across a variety of platforms around the world. The Disruptive Media Conference will include: Maintaining Viewership in a Multiplatform Environment The Evolution of Branded Entertainment Advanced Advertising: The Challenge & the Promise TV Everywhere: PayTV on Any Device? Cashing in on Social Engagement Disruptive Media: What’s Next? Visit http://www.nabshow.com

IRP Oﬀers Future Perspective on Media Technology

Gary Learner to Present on MPEG Transport Stream Monitoring

INTERNATIONAL RESEARCH PARK (IRP),

VOLICON HAS ANNOUNCED that Gary Learner, the company’s CTO, will be presenting “Monitoring the Whole MPEG Transport Stream” during the Broadcast Engineering Conference (BEC) at the 2012 NAB Show. The presentation will examine continuous MPEG transport stream monitoring and its benefits.

a special attraction at NAB Show, will feature dozens of new and emerging technologies. IRP, presented by NAB Labs, is a venue designed to highlight advanced projects underway in academic, government and commercial research laboratories worldwide. “A visit to the International Research Park will give you a glimpse into the future of our industry,” said NAB Chief Technology Oﬃcer Kevin Gage. “Research organisations are making fundamental breakthroughs that are propelling innovation and impacting prospects for the future.” The Japanese national research lab, National Institute for Information and Communication Technology (NICT), will present the first U.S. demonstration of a 200-inch, glasses-free 3D projection system.

Eli Warsawski, Volicon’s director, president, and CEO said, “Gary will outline an eﬃcient MPEG transport stream monitoring workflow and explain for attendees how this model can enable them or their operations to increase logging channel density while facilitating the inspection and export of transport streams eﬃciently over the WAN.”

Other demonstrations in IRP will include hybrid radio and television broadcasting proposals, multi-sensory media presentations, 4k video streaming, high-dynamic range and multi-spectral video, advanced interactive gesture control and data visualisation technologies.

During his BEC presentation, Learner will touch on how transport stream monitoring simplifies access, storage, and use of both the content and metadata compressed within transport streams. He also will explain how the full-quality content logging possible with transport stream monitoring can not only speed resolution of customer complaints and reduce customer care costs, but also enable new use cases.

Visit http://www.nabshow.com

Visit http://www.volicon.com

JULIUS GENACHOWSKI, chairman of the Federal Communications Commission, will address the 2012 NAB Show in Las Vegas, NAB announced. Genachowski’s remarks will be made on Monday, April 16 at 2:30 p.m. “We are pleased Chairman Genachowski will join us again at the NAB Show and look forward to hearing his perspective on the communications policy issues before the Commission,” said NAB President and CEO Gordon Smith. “With the FCC poised to tackle the incentive auction legislation and many other critical regulatory issues this year, the Chairman’s address presents a welcome opportunity to engage in productive dialogue on issues that impact the future of broadcasting.” Chairman Genachowski has two decades of experience in public service and the private sector. Prior to his appointment as FCC Chairman in June 2009, Genachowski spent more than ten years working in the technology industry as an executive and entrepreneur. He co-founded LaunchBox Digital and Rock Creek Ventures, where he served as managing director, and he was a special advisor at General Atlantic. Previously, Genachowski served as chief counsel to FCC Chairman Reed Hundt and as special counsel to then-FCC General Counsel William Kennard, who was later named FCC Chairman. Visit http://www.nabshow.com

NAB SHOW 2012 PREVIEW

THE DISRUPTIVE MEDIA CONFERENCE,

FCC Chairman Julius Genachowski to Address NAB Show

THE 3RD DIMENSION Stereoscopic production & exhibition

www.3d-day.tv

Storm Surfers – 3D Delivers Wonders of the Waves Wave-Borne Innovation Conquers Demanding Environment THE CONCEPTUAL EASE of pitching a movie with the title Storm Surfers 3D is up there with Snakes on a Plane and Cowboys & Aliens, but it belies the immense real world diﬃculties of capturing champion surfers mastering mountains of water in the third dimension. “IT’S BIG WAVE SURFING - IN 3D,” enthused Producer Marcus Gillezeau. “Everyone totally got it which was great, but it has taken a lot of hard work by a lot of people to make it work.” Storm Surfers is now very much an international brand that has evolved since 2007 from several earlier documentaries that brought together renowned big wave surfers Ross Clarke-Jones and Tom Carroll to work with directors Chris Nelius and Justin McMillan and meteorologist Ben Matson. Gillezeau was approached in 2007 to capitalise on his broadcast experience and credits together the team created the Storm Surfers title then set about raising finance. What followed was the award-winning documentary Storm Surfers: Dangerous Banks, Discovery Channel’s highest rating one-oﬀ documentary for 2008, which led to Storm Surfers: New Zealand.

THE 3RD DIMENSION

“North America is the biggest market for film and surfing so we began thinking about making a feature film version of Storm Surfers and someone suggested doing it in 3D. From that point we raised development financing through Screen NSW to write a treatment and carry out research and development into how we would shoot Storm Surfers in 3D,” said Gillezeau.

“Our very first test was with our water DOP Dean Cropp who used two small Contour lipstick cameras that we literally jammed inside a PVC pipe, sealed with Gaﬀer tape and stuck onto the front of a stand-up paddle board. We shot some material at Freshwater Beach and took those shots into Cutting Edge, who put it up on their screen and it worked. So we knew we could shoot with tiny cameras on boards and the next step was taking it to market with a pitch document.” It didn’t hurt their pitch that Gillezeau and long term producing partner Ellenor Cox were pioneers of multi-platform content creation and delivery and that they were oﬀering a full spectrum of

Filming in a 3D pipeline

media outlets for Storm Surfers 3D. Gillezeau began using DV cameras and dial up modems to upload video while onboard a replica tall-ship, many years before blogs became the norm. After pushing the limits of new technology to produce all-media drama and documentaries, the duo received industry recognition in 2009 when they won the “Fiction”International Digital Emmy Award for their work on “Scorched”, an all-media drama for Nine Network and nineMSN. “With Storm Surfers we’re creating first and foremost a 3D theatrical feature film. But we’re also creating a 4x1 hour TV version in 3D for the North American and the UK market,” said Gillezeau. An all media wrap-around in the form of a 20 part Storm Surfers web series is also being created with the aim of being amongst the first content to market for the launch of auto-stereoscopic 3D mobile phones and tablets - portable devices that don’t require glasses to view 3D material. The team is also producing an interactive gamestyle app with Explore Engage that will enable the user to fully experience the Storm Surfers journey. Furthermore, Storm Surfers will also follow up the success of previous e-magazine apps created for Apple portables. The combination of these outlets will be tuned to suit each regional market and oﬀers distributors a range of options that ultimately build the brand and hopefully demand ahead of the film

release. This strategy has worked previously with television networks using Storm Surfers webisodes to promote the TV documentaries. “I think it would have been possible to raise that finance just as a feature, but it would have been a lot harder because it could have been perceived as a niche sports film,” says Gillezeau, “But given that Ellenor and I have done well with adventure as a genre, it certainly made sense that we were able to combine our all-media producing skills with Storm Surfers as a story and a brand and ensure that we’re actually producing a mainstream, mad-cap, character driven adventure story.” The all media delivery also presented a very powerful proposition to the financing and distribution gatekeepers thanks to the existing strength of Storm Surfers social network reach. Ongoing support from sponsors Red Bull Media House and Quiksilver, combined with the fan base of Ross Clarke-Jones and Tom Carroll, enables the project to access over 25 million people through Facebook. And finally, as a 3D project, Storm Surfers distribution should capitalise on its pre-sale to 3Net, a US TV 3D network owned by joint venture partners Discovery Corporation, Imax and Sony Corp. Ideally the producers would like to see every Sony 3D TV sold coming with a Blu-ray of the Storm Surfers 3D feature film, the 2D version and the webisodes.

THE 3RD DIMENSION

3d Go Pro housed in custom designed carbon fiber rig on the bow and stern of the jet ski using air knives to keep water oﬀ the lense

With the hard work of financing the feature film completed, the team began to ramp up the crucial research and development process to merge cameras, 3D rigs, mounting and ancillary equipment needed to capture the action in 3D. While the R&D was underway with Stereographer Robert Morton, Rig Tech/1st AC Richard Kickbush and Water DOP Dean Cropp, specialist meteorologist Ben Matson began to track the storms that deliver big wave surfing conditions. With jet skis and local support teams on standby at various locations around Australia, the entire crew could be mobilised at short notice and flown in to catch the best waves.

3D - A CAMERA QUANDARY The 3D requirements of Storm Surfers were a severe departure from traditional drama shoots involving studio set-ups and big camera rigs run by large crews. Although Storm Surfers 3D began production in July, the preceding R&D and pre-production phase saw several test shoots at Cow’s Reef in Western Australia, Shipsterns in Tasmania and a secret break South of Sydney. These outings evolved the development of equipment and techniques and grew to full production shoots. According to Nelius, the biggest challenge was needing lightweight, portable 3D technology that was also fast to setup. “The reality is that

big splitter rigs and side-by-side rigs are supercomplicated camera builds that required a lot of engineering and a lot of time for the camera department to work on and then set up to be able to get perfect shots.”

where large 3D camera rigs could not fit.

McMillan adds, “When we’re actually out there shooting on the water you can’t stop and ask the talent to wait while we tweak this light over here or move the camera here. From a technological point of view we are shooting a feature film so we needed the highest quality pictures we could for theatrical release but with camera technology that was going to get us inside the wave.”

“We used a side-by-side rig with two Sony PMW-EX3 XDCAM cameras with these awesome Fujinon lenses. We wanted to get a very specific, long lens shot because our surfing subjects were often a long way away. What tends to happen with 3D is it can flatten the image once you zoom in from any distance so the higher the quality lens and the larger interaxial, the more that we’re still able to retain some kind of three-dimensionality to the shot.”

TECHNOLOGY TO THE RESCUE

“Ultimately the chips in these three cameras were small and we felt that we really needed to cover ourselves with a couple of high quality camera rigs for two very specific purposes,” noted McMillan.

The project was extremely fortunate to time with the release of several low cost 3D cameras. The first was a GoPro 3D Hero camera system that combined two HD cameras into a single housing to record synchronised 3D video. GoPro supplied 10 systems to Storm Surfers, which water DOP Cropp attached to the front and back of the surf boards and on the end of carbon fibre handles that the surfers could hand hold on the waves. Two other cameras were the Sony HDR-TD10 Handycam and the Panasonic AG-3DA1E. Both are ‘binocular’ style 3D systems with twin HD lenses and sensors. The Panasonic was used for fulllength shots, particularly oﬀ the back of the jetskis, while the Sony was for medium-close shots, often in confined situations such as in-car conversations

Side by side rig on the meaco stabiliser head, two times Sony PMW-EX3 XDCAM spintek on each lens

THE 3RD DIMENSION

HIT THE SURF

Side by Side camera using a suspension rig and air knife using leaf blower, the rig was abandoned due to the fumes

THE 3RD DIMENSION This rig was fitted with the Fujinon 3D synchronous control system to synchronise the left and right lenses so zoom, focus, Iris and record were synchronised between the two cameras.

we finally decided to use a Mako camera head an American head that has a gyro stabiliser built into it.”

The EX3 rig also utilised a Convergent Design 3D nano-flash recording device to capture images at optimum bit depth, subsampling and compression for improved post-production. Less compression results in more latitude to manipulate the data in the grade and derive more detail from problematic lowlights and highlights - surfing shots are often at the extreme end of both spectrums, with intense whitewash highlights and deep black wetsuits meaning that both must be captured at as high a resolution as possible to stop either from blowing out in post-production.

OB DOC GOES HIGH END

The 30kg EX3 rig was placed on the back of a fishing boat and required a range of further enhancements to work in the demanding ocean environment. “With 3D you can’t afford to have a drop of water on one lens and not on the other because the 3D shot simply won’t work,” explained McMillan. “We developed an air knife system using leaf blowers forcing high-pressure air through a shield that we put on the front. But the blower’s engine fumes made people even more seasick so we ended up moving to dual Spintec’s, which is a small device that goes on the end of the lens that creates a centrifuge effect that flicks the water off the glass.

THE 3RD DIMENSION

“We still had the issue of how to stabilise that camera and we tried hanging it oﬀ a gimbal but

The project’s also required a high end, flexible 3D camera system that could be used hand held to capture a lot of film’s observational documentary style shots. An Element Technica Dark Country beam splitter rig, originally developed for the Dark Country feature film, was fitted with Silicon Imaging SI-2K cameras and attached to a Cinedeck recording unit. DP Dave Maguire had many years of 2D observational documentary experience under his belt, including the first two Storm Surfers episodes. He is used to working fast and eﬃciently and was tasked with devising a 3D documentary shooting style using the beam splitter for the non-water shoot components, a major element in themselves. In addition, master interviews were also captured using the newly released Sony PMW-TD300 shoulder-mounted camcorder that promises to provide an exciting new camera option for documentary productions. The TD300 enabled the team to shoot high quality images with minimal set up time. The six camera systems have all required extensive engineering and custom setups to enable them to fit into their individual roles and survive storm driven seas with their associated weather conditions.

POST-PRODUCTION Most 3D feature film productions shoot on one or two formats resulting in a post-production workflow designed around one codec. The use of six camera systems from 10 cameras on Storm Surfers created the need to use Cineform’s Neo3D software to convert camera media files into the Cineform codec. The advantage was that Neo3D enabled basic convergence, camera alignment and grading from the initial conversion to Cineform files. “It also allowed us to do our first technical quality control check of the material. Firstly, we were able to let the camera team know that the cameras were working. It also meant that we could check our camera alignments each day. Having quality control at that stage was really important,” said McMillan. The Storm Surfers production team is currently working in-house at the Sydney headquarters of the Deluxe entertainment services group where EFILM and Method Studios are handling postproduction duties. There, the Cineform rushes become project masters and are then converted into DNXHD Side-by-side files for Avid 5.5 oﬄine editing. The team then take the Avid 3D rushes and pipe them through a Doremi format converter at EFILM to project them onto a 30 foot screen. Nelius adds, “We can cut a sequence and the same day we can watch it on the big screen, piped through in 3D, which is great.” Storm Surfers 3D is due for completion by March for premier screenings in June.

THE 3RD DIMENSION

SENSIO and Samsung Reach Patent License Agreement

3D Visual Enterprises Acquires Meduza Systems

Marquise Announces Real-Time RAW Debayering

SENSIO TECHNOLOGIES INC. (SENSIO) (TSX-V: SIO), a pioneer in the 3D industry, and Samsung Electronics co., Ltd, a global leader in semiconductor, telecommunication, digital media and digital convergence technologies, have announced that they have reached a patent license agreement over the SENSIO S2D Switch.

UK BASED 3D VISUAL ENTERPRISES has

MARQUISE TECHNOLOGIES has announced a new debayering engine, MOSAIC, able to playback in real-time 2D and Stereo3D RAW footage.

As a result of this agreement, SENSIO is licensing Samsung Electronics the right to implement SENSIO S2D Switch in its 3DTVs. The financial terms of the license agreement will remain confidential.

In streamlining the company, the executive team includes the appointments of consultants Matt Whalen, Imaging and Colour Scientist and Al Mayer, Chief Mechanical Engineer and Program Manager. Meduza Systems Ltd retains oﬃces in London, England and Irvine, CA.

“For us, signing a patent license agreement with the world leader of 3DTVs definitely enhances the value of our S2D Switch patent and our overall patent portfolio, and demonstrates that leaders in the industry value our intellectual property.” “We value our relationship with SENSIO Technologies and respect its intellectual property,” said a representative at Samsung Electronics Co. Ltd. “This agreement will allow Samsung to continue using the patented technology developed by SENSIO for the benefit of consumers who buy our 3D-enabled televisions around the world.” The proprietary SENSIO S2D Switch, which is protected by U.S. and international patents, enables users to switch viewing mode of a 3D feed from 3D to 2D or between diﬀerent 3D viewing modes. It supports the most popular frame-compatible formats covered by HDMI 1.4a, and is used by service providers supporting 3D today: side-byside (SbS), top-and-bottom (TaB), checkerboard and SENSIO Hi-Fi 3D. Visit www.samsung.com and www.sensio.tv

Prior to the acquisition, 3D Visual Enterprises has been the financial, marketing and distribution arm of the company with Meduza Systems LLC, focused on research and development. All activities will now be integrated under one company umbrella, Meduza Systems Ltd, which will also be responsible for all international and domestic US operations, and global marketing eﬀorts. “With the consolidation, we are now better positioned to serve our customers by providing the best 3D camera and localized support systems,” says Cary. The company’s restructuring arrives just 1 year after Meduza Systems’ auspicious debut at NAB last April where they garnered a Mario Award from industry magazine, TV Technology. Recognised for their ‘Innovation & Technical Excellence,’ the Meduza MK1 Camera remains the first single beyond 4K digital stereoscopic 3D (S3D) camera ever developed. “By consolidating 3D Visual Enterprises Ltd and Meduza Systems LLC, we have simplified and streamlined our operations and corporate structure,” says Meduza Systems Ltd COO Jon Kitzen (retaining the position he held at Meduza Systems LLC).

MOSAIC is able to significantly increase the debayering speed of RAW images from digital cameras up to real time, ensuring a maximum image quality and DoP’s will integrity. MOSAIC already supports ARRIRAW from ARRI Alexa (3K) and D21, Adobe DNG, including Aaton Penelope Delta (4K), and Cine Files from Vision Research Phantom Flex and Phantom Gold (from HD to 4K) Combined with the user interface for managing the RAW parameters being directly integrated into the colour correction pipeline, MOSAIC brings a major breakthrough in the processing of dailies and the grading of RAW images. This is a unique feature oﬀered by Marquise Technologies’ solutions. Speeding up the debayering process, together with the ability of working natively on the RAW files is a huge competitive advantage and added value for the digital labs and the post-houses, as they are able to deliver more rapidly the dailies to the production. Moreover, they enhance their work quality by grading natively the original images, at full speed. Available in Dailies system M I S T and Colour Correction solution R A I N, MOSAIC is able to simultaneously debayer, downsize and playback the RAW images in real-time. “With the MOSAIC engine our solutions are once again at the forefront of today’s technology challenges, being the most eﬃcient, pleasant to use products and with the fastest turn-over on the market,” said Laurence Stoll, CEO at Marquise Technologies.

“We look forward to our continued innovation, growth and success with the delivery rollout of our product line.”

MOSAIC works seamlessly with JAZZ, the realtime rendering engine available in MIST and RAIN, in order to deliver full quality DPX or TIFF files as well as MXF Avid DNxHD and QuickTime movies for editing or visual eﬀects purposes.

Visit www.meduzasystems.com

Visit www.marquise-tech.com

THE 3RD DIMENSION

“After licensing other manufacturers last year, signing this agreement with Samsung Electronics constitutes another major milestone and validates our S2D Switch patent licensing strategy that we have worked on for a long time now,” said Nicholas Routhier, President and CEO at SENSIO.

acquired 100% of Meduza Systems LLC, the Irvine, CA based award-winning developer of the 3D cameras, the Meduza TITAN and the Meduza MK1. It was announced by Chris Cary, CEO of the newly formed combined company, re-named Meduza Systems Ltd.

ACQUISITION www.content-technology.com/acquisition

ARRI ALEXA Goes on Location in WA for over 20 years in Perth renting high quality broadcast cameras and associated gear. Being a rental company we need a wide range of cameras to cater for all levels of the market. “We have a fleet of cameras and decided to get the ARRI ALEXA because we saw it was rapidly being accepted as one of the best 35mm digital motion picture cameras on the market. We wanted it to become the camera of choice for producers of high end TVCs in Western Australia, replacing 35mm film. We believe it is currently doing this.” Knight and his co-owner Rob Dewar also purchased ARRI Zeiss Ultra Primes for use on all the company’s PL mount cameras. Commenting on the kit Knight continued, “We like the quality of the image the ALEXA camera produces. Local directors, producers and advertising agency creatives are impressed with the pictures. We also like the simplicity of operation via the easy menu system, as do DOPs and camera assistants who find it very quick to learn.

FOUNDED IN 1989, Location Equipment has been servicing the film and television production industry in Western Australia for well over twenty years. The company oﬀers the screen production industry the highest quality camera equipment and stays at the leading edge of digital technology. Recently the company decided to make the move to the ARRI ALEXA. Coowner Greg Knight explained, “Location Equipment has been operating

Visit www.arri.com.au

Litepanels Ships Sola 4 Fresnel LED

THE SONY PMW-F3 SUPER 35MM digital cinematography camcorder has

LITEPANELS IS NOW SHIPPING the Sola 4 Fresnel LED lighting fixture,

struck a chord with Australian educators looking to equip their students. Sony’s first professional handheld digital production camera with a Super 35mm imager was the right acquisition tool at the right time for three of the country’s leading tertiary institutions.

the smallest DMX controllable LED Fresnel on the market. The new focusable Sola 4 features a 100mm Fresnel lens and uses a small fraction of the power consumed by conventional fixtures.

Based on the outcome of the shootout a PMW-F3 camera kit complete with three Sony prime lenses was ordered in May 2011 through local reseller Videopro. The decision was announced to third year students about to commence their graduate short film work and seven out of eight projects planning to shoot on DSLRs moved to the F3. Sydney’s Australian Film and Radio School (AFTRS) Head of Cinematography, Kim Batterham ACS, said, “We bought a RED camera in December 2009 because it was the cheapest to buy but in mid 2011 we bought two Sony F3s because we saw the opportunity to expand our large sensor oﬀerings at reasonable cost and they fitted our teaching needs very nicely.” The F3s were first used for a one week television directing module and have since been utilised on an in-house project to interview well known AFTRS alumni including Alex Proyas.

Sola 4 is based on the same Fresnel technology as Litepanels’ awardwinning Sola 6, but in a smaller, more lightweight form factor. The compact new Sola 4 weighs around 0.6kg and measures just 230mm x 205mm x 180mm. Its small size and minimal weight make it adaptable to both studio and field applications. “Litepanels Sola 4s have gained a fast following among lighting directors and electronic field production (EFP) crews, who now have a precisely focusable and controllable daylight fixture in their light kits,” said Chris Marchitelli, Litepanels VP of global marketing. Visit www.litepanels.com

Ikonoskop Mounts with P+S Technik THE NEW DIGITAL MOTION PICTURE camera A-cam dII from Ikonoskop

“The lenses supplied with the camera are surprisingly good considering other lenses cost much more. We are also waiting for the new Sony SCL-Z18X140 14x zoom lens. It is important that we have equipment that appeals to prospective students as they want to learn using the best cameras so they will go where the best cameras are,” explained Rapsey.

features the Interchangeable Mount System PS-IMS from P+S Technik in order to ensure ultimate lens interoperability. With the open industry standard PS-IMS, users can choose from diﬀerent lens mount adapters. The PS-IMS adapters are interchangeable, so diﬀerent mounts can be used on one camera. 16Digital fast prime lenses from P+S Technik go on the PS-IMS without any adapter and come with easy to read scales, uniform front lens diameter of 60 mm, uniform 0.8 gear rings for focus and iris control and uniform position of exit pupil. Standard follow focus and electronic lens control systems can be used with these lenses. The filter thread accepts all standard 58 mm filters. 16Digital primes are robust and easy to service.

Visit http://pro.sony.com.au

Visit www.pstechnik.de

Edith Cowan University, Director John Rapsey also selected the Sony F3 to teach cinematography to his students.

ACQUISITION

Location Equipment predominantly rent their ARRI ALEXA cameras and Ultra Prime lenses out for shooting television commercials and drama productions.

Educators Adopt Sony F3

“Students were chasing a 35mm aesthetic but DSLRs don’t provide enough functionality or sound recording options to make it practical option for a film school so we looked for an alternative,’ explained Dean Chircop, a lecturer at Griﬃth Film School, part of Griﬃth University’s Queensland College of Art.

“The SxS card Pro Res recording means post production houses find it very easy to handle and manipulate and the camera’s rugged construction has ensured couriers and baggage handlers have not been able to break it!”

Avid® ISIS® 5000

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KNOWLEDGE / SOLUTIONS / SUPPORT

ACQUISITION

Fujifilm to EXCEED at NAB FUJIFILM NORTH AMERICA CORPORATION, Optical Devices Division has announced that it will introduce a cost-eﬀective ENG-Style lens with a 2x extender and show two breakthrough lenses for the first time in the U.S. at its NAB 2012 booth (C7525). Making its worldwide debut is the XA20xs8.5BERM, the newest member of the 2/3-inch EXCEED ENG lens series. The new XA20x is a telephoto lens with a 2x range extender, an ergonomic digital servo, Quick Zoom and inner focus. It is the first of the EXCEED series of economically priced ENG lenses to include a 2x extender. The HA19×7.4BERM/BERD 2/3-inch ENG/EFP lens is the latest addition to the Premier Series of high-performance ENG production lenses. The new HA19x oﬀers improved corner resolution and is designed for top-of-the-line

television production applications. The XA19×7.4BESM-D8 compact, boxstyle studio and field lens is a lightweight, 2/3-inch HDTV lens designed for high-end entertainment and news studio applications. The Optical Devices Division will also demonstrate its XA50×9.5BE SM HD field telephoto lens. The 45-pound lens features an integral camera supporter that requires no additional camera lens support, which results in a considerable cost savings over other designs that require a build up kit or separate camera/lens support. Fujinon will also show its Premier Series of PL Mount Lenses featuring the fastest T speeds available in a family of zooms, with unprecedented colour matched 4K and beyond optical performance. Visit www.fujifilm.com

Boxx.tv Extends Meridian Range RF CAMERA SYSTEM manufacturer Boxx.tv is to launch Meridian Tallis; an iris control and tally indicator accessory for wireless camera rigs, at NAB 2012, booth C7219. Boxx.tv will also be extending its Zero Delay transmission range with Meridian-Lite. Camera paint systems are traditionally expensive and hence out of the reach of many productions. Boxx has conceived a solution that provides remote control for Iris and tally light only. The Meridian Tallis system also works with any brand of broadcast camera on a wireless rig or Steadicam, and is not limited to Boxx.tv’s own wireless camera systems.

Definition video, which delivers broadcast video and sound perfectly in synch. The sytem supports full 4:2:2 video including all formats up to 1080p 30, providing a simple, wireless solution for all professional videographers.

Boxx’s wireless camera solution, the Meridian, operates with zero delay has been used numerous times alongside cabled cameras on multicamera productions. Boxx are oﬀering their Iris Control and Tally for all broadcast and video productions, outdoor screen applications, conference centres, wedding videography and Webcasting.

Boxx.tv designed Meridian Lite for professional broadcast and videography applications. It is suitable for live broadcast on a budget, and for Steadicam operators, but will also suit Video Assist, Webcasting, conferences, audio visual systems within large halls or churches, and Big Screen outdoor presentations.

Meridian Lite’s killer feature is its Zero Frame Delay RF link for High

Visit www.boxx.tv

FFV Launches sideKick HD

Anton/Bauer Debuts EOS Gold Mount ANTON/BAUER will debut its QRCCA940 Gold Mount solution for the Canon EOS C300 camera at the 2012 NAB Show (Booth C7032).

FAST FORWARD VIDEO (FFV) will unveil the sideKick HD, a multi-format, straight-to-edit, camera-mountable digital video recorder (DVR), at the 2012 NAB Show. Designed to ease production workflows and satisfy the demands of both producers and postproduction editors, the sideKick HD enables customers to get the most out of their camcorders.

ACQUISITION

While most camcorders are capable of delivering a data stream of only 30 megabits per second at 50:1 compression, the sideKick HD is able to record at 220 megabits per second at only 7:1 compression. The sideKick HD attaches to any HD camcorder or HDSLR using a standard ¼-20 mount. As a true straight-to-edit DVR, the system records to oﬀ-the-shelf, hot-swappable 2.5-inch SSD drives in native ProRes (for Apple Final Cut Pro) or DNxHD (Avid) NLE formats. A 4.3-inch on-board confidence monitor oﬀers playback options including scrub and jog capabilities.

To simplify power management, the lightweight sideKick HD is intended to be powered from the camera’s battery. FFV oﬀers power cables for direct connection to Anton-Bauer and IDX camera batteries, as well as approved OEM-compatible batteries with a DC output for Sony, Panasonic, Canon, and JVC camcorders. Visit www.ﬀv.com

The Canon EOS C300 was designed specifically to meet the demanding needs of today’s cinema industry professionals. The C300 features a unique Super 35mm Canon CMOS sensor, revolutionary Canon DIGIC DV III image processor and 50 Mbps 4:2:2 codec. To help streamline battery management for Canon EOS C300 users, Anton/Bauer has simultaneously introduced the QRCCA940, a Gold Mount that provides 7.2V power to the camera via a DC connector and 14.4V on PowerTap connectors. “While the QRC-CA940 operates similar to our other Gold Mounts, this particular mount will have three PowerTap outputs where typically we only have one,” says Shin Minowa, vice president of marketing and business development. “It is our goal to continually oﬀer innovative power solutions to the NAB community and we are looking forward to sharing the QRCCA940 this year. The more accessories we can power in addition to the camera, the better.” The QRC-CA940 was designed to be compatible with the company’s mounting bracket for 15mm or 19mm rod systems, the MATRIX Cheese Plate, or adapted to third-party support systems. Visit www.antonbauer.com

ACQUISITION

We’re back—with more.

SBP-64A

PFD-128QLW PHU-220R with BP-U30

Sony Professional Media is back in full swing—with more products to revolutionize your work We’ve expanded the SxS range to 64GB, compatible across multiple camera platforms. The new PHU-220R provides 220GB of continuous recording on XDCAM and XDCAM EX camcorders, and the Quad Layer PFD-128QLW disc enables 128GB of storage on the new standard XDCAM Pro Disc.

www.sony-asia.com/promedia

A QU AC ACQUISITION QUIS IS SIT TIO ION N

We’re back—with more, and better than ever.

3 31

ACQUISITION

Sound Devices’ Next-Gen Functionality SOUND DEVICES WILL INTRODUCE new functionality for its popular PIX 240 portable audio/video recorder at the 2012 NAB Show (Booth C2546). This latest firmware update, Version 2, now makes PIX 240 even more powerful with the addition of several monitoring features. Sound Devices PIX 240 firmware Version 2 enables users to monitor images in varying exposures through Exposure Assist, a feature that allows for false-colour and zebra-stripes viewing. It is also equipped with Focus Assist, which includes a peaking filter and one-to-one pixel zoom. Brightness, contrast and chroma adjustments are also now available. PIX 240 is the perfect companion to a wide range of professional cameras used for feature films such as ARRI and RED as well as small-format HD cameras such as Sony and Canon. PIX 240 connects to cameras with HDMI or and records directly to QuickTime using Apple’s ProRes or Avid’s DNxHD codec. PIX 240 includes a built-in Ambient Clockit time code generator/reader with genlock output for multi-camera and doublesystem sound applications. The source time code can be derived from the SDI stream, from an external source, or from the built-in generator in PIX 240. Additional features include digital audio inputs on AES3, and an external eSATAp connection for direct connection to large SATA drives. Visit www.sounddevices.com

Camera Corps Q-Ball Pre-Set to Launch at NAB

Autocue Introduces New Accessories and Software AT NAB 2012 TELEPROMPTER, newsroom and video server specialists, Autocue, will feature a new range of accessories for its “Master Series” teleprompters, including a 22-inch talent feedback monitor with native HD-SDI and new mounting system; a digital tally light that displays the camera number and instantly changes from red to green when live on air; an under-monitor talent clock that can also act as a tally, going green when on air; and new USB hand and foot controls to ensure compatibility with the latest PC hardware. NAB will also see the global launch of new software for Autocue’s popular range of multi-format SD/HD ingest, storage and playout video servers. This v3 release provides additional support for Avid and Apple editing workflows, with new OP-Atom and ProRes formats and improved handling of QuickTime, DNxHD and XDCAM content. The new software also provides scheduled playout of clip sequences, with both local and remote access to playlists. Improved timecode handling allows the server’s time to be synchronised to house timecode via LTC and for recordings to be triggered from embedded VITC. Support for 608 and 708 closed captions has been added and transcoding can now be triggered on demand from a pre-defined list of encode profiles. Finally a new XML-based remote protocol allows the server to be controlled by a third-party application. Visit www.autocue.com

I-MOVIX Ultra-Motion in HD AT THE 2012 NAB SHOW, I-MOVIX will show the brand-new X10

THE LATEST VERSION OF CAMERA CORPS’ award-winning Q-Ball compact remotely controlled pan/tilt/zoom HD/SD camera will be launched into the United States market at the 2012 NAB Show, Las Vegas. Demonstrated in prototype at IBC 2011 and now in full production, Q-Ball Pre-Set allows 18 shot settings (each comprising pan angle, tilt angle, zoom and focus) to be stored prior to a live or real-time recorded shoot. “Many operators have requested the ability to capture and recall Q-Ball head settings,” said Camera Corps founder and Managing Director Laurie Frost. “With over 200 systems now in operation around the world, we recognised that this feature was well worth developing both for customers and for our own direct involvement in televising reality shows and major outside broadcast events.” Q-Ball Pre-Set greatly enhances the eﬃciency of a production team by allowing detailed settings to be rehearsed ahead of a live event. This is particularly useful when covering major sports events or public concerts. All settings are saved in non-volatile RAM so remain safely stored even if the Q-Ball Pre-Set system is powered down between rehearsal and actual performance. Visit www.cameracorps.co.uk

system, the industry’s first live ultra-motion solution to deliver realtime, continuous extreme slow motion in full HD at 300 fps (or 600 fps in 720p). Developed in partnership with EVS, the X10 system is used with an EVS XT3 production server under Multicam LSM control. It smashes the performance ceiling of existing continuous super-slow motion systems, which are restricted to three times slower than real time, or 75 fps. As the industry’s first live ultra-motion solution, the X10 system is designed for continuous slow motion at frame rates far in excess of existing systems. The X10 provides a consistent and familiar user interface and controls that any broadcast crew can use immediately without any special training. I-MOVIX will also show the benefits of the new SprintCam Vvs HD 1.2 software release. This updated version of the SprintCam Vvs HD technology features refined and enhanced functionality inspired by feedback from the global community of SprintCam users. New operational enhancements for all four components of the SprintCam Vvs HD system (camera, CCU, OCP, and slow-motion remote) allow operators to use all the capabilities of the ultra-motion technology in a simpler and more eﬃcient way, and to provide ultra-slow motion images of extraordinary quality. Visit www.i-movix.com

Cinedeck Captures Success

ACQUISITION

CINEDECK LLC, pioneering developer of mobile capture systems for motion picture and broadcast production, will be displaying at Booth SL13417 at NAB 2012. They will showcase the latest advances in their range of high-performance multi-format, multi-channel, recording, monitoring and playback systems for cinema, broadcast and mobile OB.

The company will also showcase the very latest versions of Cinedeck EX, its portable multi-format, multi-codec, HD-SDI recording system, plus Cinedeck RX, the new, rack-mountable, multi-channel, solid-state recording, monitoring and playback system, for broadcasters and mobile OB. Visit www.cinedeck.com

ACQUISITION

ARRI Launches New Camera and Lenses

Fujinon to Debut New Lenses FUJIFILM OPTICAL DEVICES DIVISION has announced that two compact HD lenses, each featuring technical firsts in their size; the new Fujinon XA20xs8.5BERM 2/3-inch, cost-eﬀective ENG-Style lens with a 2x extender; and the new ZK 4.7x19 35mm PREMIER PL mount zoom lens will make their debut in booth C7525 at the 2012 NAB show. The two new HDTV lenses, which expand their respective product lines, are the HA19x7.4BERM/BERD 2/3-inch Premier Series highperformance HD ENG/EFP production lens and the XA19x7.4BESM compact, HDTV studio and field box-style lens. Both feature 19x zoom ratios, and are the first in such a compact size to feature three floating zoom groups and Aspherics. Both the XA19x7.4BESM and HA19x7.4BERM/BERD lenses have advanced diagnostics to keep them working reliably, as well as a short minimum object distance of 0.55mm, which allows shooting at closer distances.

ARRI AUSTRALIA oﬃcially launched its new ALEXA Studio camera with an industry event held at Red Apple Camera Rentals in Artarmon. The evening saw over 30 industry professionals and DoPs treated to Australia’s first real demo and Q&A on the new camera. ARRI Australia MD Stefan Sedlmeier said, “There was quite a lot of excitement about the ALEXA Studio with all the attendees keen to try it out in Red Apple’s sleek new showroom.” The ALEXA Studio features a quiet, adjustable mirror shutter and an optical viewfinder that provides a real-time, high contrast image with true colours. Another key feature is its 4:3 sensor, which makes it the only digital camera (aside from the ARRIFLEX D-21) to boast true anamorphic capability.

“The advanced features we’ve built into these lenses are extremely important in the HDTV/big screen era as television viewers can see much more picture detail,” explained Fujifilm Australia’s Marc Van Agten The new XA20x is a telephoto lens with a 2x range extender, an ergonomic digital servo, Quick Zoom and inner focus. It also features improved corner resolution and is the first of the EXCEED series of economically priced ENG lenses to include a 2x extender. The ZK 4.7x19 features a unique detachable drive unit; flange focal distance adjustment and macro function, and is Lens Data System (LDS) and i-metadata compatible. Visit www.fujifilm.com.au

ARRI is also releasing its new Master Prime 135mm lens. The new lens fits perfectly between ARRI’s Master Prime 100 and 150 and now brings the Master Prime set up to 17 focal lengths. Sedlmeier said, “We have already taken orders from many of our Australian and NZ customers including Red Apple Camera Rentals, Video Australasia and Hugh Miller, many of whom are looking to complete their set of Master Prime lenses.” A focal length of 135mm is suﬃciently telephoto to separate the subject from its surroundings, but not so telephoto that the perspective becomes flat, allowing faces to maintain a pleasing three dimensionality. The widest aperture of T1.3 and the Master Primes’ unique ability to maintain their high image quality even wide open, allows the creation of an extremely shallow depth of field when desired.

ACQUISITION

Visit www.arri.com.au

NEWS OPERATIONS www.content-technology.com/newsoperations

Sunrise Sheds Light on Antarctica FEBRUARY SAW AN Australian television first with the Seven Network’s breakfast programme Sunrise broadcasting live transmissions from Casey Station in Antarctica. According to Sunrise technical guru Dacien Hadland, aside from climatic conditions, challenges faced by the Sunrise crew included interfacing the Australian Antarctic Division’s satellite dish with the crew’s own TV gear, coping for 3 days without my mobile phone, Internet connectivity equivalent to something slightly better than dial-up, not to mention transporting over 500kg of equipment to Antarctica. With limited options for powering equipment, batteries were top of the list for the crew, as was energy eﬃcient equipment, including lighting. With durability also being a consideration, Sunrise director/cameraman Paul Slater took an ETC Desire XT LED fixture from Jands on the ultimate test to Antarctica. The ETC Desire XT LED fixture has an IP66 rating which means that the XT fixtures’ enclosures have no ingress of dust, completely protect their electrical components from water, and are undamaged by the formation of ice. The XT luminaires were designed for permanent outdoor use in a variety of climates and weather conditions and can be used safely in temperatures ranging from -20°C to 40°. “The fact that it is 100 percent weatherproof is a big plus for all of the outdoor shooting we do when travelling and shooting for Sunrise,” said Paul. “Antarctica is a pretty extreme place and it was good to know we wouldn’t have to worry about the fixture. “It’s an all encompassing, weather-proof light that enables us to dial in diﬀerent colour temperatures, whether it’s daylight or tungsten lighting,” remarked Paul. “You also have full dim control; to have all those features in a light without the need for a ballast is really handy.

Bloomberg TV to Launch Dedicated Australian Feed BLOOMBERG TELEVISION HAS ANNOUNCED a major investment in a separate, dedicated feed that will be customised for audiences in Australia. The new oﬀering, available in June, will oﬀer advertisers the ability to localise insertions. Bloomberg Television is the most widely distributed business news service in Australia with more than 2.6 million households. The service is currently available on the largest pay TV platforms, Austar and FOXTEL, as well as Fetch TV, Neighborhood Cable and Transact, and TPG. “This latest initiative continues Bloomberg’s commitment of investing in important markets such as Australia,” said Gary Groenheim, Bloomberg Television’s Commercial Director for the Asia-Pacific region.

NEWS OPERATIONS

“Our Australian feed will help us better serve our growing roster of advertising clients and open up opportunities for customised programming initiatives to build greater aﬃnity with the local audience.”

“By developing a more customised presence in Australia, Bloomberg Television will be able to both widen its viewership and oﬀer advertisers more targeted options,” said Mark Froude, head of ad sales for Asia-Pacific, Bloomberg Television. Visit www.bloomberg.com

“Although most of the time when we do outdoor broadcasts we have plenty of power, it’s still handy to have a fixture that is LED and requires less power draw than conventional fixtures,” noted Paul. “You never know when you’ll be broadcasting from the bush using a small generator!” During its few days in unrelenting cold and snow of the Antarctic, the ETC Desire XT LED fixture constantly produced bright, clean light without taking on moisture or corroding. “The ETC Desire™ XT LED delivered a lot of punch which is exactly what I needed down there,” added Paul. “The shots looked great and I’ve had nothing but positive feedback about the broadcast.” Visit www.jands.com.au

Indian Broadcasters Embrace LiveU 3G LIVEU, THE PIONEER of portable video-over-cellular solutions, has announced that its flagship LU60 video uplink solution is used by leading broadcasters and news agencies in India, such as Times Television Network. LiveU’s LU60 mobile backpacks are in operation throughout India, transmitting live coverage of breaking news and high-profile events, including the recent New Delhi bombings, sports events such as the 2011 Cricket World Cup, and election campaigns. The local networks and news agencies also service international media based in India, enabling foreign correspondents to broadcast live back to their worldwide newsrooms. Indian networks also use LiveU technology outside India taking their units abroad to cover news like recent events in the Maldives. They benefit from LiveU’s international network as well, using local units to cover relevant events for their domestic audience, such as the ‘Salute to India’ Parade in New York City, the World Economic Forum in Davos or Indian Cricket matches in Australia. Times Television Network’s Mr. Rajat Nigam, Sr. Vice President, Technical & Broadcasting Operations, says, “We’re increasingly using LiveU to cover news and other events across continents both within India and abroad. Thanks to LiveU’s portability, we don’t have any limitations getting to the scene quickly – all we need is a cameraman and a backpack. “We find it eﬀective to use LiveU units which are supported by a proactive and eﬃcient response time from LiveU partners across territories; we have been enriching the content by acquiring the same from international territories like Davos, New York, and Australia. Visit www.liveu.tv

NEWS OPERATIONS

Dejero Raises the Bar on Wireless Live Broadcasting DEJERO HAS ANNOUNCED the worldwide launch of its latest product, the Dejero LIVE+ 20/20 Transmitter. Running the latest LIVE+ Version 2.6 software, this next generation wireless live video transmission device packs incredible HD and SD broadcast performance with ultra low sub-second latency into a smaller, ruggedized briefcase. The LIVE+ 20/20 Transmitter allows customers to instantly transmit broadcast-quality live video through bonded LTE/4G/3G/Wi-Fi/LAN networks at a fraction of the cost and complexity of satellite and microwave trucks. Transmission quality of the LIVE+ 20/20 Transmitter challenges all competing solutions while delivering reliability that is second to none with Dejero supported modems and airtime. The announcement follows a tremendously successful year for Dejero, in which numerous tier-1 broadcasters, top news agencies, digital media publishers, sports leagues, and government organisations have become Dejero customers. “The LIVE+ 20/20 Transmitter raises the bar for live video broadcast transmissions around the world”, said Dan Mance, Dejero CEO. “Together with our web-based LIVE+ Cloud Manager, our customers can deliver high quality live broadcasts from anywhere to any device, all within an easily managed environment. Smaller, faster, more aﬀordable, and now with less than 30 seconds of start-up time and sub-second latency, the LIVE+ 20/20 Transmitter allows our customers to transmit live video quicker and easier than any other product on the market.” Visit http://dejero.com

MetService Launches Video Weather Channel GENCOM HAS DESIGNED AND BUILT a new studio facility for MetService’s new video weather channel, MetService TV. Ray Sanders, Gencom’s CEO explains, “MetService approached us with the concept for a dedicated video weather channel to enhance its existing weather forecasting services. The aim was to use a daily news bulletin format to provide the latest, detailed New Zealand weather information to its users – producing professional video broadcasts for Internet, mobile and TV consumers.” New Zealand based MetService and its international brand MetraWeather are a global weather authority providing weather intelligence to the news, energy, retail and industrial sectors worldwide. MetService is Australasia’s number one provider of broadcast weather presentation expertise through its purpose-built weather graphics system, Weatherscape. Gencom designed the new green screen studio using products from Broadcast Pix, AJA Video Systems, Ikegami and Ensemble Designs. The Broadcast Pix Mica is the hub of the new studio video production unit providing the video switcher, CG graphics, video clipstore, device control and show automation as an integrated product that can be operated by one user. MetService General Manager Communications Jacqui Bridges says, “Our aim is to showcase MetService’s unique expertise across the full spectrum of weather – forecasting, interpretation, communication and presentation – by using our own people and technology to deliver timely and useful weather insights to customers, news media and direct to consumers here and overseas.” Visit www.gencom.com and www.metservice.com

Professional Wireless Microphone Systems Wisycom exclusive digital sub-carrier telemetry technology allows: remote TX battery monitoring tone-squelch operating PTT function (An optional back-panel module is available, with the secondary intercom output) Exceptional sturdiness and absolute reliability even in very congested environments

WisyCom also manufacture: Wireless Communication Systems Outdoor Broadcast Units Wireless Reporter Systems For more information please contact OnAir Solutions.

NEWS OPERATIONS

Dual TRUE DIVERSITY in a modular, stand-alone or slot-in format Switching bandwidth up 240 MHz in the UHF range DSP audio processing for unrivalled broadcast quality of audio-signal Infrared interface for programming and transmitter synchronisation Easy setup and operation

NEWS OPERATIONS

Ross Introducing Robotics ROSS VIDEO HAS announced their NAB 2012 oﬀerings, with new features and additions in each product line, as well as the introduction of Ross Robotics. Ross’ Vision Series high-end production switcher family continues to evolve with v15 software. This new version extends the rich integration between Production Switcher, XPression Graphics system and the OverDrive Automated Production Control system. Ross’ new award winning mid-size switcher line-up adds the new Carbonite C1M, a 1 MLE production switcher with 24 direct access source buttons. Version 6 software will also be demonstrated.

environment XPression can now apply diﬀerent styles to the same graphics in a rundown. The XPression Datalinq Server now oﬀers full support for Daktronics and OES scoreboards, in addition to improved record handling. NAB 2012 also showcases camera tracking for XPression virtual sets in partnership with North America’s most successful virtual set integrator, Unreel. The NWE-3G Nielsen Watermarks Encoder, is now shipping; a modular, future proofed solution with a 16 audio channel, 3 Gb/s processing core and passive bypass protection on all audio and

video I/O. A single openGear frame can now be configured with a complete air path solution for Nielsen encoding, Loudness processing and Dolby encode/decode. Ross Video’s recent acquisition of FX-Motion brings a whole new product line to the Ross booth at NAB 2012. Furio Robotic Camera Systems use an absolute positioning system and rail based tracking along with lift and PTZ head and is ideally suited to automated studios, virtual sets and augmented reality applications. Visit www.rossvideo.com

NAB 2012 will see the preview of v12 software for OverDrive. Version 12 completes the set of redundant options, which include: HotSwap, DeviceSwap, and FrameSwap. With the introduction of v4.0, XPression users can now load multiple projects simultaneously, or even single graphics, without disrupting onair operation. In addition, in a MOS newsroom

IMT RF Central microLite HD Elite Packs Powerful Punch IMT WILL FEATURE its RF Central microLite HD Elite system at the 2012 NAB Show, Booth C6432. The RF Central microLite HD Elite system is a complete video RF link in a portable package. Featuring IMT’s award-winning microLite HD Transmitter and microLite HD Receiver, this complete setup includes hand-selected antennas that are optimized for high gain, durability and low weight. The microLite HD ultra-compact MPEG-4 COFDM digital transmitter can deliver up to 200mW from a package of less than six cubic inches and features superb H.264 HD and SD encoding capabilities while operating in the standard 2k DVB-T COFDM mode.

NEWS OPERATIONS

Visit www.imt-broadcast.com

Petrol Bags Intros Audio, DSLR, Monitor Bags PETROL BAGS HAS announced a diverse range of new camera and audio equipment bags to be introduced at 2012 NAB Show, booth C6034.

Camera Case is a carry-on size roll-away camera bag designed especially for the DSLR shooter on the go.

Petrol Bags premieres four new products for audio. The Deca Audio Bag, the new Portable Digital Recorder Pouch, the lightweight yet rugged Deca Wireless Case, and the upgraded Deca Sound Man Rain Poncho.

Petrol Bags will showcase two new LCD monitor bags. The Deca 5” Monitor Bag is uniquely designed to safely transport auxiliary LCD camera monitors up to 5” in size. The Deca 21.5” LCD Monitor Bag is custom designed for a Flanders Scientific LM-2140W or similar size LCD monitor. Both Monitor Bags oﬀer multiple working benefits on location.

Petrol Bags will introduce the Liteporter professional carrier especially designed to transport and protect a Litepanels 1×1 LED light fixture. The new Rolling DigiSuite DSLR

Digital Nirvana Extends IQ

Chyron’s Shotbox App

DIGITAL NIRVANA will introduce two new products at NAB 2012, booth N3438 during the show.

CHYRON HAS ANNOUNCED the release of

MediaPro IQ is designed for news and sports directors who frequently repurpose content from cable channels. By intelligently using cable card technology, MediaPro IQ records encrypted cable feeds in full HD. For the broadcast engineer, it eliminates the need to maintain multiple set top boxes, frees up valuable rack space, and removes the cost of multiple DVRs. With the new ManyView IQ system, it’s easy and cost-eﬀective to deploy a private, enterprisewide IPTV system for use by producers and staﬀ who need to view real-time video signals at their desktop. The system eliminates the need for costly coaxial cabling, IP encapsulators, and IP output encoders.

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Shotbox for Lyric, a free app on the iTunes store that enables iPad users to control scenes within the company’s Lyric software. By eliminating the need for macros or a keyboard, Shotbox provides another simple way to control live on-air graphics in applications ranging from news and sports broadcasts to worship services. Shotbox for Lyric displays icons associated with specific Lyric messages, and during a live event, the iPad user can simply click on the appropriate icon to trigger playout. The free portion of the app wirelessly controls a Chyron graphics system in the newsroom to take graphics to air instantly. An additional add-on is available for purchase from Chyron, which provides enhanced functionality. Visit www.chyron.com

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SPORTSCASTING Sport coverage worldwide

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Surfing The Future of Internet Sport IN A SIGN OF THINGS TO COME, the inaugural Australian Open of Surfing Pro held at Sydney’s Manly Beach in February this year saw a sophisticated, all HD outside broadcast operation set up primarily for internet distribution. Surfing has been globalised by the internet as the lack of mainstream surfing television shows has led fans and vicarious surfers to get their images and information via the web. So it comes as no surprise that corporate brands are sponsoring events that bypass traditional media outlets to go live and direct to expanding audiences that are moving from laptops to their large lounge LCDs as broadband bandwidth increases. And while dynamic video can be streamed live from prime but remote surf sites such as Tahiti’s Teahupo’o, the first of three Manly events is part of a major push to market surfing directly to big city audiences. The move has seen surfing competitions expand into hugely successful beach lifestyle festivals, such as California’s Huntington Beach, that celebrate youth culture with motocross, skateboarding, volleyball and BMX competitions running alongside live bands, street art and fashion shows.

BACK TO THE BEGINNING Four years ago organisers began planning a similar event in Manly as a return to the location of the first World Surfing Championships held in 1964. In December 2011, the International Management Group (IMG) appointed Sydney-based Milkmoney to handle the seven day production. Milkmoney MD Matt Taylor shared Executive Producer duties with Michael Fardell from Screencraft and together they coordinated a crew of 40 staﬀ. The two have previously teamed up to webcast events such as the Boost Mobile Surf Sho, an aerial surfing contest at Bondi. “The hardest thing with surf is the unpredictable nature of working outdoors and beholding to Mother Nature in terms of location and timing - you can wait up to 20 minutes without a wave and then have 20 waves in five minutes,” explained Taylor. “The challenging part is that you have to be ready and able to capture everything and have material to fill if nothing is happening. You have to be prepared for any eventuality and we had 30 packages on tap including competitor profiles, material from sponsors Hurley and Billabong, as well as packages we created ourselves such as the history of surfing in Manly. “Graphics are the key - it’s not like a rugby game where the scoring is obvious. Surfing is far more subjective so the more information we can give to give the viewer the better, because it is a judged sport.”

SPORTSCASTING

At Manly, Milkmoney debuted the use of a Ross Video XPression 3D character generator as a broadcast production graphics platform. Scoring data from the judges’ site was automatically fed into the competition web site to produce improved onscreen graphics, statistics, graphs and supers.

Fardell describes the beach location as a technical nightmare compared to other sporting OBs. “Working on the beach means we are not only dealing with the weather but also sand and seawater, winds and tides so it’s not like a football game in a stadium. There are a lot of variants and long days - from our 7.45 am breakfast show with guest interviews to the 4PM finish, we were on air full time so it’s longer than a cricket match.

“For producers like Matt and I it is a huge challenge to deliver engaging content that is cutting edge. The surfing fraternity is incredibly critical and demanding of surfing coverage so every frame that goes out needs to be excellent.” To satisfy the growing demand for top quality broadcasting methodology in surfing Fardell and Taylor have adopted production values from mainstream sports broadcasts. “I can see sponsors are realising they need to budget more for quality productions and it’s an exciting time because it means better quality for the viewer,” said Fardell. “Our formula requires all the incoming footage to be kept on an EVS system and a SAN so it can be shared onsite with two FCP suites, and laptops for editing packages together that are fed back into the OB truck so we can play them into the show. That system makes the production of news feeds and packages much easier. “We also made use of a lot of graphics on a new Grass Valley Kayenne switcher to generate multiple keywipes and split screens. It took a lot to originally prepare the graphics but it was easy to integrate into the switcher and produced a very polished look.”

TRUCKING LIFE Matt Percy, MD for Pacific Broadcast, was technical manager at Manly and supplied the nine camera OB and edit facilities, and connectivity between the two. “Increasingly OBs are more about producing quick turnaround packages and not just replays. We rarely touch video tape, as most jobs use hard drive systems, so it’s all about the data and getting those files out and archived. So we have engineered our workflow to provide a custom craft editing service to compliment our client’s coverage where editors have direct access to files on our own network. There are a lot of different markets that we supply from the footage we acquire including news feeds, colour pieces on the broadcast and replaying heats on demand for the web.” Percy believes the move to improved technology is rapidly changing the way the sport is covered particularly for the judging as there are more cameras on the event and they can all be replayed. “While there is no official third umpire, judges can look at replays from different cameras which particularly helps at events like Manly where there were four surfers up at the same time.”

IMG INTERNET Easy access to the Manly site enabled IMG to utilise a business grade synchronous WIMAX service on site through provider BigAir. A base station was installed on the Sebel Hotel at South Steyne with line of sight visibility to the base station on the MLC Centre in the CBD and to the North Steyne Surf Club where the service was terminated. From there the bandwidth was divided into three separate services which were either cabled or retransmitted wirelessly to the entire site.

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SPORTSCASTING

Sky Racing Hits its Stride with Grass Valley Trucks Australia’s Sky Racing has taken delivery of three new outside broadcast (OB) vans, especially designed and built by Grass Valley for the steamy weather conditions of the Queensland horse racing circuit. THE ADDITIONS to the Queensland fleet include the large OB Sky One and two “Sprinter” trucks, OB2 and OB3. The trucks each feature Grass Valley HD live production technologies, including a total of nineteen LDK 4000 HD cameras (with Grass Valley’s latest 3G Triax transmission system), Kayak HD digital production switchers, multiple K2 Dyno Replay Systems, a Concerto Series video router, and a series of products from the GeckoFlex family of signal processing modules. Yamaha digital audio consoles and an Apantac multi-viewer system were also installed. From a home base at Banyo, near Brisbane airport, the trucks will be employed mostly for Wednesday and Saturday race fixtures in Brisbane from Doomben and Eagle Farm, but will also be used for large racing on the Gold Coast, Ipswich and the Sunshine Coast. The three trucks were built by Genuine Truck Bodies in Melbourne. According to Mark Annett, Project Manager - Professional Services with Grass Valley Australia, the body of the large truck, OB Sky One, is “quite unique because everything in the body is galvanised, so it won’t rust. The actual main skin is 45mm foam panel, so very high insulating factor, and again no rust problems. “So, it’s good for 20 years this truck, even though it won’t be used that long, it’s a very, very sound body.” OB Sky One also features a control system enabling the whole truck to be started via a touch screen.

Sky Racing’s OB1

“There’s a control system called KNX,” says Annett. “Basically the screen boots up, you start the airconditioning with a push of a button, then the start sequence and all the racks come on in a prescribed sequence. So, all the switches come up first, the IT infrastructure, and all the equipment needed to be up first before other bits. “The same with shutdown, close and the truck shuts down automatically. If there’s a failure of the computer system, we can actually turn it on manual if we have to.”

With the trucks being based in Queensland, eﬃcient air-conditioning was an important consideration, says Annett. “It can run on one air-conditioner but with two it’s a walk in the park,” he says. “We imported these from the States which are barred units. They’ve been out for a long time but these ones are really energy eﬃcient. So the whole truck would probably use about 28 amps air-conditioning and power.”

SPORTSCASTING

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SPORTSCASTING

The truck is equipped with Grass Valley LDK4000 cameras and one Gigawave COFDM-based remote camera. “The LDK4000s give a great picture,” says Craig. “I’m very proud to be running all this Grass Valley gear. We can do up to 13 cameras, we can do up to eight Triax cameras, we have external cameras coming in which are high definition for the stewards’ replays. And, that information just goes to the stewards so that they can check that jockeys are not trying to cheat as they’re running around the track.” The replay system is built on the Grass Valley K2 server using the K2 Dyno controller system to enable two operators to work simultaneously. Mixing is handling via a Grass Valley Kayak vision mixer with the 2ME rows. Monitoring is handled via an Apantac multiview system. A Yamaha LS9 audio deck handles the analogue audio.

OB1 engineering positions

“At the back of the truck,” says Craig, “we have a system which controls things like numbers in racing and the colours of the silks that the jockeys will be wearing. It’s a system where we receive information over 3G. “We then overlay that on our big screen, so that local people can see what’s happening with all the racing. We also have a Namadgi graphics system which does what we call the ‘virtual line’, when you see horses racing, you’ll see a hundred metre line, a 300 metre line, which is not actually laid on the grass. We actually overlay that using this technology.” For Craig, one of the great advantages of the new truck is the small form factor of the equipment fitted.

Central locking and an alarm system complete the line-up of vehicle features and there is a 24-volt backup lighting system with its own charging system independent of the rest of the truck. While OB Sky One has features in common with other OB trucks, Annett says there are design features that cater to some of the specifics of horse racing coverage. “Some of the things were a bit diﬃcult to accept in the beginning such as HD video with analogue audio but it’s because all the race tracks have an analogue infrastructure and they provide commentary for the ground as well and on-course replays.

the packages together.” Sky Racing currently produces programming in standard definition with analogue audio. Race coverage is mostly sent back to the Sky Racing studios via Telstra’s Digital Video Network (DVN) with the exception of some race courses in remote Queensland where Satellite News Gathering (SNG) equipment is used. “One thing I did sort of talk them into,” says Annett, “the whole truck inside is HD, so it’s only converted going to air. So, everything they archive, everything they record is all HD, even though they don’t require it yet, in the future it’s all there.

“There’s also a lot of RF infrastructure and they feed all the monitors around a course. The other unusual thing is audio is in the front next to the director, and that’s because most of the time the director does the audio as well.

“It’s much easier these days just to do everything in HD, all the CCUs, all the inputs are all HD, there’s no analogue inputs except for reference going in there. That’s a much easier way to go these days, it’s actually cheaper for converting, than switching from SD to HD.”

“The truck can do a normal OB, but for every racing OB, everything is really pre-set, they don’t really put a programme output to air as such, they send diﬀerent feeds back to Sky that are all produced a little bit, but then they actually put

Meanwhile, from the end-user perspective, Craig McKenzie, OB Supervisor Queensland with Sky Racing, says of the Grass Valley build, “I believe they’ve done a brilliant job in getting the truck to this stage.”

Meanwhile, according to Craig, the OB2 and OB3 Sprinter trucks are “… in essence just smaller versions of the larger truck. They only have four cameras, the ability to have four Triax cameras whereas the larger one has eight. Outside of that electronically they have a lot of the same equipment. They miss out on the Magic Line, a few of the specialties that this truck has but in essence they have a lot in them as well.” From a management perspective, Sky Racing Chief Operating Oﬃcer, Brendan Parnel, said “Due to our relationship with Grass Valley through the likes of server projects and other television technology, they put forward a very strong bid with the right technical option for us with outside broadcast. “It’s been a fantastic process, we’re really happy with the output that we’ve got. With this higher end, high definition-ready equipment, it will be ready to take Queensland racing to the world.” Visit www.grassvalley.com and wwww.skyracing.com.au

SPORTSCASTING

Replay, graphics and CCU.

“The size of everything is much smaller,” he says. “Where we used to have monitors that were big CRT screens are now LCD displays. They save a lot of weight in the truck and are much easier to replace and work on later in life.”

SPORTSCASTING

Raising the Bar in Control & Monitoring with Harris HView SX Pro By Kevin Jackson, Product Manager Multiviewers The live production environment has always been an especially challenging environment for broadcasters. Televising a live event requires an infrastructure that is flexible, as well as easily reconfigurable and adaptable to a range of requirements. At the heart of this infrastructure are the routers and multiviewers.

THE ROUTER CONTROLS the signal flow from the camera, through processing, through the production switcher and on to distribution. To oﬀer the ultimate flexibility, the same signal path enters and re-enters the router fabric dozens of times so that a production with 10-20 cameras will require hundreds of router inputs. All of this flexibility is worthless without the ability to monitor the various stages. Multiviewers enable the engineering team to monitor the processing steps and provide the Technical Director (TD) at the heart of the production with the images he needs to ensure the quality of the delivered content. This symbiotic relationship between router and multiviewer has seen the functions become tightly integrated in recent years. Recognising the need for this integration, Harris were first to market with a single-frame routing and multiviewer solution by oﬀering the HView SX Hybrid multiviewer as an output option for the Platinum routing range. Building on that success and recognising the unique challenges of live production, Harris has now introduced the HView SX Pro, a multiviewer dedicated to the live production, studio and mobile environments.

SPORTSCASTING

SMALLER

As we all know, size matters - especially in mobile production - where size, weight and power consumption are always at the forefront of mobile production vehicle design. As the HView SX Pro resides within the Platinum frame, there is an inherent space saving with the removal of external multiviewer frames. The HView SX Pro uniquely saves further space by oﬀering double density on multiviewer modules, meaning each multiviewer output module can display twice as many sources as a router output. The HView SX Pro also oﬀers a large number of display outputs— 3x HDMI and 3x HDSDI per module — meaning a large number of displays can be

driven from a relatively small number of cards. The offering of simultaneous HDMI and HDSDI outputs allows a local display to be driven from HDMI, while the HDSDI can be re-entered on the router and sent anywhere in the facility. Allied to the space reduction of the HView SX Pro, the Platinum routing frame also offers further efficiencies by integrating processing capabilities such as audio de-embedding and embedding, and frame synchronisation. Having these capabilities within the frame reduces the number of times a signal needs to leave the frame and reduces the overall IO count, enabling more functionality in less space.

SHARPER Picture quality is of enormous importance to the Technical Director. Many TDs have been resistant to multiviewers as a result of the perceived loss of picture detail when scaling the image to place multiple images on one screen. To minimise the amount of scaling, production studios and mobile production vehicles use a relatively high number of displays with a low number of sources per display — the HView SX Pro is ideally suited for this and oﬀers a high output to input ratio. To further address the exacting demands of the TD, the Harris-developed scaling technology, MicroFine, maintains the finest detail in even heavily scaled images by utilising a combination of polyphase interpolation with improved filtering techniques. MicroFine scaling co-eﬃcients are dynamically calculated for every picture size, ensuring the same quality at every size, removing scaling “sweet spots” found in other techniques. MicroFine scaling is combined with adaptive deinterlacing technology in an ultra-fast dedicated processing path, providing images on screen in less than a frame and removing any concerns over lip sync.

SMARTER The modern live production facility must be highly adaptive. For instance, a mobile production facility can be covering a football match on the weekend and moving to cover a rock concert by mid-week. Each site will have a new TD with varying requirements that must be met. Being able to adapt the infrastructure and reconfigure the production gallery to match the TD’s demand in a very short time span greatly eases the burden of the engineering team. The HView SX Pro features a new web-based control and configuration tool, HView Designer. HView Designer offers a host of flexible display configurations, allowing users to swap between controlling a gallery as a single wall, spanning over multiple displays or dedicating a monitor (or group of monitors) to individual operators. Template-based configurations and libraries of common video windows, tally styles and UMD positions ensure systems can be reconfigured in the shortest possible time. Once created, configurations can be saved directly to the multiviewer for easy recall or offline where they can be transferred to other systems. HView Designer includes easy recall capabilities to instantly transform a wall. The versatile, modular solution offered by HView SX Pro ensures a range of benefits: Lower system costs – The highly flexible Platinum architecture enables you to design the exact configuration to match your requirements; the highly granular I/O removes any unnecessary excess; and the highly scalable architecture ensures you are ready to meet future expansion needs. Lower Operating costs – The integrated, single frame multiviewer, router and processing, saves valuable rack space, lowers power consumption and reduces set up times. Lower total cost of ownership – The single platform design means fewer spares, and the high level of redundancy ensures maximum reliability. Combined with the fact that the HView SX Pro can scale to accommodate even the largest requirements and supports a host of advanced input and output options, and the result is a powerful, highly reliable monitoring solution that simplifies deployment and enables a more efficient use of space.

SPORTSCASTING

Videocraft Supplies Imparja Cup Recently Newcastle-based production company Castle Media approached Videocraft to supply a multi-camera OB production solution that would enable them to televise and broadcast the 2012 Imparja Cricket Cup from Alice Springs. THE IMPARJA CUP is Australia’s National Indigenous Cricket Carnival held annually in Alice Springs. Originally founded by custodians, Shane Franey and Ross Williams as a family match between Alice Springs and Tennant Creek, the Imparja Cup is now a national celebration of cricket and Indigenous culture held each year in February. The 2012 Imparja Cup consisted of 96 games held over 6 days across 7 venues, with 5 divisions and 32 teams participating. The event is broadcast live on Imparja TV and through FOXTEL. Videocraft Rentals Manager Nick Gleeson explained, “This was a big job, in fact the biggest OB job Videocraft has undertaken outside of Sydney. Castle Media came to us with a wide range of complex broadcasting and production requirements. They wanted a 7-camera setup that would integrate with their NewTek TriCaster 850 Extreme Portable Live Production suite. “As this was a local and regional event in the Northern Territory the budget for a traditional OB setup wasn’t available so we were tasked

with coming up with a solution that wouldn’t compromise quality whist keeping costs aﬀordable.” Videocraft designed the system to integrate a NewTek 3-Play 425 Video Server with Castle Media’s TriCaster 850 Extreme to satisfy the production’s playback and video-record requirements in much the same way a traditional replay system would operate. Castle Media’s Jolyon Zentner said, “This configuration is just as eﬃcient as a traditional setup but at a fraction of the cost. To my knowledge no-one has ever broadcast live to air in this country using the TriCaster 850 Extreme as the main production switcher and coupled it with a 3-play 425 over a network before, so it was a major coup for Videocraft and a massive bonus for our production. “The TriCaster 850 Extreme only has 8 SDI inputs many of which were already taken, so Videocraft devised a workaround utilising the network capabilities of the 3-play 425 whereby the replays came in over IP.”

Zentner continued, “Videocraft created the backbone of the system then added more and more functionality as we required it. In the end they integrated seven Sony HDC1500R cameras, Ross video routing, Sony OLED production monitors for critical monitoring positions, graphics and their audio Flyaway Pack. The Audio FlyAway Pack alone consisted of a 01V96 Yamaha mixer, radio mics, a complete RTS Zeus III comms setup with ten base stations, IFBs, commentator panels and telephone line interface for return comms to Imparja Television. “In eﬀect Videocraft supplied Castle Media with a full, cost eﬀective live OB system solution that enabled us to produce a high quality broadcast that replicated an external OB in every way except cost.” The Imparja Cup is supported by the Australian Government, through its Learn, Earn, Legend program, the Northern Territory Government, Cricket Australia, Northern Territory Cricket and The Lord’s Taverners Australia. Visit www.videocraft.com.au

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Australian LiveU users have streamed live, high quality video from places like Indonesia, Rome, Madrid, Hawaii, Canada and Israel directly into their existing servers. No satellite or ﬁbre required Sending content the other way, multiple broadcasters from France and India utilised LiveU to cover the Rugby World Cup and recent Test Cricket Series. While broadcasters from the USA and New Zealand have all used LiveU for Australian based event coverage

Australia Day 2012

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SPORTSCASTING

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Oktobor Animation Adopts Shotgun as Studio Backbone

Voodoo Digital Launches in Sydney

OKTOBOR ANIMATION has relied on Shotgun

VOODOO, ONE OF AUSTRALIA’S best known post production facilities, has launched Voodoo Digital a new content driven production house with a digital innovation and integration approach, based at Fox Studios Australia.

Software to manage all facets of their production pipeline since opening their doors in 2010. Based in Auckland, New Zealand, Oktobor Animation was founded with Nickelodeon as their primary client, and the studio currently delivers animated programming to the cable channel. All work is done in-house and projects include the animated series “The Penguins of Madagascar” and “Kung Fu Panda” as well as the upcoming buddy-comedy, “Robot and Monster.” In any given week the company has a minimum of two 11-minute shows in the layout pipeline, eight 11-minute shows in the animation pipeline and twelve 11-minute shows in CG post production; in just 19 months Oktobor has delivered 630 minutes of final animation. “Shotgun is the backbone of almost everything we do,” said Rob Di Figlia, Head of Production, Oktobor Animation. “We were in production the first week we were open so we had to hit the ground running. We needed an eﬃcient task-based management system where an artist could sit down, publish, ship work and have it all tracked from one centralised location. Shotgun hit all of those requirements and was easy to integrate.”

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Shotgun is a web-based system that provides instant project access to critical data, messaging and real-time project progress. With an open API, studios can build custom tools and bridges to other applications around Shotgun. Oktobor Animation has grown very quickly, from zero to 135 artists in its first 12 months and was able to

evolve and customise their use of Shotgun on the fly. There are, on average, about 6500 tasks per week across each of the departments in the studio, in addition to these core production tasks, Oktobor also manages HR functions, finances, billing, candidate recruiting, vacation requests, contractors, machine and software inventory and IT tickets all within Shotgun, all with custom levels of access for diﬀerent departments and personnel and all in one central location. “Without Shotgun we’d have to have a small army of producers and PA’s to track the volume of data moving through our studio on a daily basis,” concluded Di Figlia. “With Shotgun, those resources are freed up to put more money on the screen, which leads to happier clients. Shotgun becomes more indispensable every day as we continue to shape it to meet the needs of our studio.” Visit www.shotgunsoftware.com

Voodoo Digital’s founders, Simon Cranch (Managing Partner – Production) and Nick Renford (Managing Partner – Creative), together have over 40 years experience in digital, creative, production and post production in film and TV. Renford said, “Voodoo Digital is a very different type of agency. We are content creators and technical innovators with a focus on getting that content on multiple platforms in the most effective way possible. Thing is, we do it all ourselves – we write ideas, create content and find and integrate the best technology platforms.” Simon Cranch added, “Voodoo has been in business for over 14 years and we have witnessed some major changes in our industry during that time. Launching Voodoo Digital was, in part, due to the fact that there has been a renaissance in TV production through the web. In order to maximise the effect of your content it now has to be produced by video and storytelling specialists – that’s where Voodoo comes in.” Visit www.voodoo.com.au

POST PRODUCTION

Expansion a ‘Eureka Moment’ for SOTA Creative

SOTA Creative MD Leon Minervini

HOUSED IN A CONVERTED BOATSHED

services of the Sydney’s Mac Centre Surry Hills

“The basic system is designed on a combination

balanced above the water of Sydney’s East

to install networking and storage supplied by

of 10Gb Ethernet and fibre. Each suite now is

Balmain, SOTA Creative is one part production,

Eureka Pacific.

fibre connected to Rorke Data storage, there’s

two parts post and three parts innovation.

The new systems included:

about 40 terabytes. Plus, each of them has a

With a background in events production, the

+ Rorke Galaxy Aurora 48TB 8Gb fibre channel

company has evolved into film and video

SAN storage with ATTO fibre channel switch

production, post and even management of

and host bus adaptors and Tiger metaSAN

digital signage networks.

software;

Managing Director Leon Minervini says the company has evolved along with client demand for increasingly video-rich content across multiple platforms. “Instead of being pure video, corporate video as it was back then it’s now more content,

storage; + GB Labs SPACE Echo 48TB Ethernet based nearline backup; and + Object Matrix MatrixStore 36TB clustered ethernet based disk archive.

SPACE which is the new technology that they’ve introduced us to is the 10Gb Ethernet which is also high performance shared storage, that is really our working files. The Rorke fibre is the high end finishing. We also have the SPACE Echo that we put in and basically anything that happens on the SPACE is immediately duplicated to the SPACE Echo. So, should anything happen to the SPACE, if it goes down for any reason, all that work to date is on the Echo.”

Externally, SOTA maintains a back up facility

Minervini describes the situation prior to the

the work has gone video-rich and that’s what

connected via microwave link at Kings Park in

new system going in as “... sort of patched

everyone wants. They realise that it’s not enough

Sydney’s west. Also part warehouse, the facility

together, bits added on and so. A little network

just to have some text and a bit of interactivity

houses a MatrixStore 36TB archive for the

room in there was getting overloaded, the patch

on their websites, they need content to make

company’s raw footage.

bay was just a complete mess in terms of – we

it come alive, and that content needs to be

According to Leon Minervini, “Raw footage that

refreshed, just like TV programming needs to be

comes in gets put into a drop box here as it’s

refreshed, so this is the area we’re trying to get in

ingested. The drop box then trickle feeds all that

on at the base level.”

raw footage to the matrix, that’s 36 terabytes out

Today, an expanded and noise-proofed server

As an example, Minervini points one of SOTA’s

there and can be easily expanded by another

room houses all storage servers and edit system

module when that’s getting close to full and it

computers in a dual air-conditioned and dust

will just expand that raid if you like, and that,

proof environment backed up by a managed UPS

according to Alexei [Mazin] from Eureka Pacific, is

system. The new organisation even extends to

bullet proof disk based archive.

colour-coded connectors and wiring.

“We sat down with Alexei and his technician,

“I think whenever the system is down, for certain

Jacob, late last year, looked at the whole

people like us, it is absolute dollars walking out

system and said really what we’d done during

the door,” says Minervini, “because we’re set

our expansion to becoming 60 percent video

up to turn things around very quickly, and our

production company, really it was just adding on

clients expect that. If you have an issue with the

to a basic infrastructure that was getting old.

system it can knock you out for a week or so by

“We said to him, let’s build the system from the

the time you actually track down the problem.

companies started working together, the car manufacturer would commission SOTA to shoot product videos which would then be delivered to dealers on a DVD, now they are delivered via the IP-based Subaru TV network. SOTA Creative has expanded to encompass four edit suites, including a finishing/colour correction suite with broadcast colour monitoring and client viewing area, two basic

POST PRODUCTION

+ GBLabs SPACE 48TB ethernet based SAN

10 terabyte Ciprico RAID as a scratch disk. The

everyone’s crying out for content because

major clients, Subaru Australia. When the two

The ‘desolate view’ from SOTA Creative.

edit suites, and another edit suite which doubles as audio post facility complete with voice over booth.

ground up and design a system that’s going to utilise all the bits we’ve got, adding in some extra

were too scared to pull things out because it had got to the stage where we thought it’s unworkable.”

So, getting your system built from the ground up to do the stuﬀ that we want to do, it just makes it

storage, high speed storage to be able to handle

a lot easier.”

To meet the challenges of a changing content

what we’ve got now, but also at least get us a

Visit www.sotacreative.com

environment, SOTA Creative engaged the

couple of years of work out of that.

and www.eurekapacific.com.au

POST PRODUCTION

BHV Broadcast’s Video Ghost Powers-Up 60 watts of power at 12V for camera head-ends and remote monitors using the existing serial digital video cable.

BHV BROADCAST RETURNS to NAB with an upgraded version of its award-winning phantom power system - Video Ghost, and the new Callisto Pico entry level digital switcher. BHV will also exhibit its full range of rack-mount and portable hybrid digital/analogue switchers together with the Proteus rate converter and Syntax in Booth N4920. BHV Broadcast is bringing a significantly enhanced version of its award-winning Video Ghost to NAB. The unit - recipient of the prestigious Mario Award - now provides a hefty

The Callisto Pico switcher, derived from the popular Callisto Micro switcher, oﬀers entry-level broadcast-specification facilities for applications such as webcasting production, where space and cost are at a premium. Control is by local panel or remote interfaces and the Pico oﬀers a comprehensive set of I/O facilities. The Syntax up/cross/down-converter is based on advanced Super-Resolution Bandlet Technology. Syntax features include analogue video inputs and audio facilities with noise reduction and ARC facilities. The award-winning Proteus multi-format, multipurpose, motion-adaptive standards converter will be shown in both rack-mount and portable versions. Visit www.bhvbroadcast.com

MEWshop Brings Post-Production Training to NAB MANHATTAN EDIT WORKSHOP (MEWshop) has announced their participation in the NAB 2012 exhibition (booth SL12805). Everyone from professional editors to aspiring filmmakers and editing enthusiasts can learn from industry experts.

The MEWshop NAB Edit House presentation lineup includes guest speakers like Radical Media’s Evan Schechtman, who will discuss the company’s wildly successful Sting ‘appumentary’ project. Visit www.mewshop.com

EditShare Gets XStream EDITSHARE (STAND SL9020) WILL showcase its entire product line-up and highlight advancements in storage performance, seamless file migration across storage tiers, enhanced file and metadata management, and new enterprise capabilities. EditShare integrates high-performance shared storage solutions – XStream, Energy and Metro – with video capture/asset management – MAM (EditShare Geevs/Flow), editing (Lightworks), archiving (EditShare Ark) and playout (Geevs) – to offer broadcast and post-production professionals a productivityenhancing, end-to-end tapeless workflow. With powerful capture, logging, searching, sequence creation, project sharing and easy archiving, the workflow becomes streamlined and more efficient. From start to finish, metadata and media are easily searchable and accessible from EditShare’s central storage or archives; background processes are transparent to users, allowing them to focus on their creative efforts. There is a number of new capabilities for EditShare’s products that will be on show throughout NAB 2012. On the NAB stand, EditShare will also host a “Lightworks Edit Bar,” with which attendees can hands-on test-drive the latest Lightworks release. Visit www.editshare.com

FOR ALL YOUR PRO VIDEO SOLUTIONS COME AND SEE US

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POST PRODUCTION

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POST PRODUCTION

ASSIMILATE Store Now Features NEAT THE ASSIMILATE STORE has expanded its product oﬀerings to include two new products: the new Neat Video Pro OpenFX Plug-in for SCRATCH and SCRATCH Lab, and the new Element Control Panels from Tangent. These two new additions to the SCRATCH and SCRATCH Lab ecosystem enable post-production artists to work more creatively and productively than ever before, with greater control in their SCRATCH digital workflows.

ergonomic, compact design and the full bundle includes four Element panels to give you full physical control over the components of

HyperDeck 2.5 software includes timecode support for both HyperDeck Shuttle and HyperDeck Studio. Timecode information embedded within the ancillary data space of HD-SDI video signals can now be written to HyperDeck’s uncompressed or Avid DNxHD compressed video files.

your production, including noise levels, color grading, finishing and more. The Element panel controls are intuitive, with every programmable control clearly labeled, so if the function of the control changes so does the display label.

The Tangent Element Control Panel in an

Visit www.assimilateinc.com

“The ASSIMILATE Store continues to be the best place for SCRATCH and SCRATCH Lab artists to explore and purchase the third-party products that help make SCRATCH so powerful,” says Steve Bannerman, VP Marketing at ASSIMILATE.

Matrox Displaying a Wide Range In addition, Matrox Graphics Inc. will be presenting KVM extenders and graphics expansion modules. Several new product announcements and updates to existing products are expected at the show.

and Matrox Graphics Inc. will be sharing Booth SL5115 at NAB 2012. Matrox Video Products

POST PRODUCTION 48

The award-winning Matrox MC-100, Matrox Avio, Matrox Convert DVI Plus, Matrox DualHead2Go DP Edition, Matrox Mojito MAX and the Matrox MXO2 Family will all be showcased at NAB 2012.

latest updates to the Matrox DSX developer

“The 2012 NAB Show will see the introduction of exciting new features for our award-winning lines of digital video I/O hardware, H.264 encoders, and A/V signal converters,” said Alberto Cieri, senior director of sales and marketing at Matrox Video Products Group.

products will also be on display.

Visit www.matrox.com

Group will be showcasing H.264 encoding accelerators; A/V input/output/monitoring devices; and cost-eﬀective HD-SDI scan converters and versatile mini-converters. The

BLACKMAGIC DESIGN HAS ANNOUNCED the release of HyperDeck 2.5 public beta, a new software update that adds embedded timecode support, DNxHD recording to QuickTime and SDI camera record triggering to its HyperDeck SSD recorders.

Neat Video Pro combines the intra-frame noise filter that reduces noise and grain in individual frames with an intelligent temporal noise filter, which further reduces any remaining imperfections by using data from several adjacent frames. Working closely together, these two filters reduce more noise and better preserve sharpness and actual details than any single filter. Neat Video Pro is multi-core, multi-CPU and multi-GPU optimized to provide the best performance with modern CPUs and CUDAcapable NVidia graphics cards.

MATROX VIDEO PRODUCTS GROUP

Blackmagic Adds to HyperDeck SSD

HyperDeck Shuttle and HyperDeck Studio models feature Avid DNxHD record and playback that is fully certified by Avid. HyperDeck 2.5 software adds the option to record and playback DNxHD QuickTime as well as DNxHD MXF format files. Recording to HyperDeck Shuttle can now be automatically triggered by cameras and other HD-SDI video equipment. “We’ve based this on feedback from HyperDeck customers on the features they needed most and this feedback reflects the wide use of HyperDeck recorders from acquisition through to content delivery,” said Grant Petty, CEO, Blackmagic Design. Visit www.blackmagic-design.com

Softel to Showcase Full Range of Software At the 2012 NAB Show, the Softel team will showcase its full range of feature-rich closed captioning, and video description software, which allows content producers, broadcasters and network operators to quickly and eﬃciently comply with the latest FCC mandates for content delivered over the Internet. Softel Product Highlights include: + Swift Create - A subtitling and captioning software and workstation that allows the preparation and repurposing of subtitles and captions. + Swift vTX - Enables broadcasters to repurpose content regardless of file format. + Swift TX - A subtitle/caption management and transmission platform that reduces workflow complexity and increases reliability and productivity + Swift ADePT - Based on the market-leading Swift Create subtitle/caption preparation system, ADePT is dedicated to the creation and playout of video description. Visit www.softelgroup.com

POST PRODUCTION

Cintel Showcases New 6K diTTo Evolution Film Scanner AT NAB 2012, Cintel International will launch a new 6K imaging sensor for the diTTo evolution film scanner, providing over-sampled 4K data files, as well as new timeline interface options and extended vertical range option for the imageMill2 real-time data processing engine. The diTTo evolution film scanner scans both 16mm and 35mm film with 2K speeds at up to 11fps. The new 6K imaging sensor provides the highest quality over-sampled 4K data files demanded by the post-production and archive industries. diTTo evolution is the first film scanner to be instantly switchable from pin registration to non-pin registration. diTTo evolution also provides a fast shuttle capability, a non-pin registration mode for archive scanning and the imageMill2 processing tools, and a 3.3D density range. Visit www.cintel.co.uk

Fuji Xerox Australia Launches XMPie uDirect Video FUJI XEROX AUSTRALIA has announced the launch of XMPie uDirect Video, the first ever video personalisation solution that is fully integrated within a complete 1:1 multichannel platform, allowing agencies to easily develop and embed relevant and engaging video into campaigns to dramatically boost response As part of the XMPie suite of software solutions for digital marketing and content production, XMPie uDirect Video will offer agencies the ability to produce, publish and track HD videos as part of any cross-media campaign. Using Adobe AfterEffects producers and editors can realise their creative visions applying cinematic effects without facing a steep learning curve. “According to the latest Nielsen Online research, more than 77 percent of online Australians now watch video online, averaging around eight hours per month. This means integrating video as a core element of new campaigns has never been more important for creative agencies,” said Peter Brittliff, Marketing Manager for Graphic Communications, Fuji Xerox Australia. “XMPie uDirect Video will allow these agencies to boost their impact and subsequent ROI of their campaigns.” XMPie uDirect Video also eliminates the need for developers and producers to rely on the troubled Flash standard, offering support for video on all mobile platforms including iOS. “We’re seeing a dramatic trend towards an ‘always-on’ audience with 26 percent of online Australians now watching video on their mobile device,” said Brittliff. “XMPie uDirect Video seeks to offer creative agencies the technical framework they need to strategically pursue opportunities in this emerging mobile space for online video.” Visit www.fujixerox.com.au

BCC 8 for Sony Vegas Pro BORIS FX HAS ANNOUNCED that Boris Continuum Complete 8 for Sony Vegas Pro (BCC 8 for Vegas Pro) is now available. Based on the Open Effects Association (OFX) platform, BCC 8 for Vegas Pro delivers over 175 comprehensive VFX and compositing filters to 64-bit and 32-bit versions of Sony Vegas Pro v11 and v10. Audio-driven effects creation, 3D particle effects, and enhanced lens flares and glows headline this new release. “With Boris Continuum Complete 8, Boris FX continues its long history of delivering innovative, professional VFX and compositing tools to Sony Vegas Pro editors,” comments Michael Bryant, Director of Product Marketing, Sony Creative Software. “With thousands of customizable presets, Vegas Pro editors can get started immediately, but BCC also provides a deep, professional toolset that opens up virtually limitless effects creation possibilities.” Visit www.borisfx.com

POST PRODUCTION

Broadcast Pix Video Control Center 3.0 BROADCAST PIX has introduced its Video Control Center 3.0 software for its Granite and Mica Video Control Centers. The new 3.0 software features the first optimised production control on a touch-screen, first voice-automation control of switching and graphics, powerful virtual sets that anyone can customise, and automated, dual-channel graphics that include Daktronics scoreboard integration. The company will demonstrate all of its features at the 2012 NAB Show (Booth SL6424). The new touch-screen controls enable operators to control both video and file-based content via touch-screens. New touch-screen friendly joystick and knobs control robotic cameras and picturein-picture (PiP) box sizing, while new layering controls simplify placing content into key layers and moving them front to back. There are also new switcher transition controls and enhanced controls for selecting the built-in clip store, animation stores, and Harris or Chyron graphics system. The new virtual set software enables up to eight cameras to have virtual backgrounds plus three key layers on top for PiP, titles, and animated logos. Up to 3 PiP boxes on an animated background can each contain a virtual set and any can be zoomed out to full screen. Video Control Center 3.0 also supports VOX, the new voice-activated video production option that eliminates the need for an operator for some live productions. VOX adds advanced video-followaudio capabilities by working with Broadcast Pix’s built-in Fluent Macros to select camera presets,

Light Illusion Adds Quick Profiling UK BASED colour management specialist, Light Illusion, announced LightSpace CMS Quick Profile, a new version of LightSpace CMS. Whether on-set, within DI grading operations, visual eﬀect facilities, broadcasting, or animation; colour management has become hyper-critical with the plethora of new camera and display technologies released in recent times, and LightSpace CMS uniquely provides facilitywide management from a simple to use system that is display, format and workflow agnostic.

roll clips and animations, add or remove graphics,

The launch of LightSpace CMS Quick

and execute PiP compositions.

Profiling provides powerful calibration

Also new for Video Control Center 3.0 is support

tools that allow displays to be analysed for

for Fluent Rapid CG 2, the second generation

colour gamut and gamma, helping identify

of Broadcast Pix’s optional software that

issues before commencing calibration using

automatically integrates databases, RSS feeds,

the same profile data. With a Quick Profile

and custom action buttons into templates to streamline the creation of data-intensive CG graphics. A free upgrade for current Rapid CG

diﬀerent displays can be set to handle image material identically without requiring long

customers, Fluent Rapid CG 2 delivers faster

calibration procedures.

updates, oﬀers dual-channel capabilities to

As a sub-set of the Full LightSpace CMS

update two diﬀerent on-air graphics at once, and supports EZNews news titles. Visit www.broadcastpix.com

system, LightSpace CMS Quick Profiling is a more cost-eﬀective option, helping to make accurate colour calibration an aﬀordable process for all operations at every stage of a given workflow, from production, to post-

Chyron Makes Media AT THE 2012 NAB SHOW, Chyron will

POST PRODUCTION

demonstrate MediaMaker, a new technology that integrates Chyron graphics with filebased workflows. MediaMaker extends Chyron graphics capabilities to a wide range of editing and third party applications. MediaMaker gives video editors and graphic designers access to the same graphics and animations that are being used live on the air. MediaMaker also takes producer-created graphics from a wide range of newsroom systems for painless repackaging into the edit suite.

Axis World Graphics is the world’s only cloudbased graphics creation system designed specifically for broadcasters. Several new features have recently been introduced to the system, including fully integrated electronic order management, asset management, and integrations with Apple Final Cut Pro and Adobe Premiere Pro video editing, all of which are designed for ease of use and maximum workflow eﬃciency.

production and on to final delivery. Chyron will also demonstrate BlueNet, a comprehensive solution that fully addresses broadcasters’ requirements for streamlined

LightSpace CMS Quick Profiling is capable of visualising film images on digital displays,

end-to-end graphics workflows. BlueNet

as well as accurately matching diﬀerent

leverages Chyron’s acclaimed suite of

display technologies, allowing operators,

graphics tools for ordering and graphics asset

colourists, supervisors, DoPs and directors

management, collaborative graphics creation, and real-time playout. Integration with Axis World Graphics, Chyron’s cutting-edge cloud-

to be confident that a matched final look is presented at every point in the production

based services oﬀering, extends the power of

workflow.

BlueNet workflows to speed even the most

LightSpace CMS Quick Profiling reduces the

advanced graphics to air. Chyron’s Lyric PRO 8.1 graphics creation software continues to put the broadcaster in control of the graphics. With new scriptless

entry point for full profile and LUT based calibration and can be upgraded to the full LightSpace CMS package at any time,

conditional intelligent transitions across

allowing customers to build their colour

multiple systems and delivery of superior-

management tools as their requirement

quality real-time 3D animations, Lyric PRO 8.1

grows.

enables users to improve the look of on-air graphics with ease and accuracy. Visit www.chyron.com

Visit www.lightillusion.com

INDI VIDEOL ISATION

XMPie personalised video boosts 1:1 campaign response rates. XMPie personalised video takes the successful principles of DM individualisation and applies them to video. We call it Individeolisation. Itâ&#x20AC;&#x2122;s the emotion picture revolution that boosts response rates and search rankings â&#x20AC;&#x201C; it can even make your idea go viral. XMPie seamlessly integrates affordable, cinematic quality video into any 1:1 campaign. Vary text, data, sound and footage all within Adobe AfterEffects to create targeted clips for each recipient. Videos will never be the same again.

Call 13 14 12 for a full demonstration.

STORAGE + ASSET MANAGEMENT www.content-technology.com/mediamanagement

Dubsat Launches Next-Gen MediaPro Extreme advertising. Grant Schuetrumpf, CEO of Dubsat explained, “There are four significant new improvements with MediaPro Extreme including a completely new streamlined interface; a job workflow feature; an incorporated booking wizard and ultra-high speed file transfers. With these improvements, users can now use Media Pro Extreme to manage the entire delivery process of their broadcast advertising. One of MediaPro Extreme’s unique features is that Dubsat users can immediately preview uploaded content to self-check video, audio, and clapper as required for TVC deliveries, all from their desktop.” MediaPro Extreme is integrated with Dubsat’s online web portal MyDubsat, providing a synchronised connection to online live booking, closed-captioning services, a delivery cost estimation tool, asset archiving, real-time repurposing services, tracking and delivery notifications.

DISTRIBUTED ADVERTISING and media asset management company Dubsat, an Omnilab Media company, has announced the launch of MediaPro Extreme, the second generation of their much-heralded MediaPro Mac and PC desktop application that revolutionised the file transferring, management and delivery of TV, radio, outdoor and online

Spectra Logic Expands in Australia, New Zealand

MEDIA ASSET MANAGEMENT and automation specialist Etere has made recent inroads into Southeast Asia with installations in Vietnam and the Philippines.

ARCHIVE SOLUTIONS PROVIDER Spectra Logic has announced its expansion and increased resource investment in Australia and New Zealand. The company’s decision to further increase its global presence is the direct result of escalating data growth and the need to manage it.

The VIM archive is composed from about 10,000 hours of video (225TB), 15,000 hours of audio (14TB) from digital to old analogue tapes and disks, and document and pictures (10TB). Etere implemented a distributed and integrated archive which tightly combines powerful servers with an easy to use browser interface. Although the requested system surely represents a big jump for the institute, Etere says it has completely supported the content migration to a digital environment with the most of eﬃciency, flexibility, scalability, workflow reliability and accuracy.

STORAGE + ASSET MANAGEMENT

Visit www.dubsat.com.au

Etere Makes Inroads in Southeast Asia

The Vietnamese Institute for Musicology (VIM) includes a studio department, a department for filming live performances, a Showroom of Vietnamese Traditional Musical Instruments, and a Databank of Folk Music and Traditional Performing Arts of Vietnam.

MediaPro Extreme also enables the user to choose a contribution file format that best suits their production requirements, including ProRes, MPG2 and MPG4. MediaPro Extreme also provides the ability to aggregate video and audio streams and clappers, with full support of multiplexed files for video and audio content.

Meanwhile, Etere has introduced a tapeless workflow in Philippines-based ABS-CBN Global to expand its existing Etere system. ABS-CBN Broadcasting Corporation is the largest integrated media and entertainment company in the Philippines, it is principally involved in television and radio broadcasting, as well as the production of television programming for domestic and international audiences and other related businesses.

As part of its expansion, Spectra Logic has increased its presence in Sydney and is investing in sales support and technical staff, including the addition of Michael Cocks as Country Manager for Australia and New Zealand. Spectra Logic is also investing in a strong channel recruitment program and has signed numerous reseller partners as part of its award-winning SpectraEDGE reseller program, including SGI, Storm FX, UXC Connect, Techtel, Data Engines, Intraware and Magna Systems & Engineering. “Having a local presence in the ANZ region will enable us to offer enhanced, efficient local support and expertise, thus enriching the overall experience of our customers,” said Brian Grainger, vice president of worldwide sales, Spectra Logic. “Organizations need intelligent, integrated, and easy-to-use archive, active archive and backup solutions to manage, protect and preserve their growing data volumes. Throughout our 30+ year history, Spectra Logic has delivered high-density, feature rich storage with unmatched service and support.” In the ANZ region Spectra Logic will offer its complete line of automated tape library solutions from its entry-level T50e, mid-range T120, T200, T380 and T680, and enterprise scale T950 and T-Finity libraries. Powered by Spectra Logic’s unified management software, BlueScale 12, these storage solutions provide industry-leading performance, lifecycle management, and integration capabilities.

Recently, ABS-CBN Global has chosen Etere to integrate its production facility for Global channel. The ABS-CBN facility is complex, it manages 24 channels with 3 diﬀerent video servers in 3 diﬀerent formats. Etere is used to glue all the departments together with only one framework.

The company say escalating data growth continues to make tape the optimal storage solution: cost eﬀective, eﬃcient long term retention, highest data integrity, environmentally sound, highly secure and easily portable.

Visit www.etere.eu

Visit www.spectralogic.com

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STORAGE + ASSET MANAGEMENT

EMC Squares Away Storage FOLLOWING ITS ACQUISITION of Isilon, storage specialist EMC has established a dedicated local team with a deep knowledge of the broadcast, publishing and creative media industries. Covering Australian and New Zealand, Ben Goodman, Manager, the Media and Online Solutions Broadcast, Media and Online Solutions Group, EMC. Group has already developed strong partnerships with leading creative companies such as Apple and Adobe that will enable companies to create, manage and broadcast content across multiple delivery platforms where and when consumers demand it. According to Ben Goodman, Manager, Broadcast, Media and Online Solutions Group, EMC, “Over the last six months we’ve really spent the time understanding what’s happening in the Australian media market, understanding what’s happening with the evolution of that space in iPhones, iPads, 3D TV, the evolution to the new world of media. “The announcement of the new team was really the culmination of the last six months work, and understanding the application vendors out there, what they’re trying to achieve in their creative area, people like Adobe, people like Apple. Understanding their challenges and how we can potentially help them.” Goodman says the team now is a dedicated group focused on two specific areas - broadcast and creative.

STORAGE + ASSET MANAGEMENT

“We’ve actually structured the team into two separate areas,” he says, “one group focused specifically on the broadcast side, so the Nines, Sevens,

TENs, Foxtel, Fox Sport, etc., because they’ve got a mix of traditional IT requirements, corporate IT requirements and new platforms that need to deliver around things like iPhones, iPads, and IPTV. We then have another team within the media group focused on the creative side, those people who are doing the rendering, the visualisations, etc. “The two requirements and the applications that are on both sides are a little bit different. One is more focused on availability and how they broadcast and making sure there’s no black screens. The other group is really focused on making sure that they can get render farms running as quickly as possible, to have as much time to edit, change and update content they’re creating. “So, we have groups that are focused on both different areas to make sure we’ve got the right solutions in both specific parts of the market, rather than trying to address it as one holistic area. Because I think people like Animal Logic have a very different requirement to what people like Channel 9 or Channel 10 would, in the way they actually do business.” Goodman says he expects the combination of Isilon innovation and EMC reliability will bring benefits to customers. “EMC has not traditionally been a player in the media space, Isilon has,” he says. “If you think about what Isilon was as a start-up it was a great technology, but like most start-ups was underpinned by a smaller back-end. “EMC’s been traditionally known in the market for our ability to execute in the high-end accounts like banks, those kinds of organisations. In bringing the two organisations together what we get is the innovation technology from Isilon underpinned by the traditional executions support capabilities of EMC. We want to make sure that organisations can invest in this platform and be absolutely confident that it’s going to deliver the technology outcome and the local support in country for Australia is way ahead of anyone else in the market. When our clients trust their content assets with us, we need to be able to make sure we’re able to support them in the way they expect us to.” Visit http://australia.emc.com

Sydney Digital Rapids: P +61 02 9436 1460 Unit 3, 118 Christie St, St Leonards 2065

STORAGE + ASSET MANAGEMENT

Nativ Manages the Cloud NATIV IS BRINGING to NAB 2012 a new way for broadcasters and studios to buy technology. With coordination and financial cloud services provided by Strategic Blue, Nativ is giving content owners access to a media management solution that combines world-class security and connectivity with the flexibility of the cloud, on a transactional ‘on-demand’ basis. Nativ has responded to growing interest in the US with the installation of its MioEverywhere media management solution in Switch SuperNAP datacentre in Las Vegas. MioEverywhere, a fully-featured digital asset management (DAM) and workflow automation platform, will enable US studios, broadcasters, post houses, production companies, record labels and brands to remotely ingest and validate their content; centralize their assets; automate workflows and distribute content to any platform or partner Nativ will be demonstrating the new solution live from SuperNAP as part of Strategic Blue’s CloudMediaHub at NAB stand N3222i. Visit http://nativ.tv

Brights New Gen of BrightDrive BRIGHT TECHNOLOGIES, INC. has announced plans to present its new generation of BrightDrive servers at NAB 2012. BrightDrive Procyon and BrightDrive Triton are economical, compact, eco-friendly media file servers which incorporate Bright’s best-of-class software, including the new patentpending BrightClip 2.0 advanced recording technology. BrightDrive Procyon, the next generation of Bright’s G2 Pro, is a highavailability server utilising integrated connectivity, eliminating the need for extraneous components, to oﬀer an outstanding out-of-the-box experience. Procyon features a groundbreaking hardware platform plus a current and stable software foundation – including support of StorNext 4.2. The new BrightDrive Triton elevates BrightDrive G2, its predecessor, to a higher level. The new server is an attractively priced, green solution that only occupies a single rack unit. Triton also supports StorNext 4.2. In addition to their fresh look, BrightDrive’s Procyon and Triton eco-friendly designs lower cooling requirements and significantly reduce power costs. The servers’ agnostic architecture allow facilities to seamlessly interface with their preferred applications, protocol, resolution, and formats, eliminating the need for investment in new storage. Visit www.4bright.com

Orad Delivers on Cross-Platform 2012 NAB Show, Booth SL4524. Orad’s professionals will provide demonstrations and presentations of its on-air, studio, MAM, sports and video server solutions. TD Control allows Technical Directors to select diﬀerent video box compositions and assign diﬀerent video sources to each of the video boxes. PowerPlay is a turnkey solution that manages fast turnaround sports productions from ingest, through instant highlight editing, to dedicated sports media asset management in a post-production environment. iFind is a sophisticated media management solution, which provides the user with the ability to manage the essential elements of a complete broadcast server, graphics and archive system from a web browser. RadioTV enables the automatic broadcast of radio shows, including live videos, real-time 3D graphics and promos, over digital media without human intervention.

AmberFin to Unveil New Products AT NAB 2012, on booth SU9005, AmberFin will unveil a new version of UQC, the world’s first Unified Quality Control solution for content ingest and transcoding operations. AmberFin will also announce new multi-transcode capabilities for iCR. Launched at IBC 2011, AmberFin’s UQC solution for content ingest and transcoding operations is now already used in production at leading broadcasters and facilities around the world. This latest version of UQC will feature an improved user-experience, new third party plug-ins to add new levels of quality control, new integrated ingest capabilities, and a streamlined workflow interface. AmberFin will unveil new software-based multi-transcode capabilities for iCR that will enable users to run up to eight diﬀerent transcode nodes simultaneously on a single PC, thereby dramatically reducing the cost per channel while obtaining even better use of their PC hardware. AmberFin will also announce the next phase of Bruce’s Shorts a free, technology based, training program hosted by Bruce Devlin, AmberFin’s CTO and co author of the MXF format. Visit www.amberfin.com

Orad’s Interact enables television presenters to control and direct the content on their touch screens, video walls and other input devices, helping them engage more with their viewers. Emmy Award-winning MVP provides fast preparation of captivating sports highlight clips to better visualize critical plays, the flow of the game, and post-game analysis. 3DPlay, Orad’s advanced channel branding solution, oﬀers stunning 3D graphics for promo over credits, multiple tickers, video clips playback, etc. Morpho is a real time, 3D character generator that oﬀers uncompromised creation and playout capabilities from a single user interface. ProSet, Orad’s high-end virtual studio solution, provides a powerful dimension to any virtual studio production. Maestro: The latest version of Maestro introduces many interesting features that improve usability in a studio environment, and the connection to external systems and data sources. Visit www.orad.tv

SGL Updates FlashNet SGL WILL CONTINUE its rollout of next-gen archiving technology at NAB 2012 by announcing its support for writing AS02-wrapped files to LTFS tape. SGL will also highlight an end-to-end Avid InGame workflow using its FlashNet archive management software solution. The nature in which LTFS describes the content held on tape dovetails with AS02, which like LTFS is self-describing. Although LTFS describes the files that are written to tape it doesn’t describe the content itself. Now, when SGL FlashNet writes AS02-wrapped files to an LTFS tape, the user has all of the requirements to transport video, audio and metadata anywhere ready for both playout and archiving. SGL will be showing a new web-based interface for managing the content held within a FlashNet archive. SGL will also provide a full demonstration of Avid InGame. The combination of Avid Interplay, SGL FlashNet archive management software and the high-density Spectra T50e data tape library provides users time-saving browsing of archived assets. Visit www.sglbroadcast.com

STORAGE + ASSET MANAGEMENT

ORAD WILL BE presenting its newest product line-up at the upcoming

STORAGE + ASSET MANAGEMENT

Broadpeak CDN Solutions BROADPEAK WILL DEMONSTRATE its latest content delivery and video network management solutions designed specifically for operators, at the 2012 NAB Show. The company will highlight its new OperatorCDN and +screensCDN solutions. Broadpeak will introduce the OperatorCDN, a solution that enables network service providers (NSPs) to manage a CDN on their own networks. Broadpeak will also unveil the new +screensCDN, a series of streaming solutions that manage bandwidth and storage usage, increase quality of experience, and eliminate churn. On display will be the Broadpeak BkM100 CDN Mediator, which models network topology and provisions video POP according to content popularity in order to optimize backbone bandwidth usage. Broadpeak will demonstrate how its BkM100 content delivery management system enables the delivery of content to multiple devices. Visitors to Broadpeak’s 2012 NAB Show booth will be able to view a cross-terminal, cross-OS demonstration of “follow me” TV. Visit www.broadpeak.tv

Wowza Introduces Streaming AddOns AT THE 2012 NAB SHOW, Wowza will display the new Wowza Media Server 3 and its AddOns, which transform it from a media server into a robust streaming media platform. Wowza Media Server 3 oﬀers broad any-screen coverage for Flash- and Silverlight-capable devices; Apple iPhone/iPad and other HLS-capable devices; Android devices; Roku media players; and Internet-connected TVs. Wowza Transcoder AddOn transforms incoming live streams from encoders, IP cameras, IPTV headends, etc. to H.264 for delivery everywhere. Wowza nDVR AddOn stores content in a normalized format as a single live stream cache that enables users to deliver time-shifted playout experience to viewers — on PCs, tablets, smartphones, and TVs. Wowza DRM AddOn facilitates integration with various digital rights management platforms to deliver on-the-fly encryption for live and videoon-demand content to any screen. In addition to the premium AddOns, there is an extensive suite of free components that provide tools to better manage and protect content, enhance the viewer experience, and easily integrate Wowza Media Server software in their environments. Visit www.wowza.com

Cache-A to Debut Power-Cache CACHE-A CORPORATION’S new high-performance Power-Cache Archive Server includes Cache-A’s latest version 2.1 software release with a range of new features. Power-Cache combines Cache-A’s appliance functionality with a fast disk array and ultra-fast networking for more expandability and accelerated archive and retrieval transfers. The compact one rack-unit Power-Cache Archive Server can control up to four LTO-5 drives with up to two concurrently at full speed. Library24 or Library48 options and a one rack-unit expansion chassis that can hold one or two LTO-5 tape drives can be connected in any combination of up to four tape drives. To simplify the archiving of large projects, the Cache-A Library24 and Library48 work with the Power-Cache or Pro-Cache to automate archival workflows and provide the ultimate in system flexibility. Cache-A’s Library24 option can accommodate up to two internal tape drives and up

STORAGE + ASSET MANAGEMENT

Power-Cache is launching with Cache-A’s latest version 2.1 software release, which contains many new capabilities for all models. At the top of the list for “most asked-for feature” is the ability to queue jobs from multiple users or events, enabling any Cache-A device to be more responsive in demanding user environments. Cache-A systems also now oﬀer the ability to directly mount Apple file shares, improving performance and convenience in Mac environments. Like the company’s award-winning Pro-Cache5, Power-Cache includes LTFS capability. Available as a simple, free software upgrade from Cache-A, this new format enables users to interchange content across diﬀerent operating systems, software applications and physical locations. Visit www.cache-a.com

Vimond Media Solutions VCC Beta

Tedial Simplifies Workflow

AT NAB 2012, Vimond will showcase a beta version of its Online

TEDIAL IS UNIQUE among its competitors for having a flexible BPM solution that enables the creation of any type of workflow from the ground up including: ingest, publishing, promos, news, sports, compliance, editing, backup, and archive. Tedial will showcase a number of new products at NAB 2012, includuing the new Tarsys Client GUI and the Ficus Web Client.

Video Platform (OVP) product code-named VCC (Vimond Control Center). VCC builds on the current Vimond media platform, but simplifies the publishing workflow and adds powerful features.

to four tape drives on the Library48 option, when driven from the new Power-Cache model.

VCC was designed for broadcasters wishing to monetize their content directly to end users, as well as content distributors seeking to broaden their oﬀering and provide catch-up services. Other Products on Display at the 2012 NAB Show, include: VimondSPORTS - For use with Vimond’s online TV platform, this interactive live and on-demand sports Web application framework enables broadcasters to create rich interactive services; Mobile applications for iPad, iPhone, Android, and other mobile devices; 3D OTT showcase to demonstrate how companies can transmit 3D events through the Web using Vimond technology;

New Tarsys (MAM) Client GUI has been specifically designed to simplify collaborative working between professionals in any media enterprise and beyond. The Ficus (BPM) Web Client will further simplify business procedures and workflows. Tedial can now provide support for closed captioning throughout the entire lifecycle of content and execution of media workflows.

Mobile companion apps, including one prepared for the Tour de France.

The latest version of enhanced Capture (ingest) application, which will be demonstrated on the stand at NAB, supports industry standard protocols for routers and features a powerful source scheduler application.

Visit www.vimond.com

Visit www.tedial.com

STORAGE + ASSET MANAGEMENT

Signiant Media Management Solutions SIGNIANT WILL HOST a press luncheon at the 2012 NAB Show on Monday, April 16, at 12 p.m. at the Las Vegas Convention Centre in room N242. They will also be unveiling a number of software solutions, as well as new products that combine enterprise-level security, management and control with a revolutionary new user paradigm. Signiant Media Manager is a powerful, system-to-system solution designed to handle the administration, control, management and execution of all system activity - including workflow modelling - from a single platform. Ideal for batch transfers of large numbers of media files, users interact with the Manager through a Web-based interface for system configuration, task automation and reporting. Signiant Media Exchange is a private cloud solution for fast, secure file transfer designed for the business needs of media content providers from major studios and global broadcasters to regional post-production houses. MX expands user access options with powerfully simple clients that automate the unattended delivery of content to/from any desktop or mobile device. Visit www.signiant.com

Dalet MAM Enhancements DALET DIGITAL MEDIA SOLUTIONS will showcase enhancements in Dalet Enterprise Edition, their advanced Media Asset Management (MAM) platform, along with their technology solutions packaged for diﬀerent production workflows at NAB 2012, stand SL4615. Dalet will demonstrate several enhancements in Dalet Enterprise Edition, the MAM platform which unifies disparate systems to improve workflow productivity and to facilitate content distribution to multiple platforms, including broadcast, web, VOD and mobile. Dalet Enterprise Edition will be shown in combination with Dalet’s tailored production suites for news (Dalet News Suite), sports (Dalet Sports Factory) and radio (Dalet Radio Suite). Dalet will also reveal the development roadmap for the year-end release of the next version of Dalet Enterprise Edition that will include new, breakthrough technology and major enhancements to the product. Visit www.dalet.com

Front Porch Digital a DIVA at NAB number of products at NAB 2012, Booth N5806. Among those being shown are LYNX, DIVAdirector V5.0 and DIVArchive V7.0. Front Porch Digital’s LYNX is an integrated, cloud-based environment for managing assets on a global scale, from any device and any location. The LYNX project is the company’s largest R&D investment in more than a decade and oﬀers media organisations a next-gen approach to global asset management.

V5.0, with a host of new features for even easier, more versatile media asset management. V5.0 boasts HTTP-based adaptive streaming support, whereby client Internet browsers can seamlessly and dynamically switch between diﬀerent video and audio bit rates. Also at NAB, Front Porch Digital will showcase its DIVArchive V7.0 content storage management (CSM) system. With its support for complex DPX packages, DIVArchive V7.0 enables video-like operations on film-carried content, making it desirable for film production and post-production applications.

Leveraging the latest cloud and Web services technologies, LYNX will underpin a range of networked and distributed solutions, including a hosted disaster recovery service for existing DIVA customers, a private/hybrid cloud service, and a public cloud service with DIVArchive functionality.

DIVArchive V7.0 is also the first system of its kind to implement the new open Archive eXchange Format (AXF) technology developed by Front Porch Digital to protect, preserve, and facilitate the exchange of content among storage systems today and for the future.

At the 2012 NAB Show, Front Porch Digital will introduce DIVAdirector

Visit http://fpdigital.com

Pixel Power to Debut Gallium PIXEL POWER WILL debut its new integrated, sophisticated and scalable scheduling, asset management and automation system, Gallium, at NAB 2012. It provides automated control of Pixel Power’s transmission devices for graphics or complete channel playout, including ChannelMaster. ChannelMaster is an out-of-the-box solution to bringing new channels to air quickly and cost-eﬀectively. ChannelMaster integrates storage, graphics, DVE, audio, subtitling, master control, live feed and long-form video playout within a single dedicated hardware platform and integrates with any automation and MAM system, or can be controlled via Pixel Power Gallium. At NAB 2012, Pixel Power will highlight Clarity’s use in online live production, particularly newsroom graphics applications. On display will be practical applications of Clarity’s innovative graphics capabilities including the creation of real-time 3D graphics for news and sports. BrandMaster, seamlessly integrates a complete master control switcher with broadcast graphics for channel branding. BrandMaster injects sophisticated branding graphics capability to the point of transmission, while reducing the complexity of the signal path and streamlining the channel branding process. Visit www.pixelpower.com

NETIA Radios Into NAB NETIA WILL SHOWCASE enhancements to its Radio-Assist 8 range of digital audio automation software at the 2012 NAB Show. RadioAssist 8.1 will oﬀer additions including two significant features: a new integrated music scheduling application and new video editing capability from within a single user interface. During the 2012 NAB Show, NETIA will highlight further functional and technical enhancements that add to the value of Radio-Assist 8.1 in today’s radio broadcast operations. In addition to new browse and publishing tools for full multimedia functionality, the software features tools for acquisition, sound-file editing, commercial and music production, newsroom systems, scheduling, multicasting, and administration. NETIA will also launch a new version of its Content Management System (CMS) that allows users to manage all processes within the global production environment - from editing through post and distribution - through simple, easy-to-manage workflows and task automation, accessed through one unique and easy-to-use interface. Visit www.netia.com

STORAGE + ASSET MANAGEMENT

FRONT PORCH DIGITAL has announced that they will showcase a

MEDIA IN THE CLOUD Storage & Digital Asset Management

In the Cloud Sits an Engine Sydney Cloud Company Adds Rendering Magic to Harry Potter by Keith Ford

LAUNCHED 18 MONTHS AGO in the Sydney suburb of Alexandria, StudioEngine oﬀers ‘Studio as a Service’, essentially hiring out its facilities to filmmakers, game designers, and TV producers. This can include anything from long-term engagements in VFX and animation, or providing space, equipment and IT support on a short-term basis.

StudioEngine CEO Stefan Gillard

CUSTOMERS utilise StudioEngine services

working a 105% flat chat for about nine months.”

either from: within one of two studio facilities; via Fibre/ADSL/Microwave/ Radio network connectivity to the company’s Data Centre in Alexandria; or onsite/on client premise where StudioEngine physically installs infrastructure within the customers own IT environment. "A good way to describe us is a tailored High performance Computing Infrastructure provider or HPC Cloud provider,” says StudioEngine CEO and Chief Mechanic Stefan Gillard.

proposition. This combines with the other benefits of outsourcing rendering to allow more time, money and focus to be put on the creative side of a production. One of the projects that StudioEngine has been working on is Figaro Pho, a CGI animated series about a chronically phobic child. Being animation, it has very diﬀerent requirements to more straight-up VFX work, or even animated films such as Happy Feet Two, the majority of which was

“We provide a shared infrastructure that is divvied up and allocated to those diﬀerent types of business, so we’re actually multi-tenanted but we share a large HPC cluster and storage and networking,” explains Gillard.

MEDIA IN THE CLOUD

Setting up the kind of infrastructure required by effects heavy work represents a large amount of both cost and risk. Maintaining this set-up costs more again. Many visual effects studios simply can’t afford the expenditure, making bigger jobs cost-prohibitive. This is where StudioEngine comes in, providing the facilities, infrastructure, engineering, rendering, and data-storage as needed. As the studios are only renting the service, they don’t need a large initial outlay, making the whole operation more cost-effective.

“From an organisational perspective, it’s our job to come up with products and services that meet a particular customers need,” said Gillard. “And right now our primary customers, we’re actually trying to generate animation for film and television so they have very high processing requirements around the number of frames, and very tight deadlines.” Another benefit of this model is that global producers are able to take advantage of a number of Australian tax incentives without having to build their own facility, making it a very attractive

StudioEngine recently got early access to Intel Xeon E5 processing chips for servers and ran it alongside their previous set up. They found that the new processors performed better across the board, with Gillard saying, “Results like this, literally do give us a bit of an a-ha moment about how are we going to approach the next wave of infrastructure and capital investment that we make in delivering these services back, and what that looks like, especially from a power footprint, because power represents 40% of our overhead costs, and our existing infrastructure will give you a sense, we get a 128 server nodes into a single rack, and that rack runs at about 34 watt. Which is the highest power that you can get in the environment.” Interestingly, the company found that virtualising the render stack actually produced better results than the traditional bare metals approach. Virtualised render pay loads have been more eﬀective than bare metal pay load because they have too much memory to access. “We need to be far more eﬀective with our memory for print, and that lends itself to virtualised pay loads,” said Gillard.

The StudioEngine engine room.

rendered through StudioEngine. The versatility to switch between this kind of project to the final two Harry Potter movies, is a vital part of the operation. “Figaro’s quite a fun project, visual eﬀects features such as Harry Potter have diﬀerent requirements, especially on the rendering front, and the amount of simulation work that’s required,” said Gillard. Speaking about processing requirements, Gillard said, “For Happy Feet Two, I think the total count was in excess of about 1400 nodes basically

In this case raw processing power has shown itself to not be the most important aspect of the solution, rather the intelligent application of that power. “I think we are getting to a tipping point now where we can actually throw so much resource at a problem that we’re no longer technologyconstrained,” said Gillard. “Even the production that we’re working on with Figaro Pho for instance, these guys aren’t using 500 nodes they’re using less than a chassis of render blades to generate something that is 2K HD quality that is unlike anything else that’s really been produced in Australia before.” Visit www.studioengine.com

MEDIA IN THE CLOUD

BRIGHTCOVE (NASDAQ: BCOV), a leading global provider of cloud content services, and Daemon, a well-established digital agency based in Australia, have announced they are teaming up to give Daemon’s extensive clientele access to the Brightcove Video Cloud online video platform. Through the partnership, joint customers can rely on Daemon to build websites with online video content that can be viewed on a broad range of devices, as well as integrate it to their social media channels.

Australian Olympic Committee’s website was developed by Daemon and its library of video content is powered by Video Cloud. The online video content can be viewed across desktops, smartphones and tablets.

Two of Daemon’s customers are already taking advantage of this new partnership. The

Visit www.brightcove.com and www.daemon.com.au

Geoﬀrey Bowers, Founder of Daemon, said, “With Brightcove’s Video Cloud, we are now able to oﬀer to our clients industry leading online video technology so that they can create rich video experiences across desktop, smartphone and tablet devices.”

TMD Announces Unified Media Services THIS YEAR’S NAB will see TMD announce Unified Media Services (UMS) along with the associated API and integration facilities. UMS will initially provide media organisations with an SOA environment to take advantage of best of breed products for media ingest, QC, transfer, storage, publishing and archive of digital content. With access into the Mediaflex Workflow engine the UMS API provides an open standards interface. The Web Services based API empowers customers and third party developers to create

a collaborative media business environment using best of breed solutions. UMS is designed to deliver standards based functionality to fit with industry initiatives. In addition UMS will deliver interoperable functionality designed for ‘Cloud’ based services and environments.

SohoCentre Powers Up Post, Broadcast Cloud Platform SOHOCENTRE SYDNEY has announced that co-location services are now available in Sydney, with Stage one of the SohoCentre cloud content storage and DR platform now operational and open for business in Lane Cove. The new regional data centre and co-location facility is operated by Future Reality. Partial and Full racks are available including power, UPS and redundant A/C. A range of network service and technical support options are also available, these can be tailored to specific needs. Designed and built to work with partners such as Sohonet and Hitachi Data Systems (HDS), the Sydney operation joins existing SohoCentres in London and Los Angeles that service postproduction and broadcast clients around the globe.

Also on show at NAB is Mediaflex, a modular suite of business applications designed to go beyond traditional Digital & Media Asset Management by delivering an integrated solution.

Services include Basic and Full Rack co-location, Backup Services, Internet Services and Managed Services. The latter requires a Sohonet Media Network Connection and includes a Hitachi Data Systems Enterprise Class Disk Based Managed Archive, HDS On-ramp Data ‘Investor’ at customer’s site, Tape based Managed archive, Managed NAS Storage Service.

Visit http://www.tmd.tv

Visit www.future.com.au

MEDIA IN THE CLOUD

Brightcove and Daemon Team to Deliver Video Cloud

MEDIA IN THE CLOUD

Vegas in the Clouds HELD ON MONDAY, APRIL 16, under the

VP, Business Development, Sorenson Media; and Jostein Svendsen, CEO, WeVideo.

NABSHOW 2012 umbrella, the second annual Cloud Computing Conference will demonstrate the new ways cloud-based solutions have accomplished better reliability and security for content distribution. The agenda for the conference, which begins at 10:30 AM and continues until 6:00 PM PT, will open with “Latest Trends in Cloud Computing Solutions for the A/V Ecosystem” and then move to “Key Pitfalls Associated with Cloud Computing in High-Value Content Implementations.” The conference will then explore “Various Ways that Cloud Computing Is Being Applied to the Content Creation Process - from Pre- to PostProduction,” followed by “Alternative Approaches for Implementing Cloud Storage of Content Catalogs and Libraries and Leveraging CloudBased Distribution,” and then, “New Levels of Media Performance Data Enabled by Cloud Computing - and Impact on Other Sectors.” The agenda will close out with “Navigating the Current Cloud Environment and Planning for What’s Next,” and finally, “Disruptive Eﬀects of Cloud Computing Will Continue.” Keynote speakers for each of the above areas, respectively, include Bill Kallman, CEO, Scayl; Jim Burger, Member, Dow Lohnes; Jonathan King, SVP, Joyent; Shahi Ghanem, SVP, Strategy & Marketing, BitTorrent; Scott Brown, GM & SVP Strategic Partnerships, Octoshape; Jean-Luc Chatelain, EVP, Strategy & Technology, DataDirect Networks; and Ashish Gupta, Strategist, Cloud Infrastructure, Huawei. The first panel will explore “Advanced Capabilities, New Features, Cost Advantages of Cloud Computing Solutions” with Mike Alexenko, Senior Director of Market Development, Cloud & Mobility, G-Technology; Scott Campbell,

Cloud Pavilion Supporting the Conference Stream will be the Cloud Pavilion in the North Hall of the Las Vegas Convention Centre which will play host to the following companies.

AFRAME Booth N3222K www.aframe.com

MEDIA IN THE CLOUD

Aframe is a professional video production workflow platform that you use from your browser. Aframe is flexible and you can use the components of the platform to improve your existing workflows however you like.

CLOUDSIGMA, INC Booth N3222H www.cloudsigma.com CloudSigma is a pure-cloud Infrastructureas-a-Service (IaaS) provider that oﬀers

Principal, Media, Entertainment, and Telecoms, SAP; David Frerichs, Strategic Consultant, Pioneer Corporation; David Hassoun, Founder, RealEyes Media; AJ McGowan, CTO, Unicorn Media; Samir Mittal, CTO, Rimage; Michelle Munson, CEO, President, and Co-founder, Aspera; and Robert Stevenson, EVP, Interactive Entertainment, Gaikai. The second panel will examine “Privacy Issues, Reliability Questions, Security Concerns in the Cloud Computing Space” with Dave Asprey, VP, Cloud Security, Trend Micro; Chris Kantrowitz, CEO, Gobbler; Tom Mulally, Consultant, Numagic Consulting; Graham Oakes, Chairman, Digital Watermarking Alliance (DWA); Dan Schnapp, Partner & Chairman of New Media, Entertainment & Technology, Hughes, Hubbard & Reed; Yangbin Wang, CEO, Vobile; Marvin Wheeler, Chairman, Open Data Center Alliance (ODCA); and Vic Winkler, Author, “Securing the Cloud.” The third panel will focus on “A/V Pre-Production, Production, Post-Production Clouds” with Jim Cady, President & CEO, Slacker; Tony Cahill, Chief Engineer, CET Universe; Guillermo Chialvo, Gerente de Tecnologia, Radio Mitre; Gerald Hensley, VP, Worldwide Entertainment Sales, Rovi Corporation; Ajay Malhotra, EVP, North America, Prime Focus Technologies; Todd Martin, SVP, Strategic Solutions Group. Chyron; Kirk Punches, high-availability, flexible cloud servers and cloud hosting, both in Europe and the USA. A customisable cloud provider, CloudSigma eliminates restrictions on how its users deploy their computing resources.

PRODUCTION MINDS Booth N3222O www.production-minds.com Production Minds is a social collaborative workflow platform.

The fourth panel will cover “Cloud Media Storage & Delivery” with Kris Alexander, Chief Strategist, Connected Devices & Gaming, Akamai; Bang Chang, VP, Server and Storage, SeaChange International; Stephen Condon, VP, Global Marketing Communications, Limelight Networks; Gianluca Ferremi, VP Sales & Marketing, Motive Television; Michael King, Director of Marketing, DataDirect Networks; Kshitij Kumar, SVP, Mobile Video, Concurrent; Kyle Okamoto, Sr. Mgr. Product and Portfolio Mgt., Verizon Digital Media Services; and Mark Taylor, VP, Media and IP Services, Level 3. The fifth panel will address “Cloud Measurement, Analytics, Implications” with Sean Barger, CEO, Equilibrium; Thomas Coughlin, President, Coughlin Associates; Steve Hawley, Principal Analyst & Consultant, TVStrategies; Jonathan Hurd, Director, Altman Vilandrie & Co.; Jeﬀ Kim, COO, US & EMEA, CDNetworks; Monica Ricci, Dir. of Product Marketing, CSG Systems; John Schiela, President, Phoenix Marketing International (PMI); Nick Strauss, Director of Sales, Verizon Digital Media Services; and Mike West, CTO, GenosTV. The sixth panel will forecast the “Years Ahead for Cloud Computing” with Saul Berman, Lead Partner, IBM Global Business Services; Ian Donahue, President, RedThorne Media; Chris Haddad, VP, Technology Evangelism, WSO2; Wayne Josel, Counsel, Media & Entertainment, Hughes, Hubbard & Reed; Steve Mannel, Senior Director, Media & Communications, Salesforce. com; James Mitchell, CEO & Founder, Strategic Blue; David Sterling, Partner, i3m3 Solutions; and Chuck Stormon, CEO, Attend.

REELWAY GMBH Booth N3222J www.reelway.de Reelway provides Media Asset Management for acquisition, production and broadcasting as hybrid Cloud solution. Its ReelRock software provides modern Material Management on the ground, including file transfers & transcoding.

CLOUDMEDIAHUB BY STRATEGIC BLUE Booth N3222I www.cloudmediahub.com

RACKSPACE HOSTING Booth N3222N www.rackspace.com Rackspace is a specialist in the hosting and cloud computing industry, and the founder of OpenStack, an open source cloud platform. The company provides support to its customers across a portfolio of IT services, including Managed Hosting and Cloud Computing.

CloudMediaHub by Strategic Blue is a new ecosystem for media content owners, creators and distributors. CloudMediaHub is pioneering the coordination of complementary cloud vendors to create an ecosystem of mediaspecific tools and products. Visit www.nabshow.com/2012/education/ conferences/cloud-computing-conference.asp

revolution not evolution in a world of change, those who stand still will fall behind. but those who innovate, who go the extra mile, reach that little bit further... they define what is to come. we never stand still. our revolutionary new solutions and tools make your working day easier, quicker and every bit more exciting. you really need to see what the future holds. from fast-turnaround production and multi-screen deliverables to high-end post, see how Quantel will revolutionize your workflow, not just evolve it. weâ&#x20AC;&#x2122;re defining the future. letâ&#x20AC;&#x2122;s build it together.

quantel.com twitter.com/quantel facebook.com/quantelonline NAB Booth SL2415

revolution not evolution: defining the future

MEDIA IN THE CLOUD

Cloud-based Ad Replacement for Portable Devices YOSPACE IS USING NAB (booth SU8503) to unveil its cloud-based advertising replacement system. For the first time this allows broadcasters to stream linear channels online and to mobile and portable devices, inserting targeted and individualised advertising seamlessly into the content. Because the content appears exactly like a highly professional broadcast channel audiences accept the advertising, opening up real revenue earning potential. “Streaming solutions until now have involved buﬀering, latency and glitches in presentation resulting in audiences rejecting online advertising, which means broadcasters have no means of monetising the service,” said David Springall, CTO of Yospace. “What we oﬀer is a unique integration between the streaming service and the broadcast automation, so the personalised content flows perfectly, giving the consumer exactly the experience they are used to from television, but on a smartphone, a tablet or online. The consumer does not notice that the ads are being replaced - but advertisers reach precisely the people they want.”

The solution is aimed at the most popular streamed content: live television. including sport and reality television. Because their commercial break patterns tend to be unpredictable, adding tailored advertising has, until now, meant freeze frames with spinning wheels while additional content is loaded, and the risk of missing critical action because of delays in getting back into the live content. The Yospace solution is in two parts. Appliances are installed at the broadcast centre which accept high quality video feeds (HD-SDI from the playout server) and an Ethernet link to the automation system for schedules and commercial break cues. This streams content to a Yospace service in the cloud which handles the advertising replacement and streaming, based on the frame accurate scheduling information. The cloud streaming service also handles the metadata wrapping for each delivery service and device type, and utilises a content delivery network technology to stream each output with the greatest eﬃciency. The result is a system which always retains frame accuracy for a seamless output to every device. It is also infinitely scalable for

the broadcaster because it is a cloud service. The commercials to be inserted are under the control of the broadcaster’s own advertising response system, which allows it to use the profile information of registered users, and geo-location information from mobile devices, to determine which content is most appropriate. It also allows the broadcaster to provide an audit trail to advertisers confirming the number of times that their spots were seen by their specified target market. Use of high-speed communications and next gen streaming protocols means that the seamless playout service, with replacement content, is delivered with minimal latency. As well as inserting personalised advertising the system is equally well suited to achieve frame-accurate replacement of other live content, for instance, because the producer has broadcast but not online rights to some of the event or programming. The solution works equally well when the converse is true, allowing broadcasters to manually cue advertising breaks in online only live events. Visit www.yospace.com

Cloud Deployment and Management Platform ONAPP HAS ANNOUNCED a new free version

their own cloud services, free of charge.

Service or Software-as-a-Service oﬀerings.

of OnApp Cloud, which is available for download. OnApp Cloud enables service providers and enterprises to build and run their own public, private and hybrid clouds, quickly and easily. The free version of OnApp Cloud oﬀers similar classleading functionality, scalability and resilience as the full version. It’s suitable platform for companies looking to test, develop and launch

The free version of OnApp Cloud enables companies to build a fully-functional cloud on Xen hypervisors with up to 16 CPU cores, without commercial restrictions on usage. It can be used by service providers launching public clouds, enterprises launching private clouds, or developers of cloud applications, Platform-as-a-

The free version of OnApp Cloud can be installed on standard oﬀ-the-shelf hardware in just a few hours. It is supported through OnApp’s new community forums, with a simple upgrade path for users who grow beyond the 16-core limit, or who require OnApp’s 24x7 global support services. Visit www.onapp.com

“Future-Proof” Video Transcoding ONLINE VIDEO ENCODING SERVICE ENCODING.COM recently integrated its Vid.

MEDIA IN THE CLOUD

ly universal video platform into Encoding.com’s intelligent video encoding workflow, further simplifying the process for enabling video playback on all devices and browsers.

In addition, Encoding.com announced its FutureProof Video program that oﬀers automatic preparation of Vid.ly videos for new formats/ devices as they enter the market. The integration of Encoding.com and Vid.ly, into one platform, delivers a powerful set of features for powering universal video – now and in the future. Vid.ly is evoked in the Encoding.com platform via a simple preset within the Web, Watch Folder, and API interfaces. Selecting this preset adds the “magic” of Vid.ly - the source

video is automatically transcoded into 24 diﬀerent video formats; the customer shares the short URL and/or publishes the embed code for their Vid.ly-hosted video; when an end user clicks on the video, Vid.ly uses powerful browser/device detection to deliver the appropriate video format for the best quality viewing for the specific feature phone, tablet, smart phone, or browser. Features include: Advanced mobile video strategy made easy – Vid.ly delivers high-quality video in 24 formats and uses powerful device detection to deliver the correct video to 6000+ devices. HTML5 video strategy simplified – Vid. ly automatically transcodes video into all the HTML5 formats (Safari/H.264, Chrome/

WebM, Firefox/Ogg, IE/H.264); then detects the browser and delivers the correct video format. QR code response optimized – Embed videos into QR codes for a powerful direct response tool. Use the UpdateMedia feature to republish videos to existing QR codes. Apple iOS advanced HLS streaming – Vid. ly prepares video for both iPad and iPhone adaptive bitrate stream to dynamically serve the bitrate most appropriate to the bandwidth of the requesting device. Future-Proofed video libraries – As new devices and new formats enter the market, Vid.ly videos are automatically prepared to respond to calls from the new devices. Visit www.encoding.com

AUDIO Digital soundwaves

www.content-technology.com/audio

August Date for ABC Audio Description Trial a trial of ‘audio description’ conducted on ABC television in 2012 which aims to improve access to electronic media for people with a visual impairment. Audio description explains scenes, settings, costumes, facial expressions and ‘sight gags’ during gaps in the dialogue. Currently in Australia there is no broadcast on television of audio description. The trial will assist in assessing the technical and other implications within Australia’s broadcasting context. “The ABC will deliver content and conduct a technical trial of closed audio description using receiver-mixed technology for the Australian Government,” said Australia’s Minister for Broadband, Communications and the Digital Economy, Senator Stephen Conroy. “The trial will involve the broadcast of drama, documentary and other content with audio description on ABC1 for 14 hours per week during prime time, over a 13 week period, commencing in mid 2012.”

ABC Hobart Chooses RTS Telex MAGNA SYSTEMS AND ENGINEERING has announced that they have supplied ABC Hobart with a full RTS Telex comms system. Magna’s Lucas Bohm explained, “ABC Hobart’s OB van was already fitted with an RTS Telex comms system, so the team there were familiar with its functionality. Thus when ABC were looking for a new talkback system for the TV station itself, they made contact with a number of suppliers and Magna Systems were one of them.” After a comprehensive evaluation process ABC Hobart purchased the Telex intercom system from Magna Systems and Bohm travelled to Hobart with Shawn Anderson from RTS Telex to provide a full training program for ABC Hobart’s engineers and technical operators. The RTS Telex ADAM matrix, supplied to ABC Hobart, is one of the most widely used matrices in the world today utilising a patented Time Division Multiplex (TDM) technique that makes it possible to support 272 ports in a 7 RU frame. It is a modular system and has full power supply and controller-card redundancy. It also has individual cross-point level controls and multi-level IFB, ISO, groups and GPI’s as standard. The ADAM is available with a wide variety of hot swappable interface cards. Visit www.magnasys.tv

Audio-described programs will be broadcast on ABC1 and available across the ABC1 free-toair digital terrestrial footprint. It is intended to make the audio description trial available nationally; however, the government is aware of potential concerns with the re-transmission of ABC1 on Foxtel, TransACT, AUSTAR, VAST and in some local council areas. The government is working with the ABC to achieve the widest possible reach for the trial. The trial will use ‘receiver-mixed audio description’, rather than broadcast-mixed audio description being trialled currently in New Zealand. Audio description is delivered as a second audio stream to a television or set-top box, and can be either ‘receiver-mixed’ or ‘broadcast-mixed’. With receiver-mixed audio description, the normal audio stream for the program is broadcast, while the second audio stream consists of the audio description narration only, along with signals that lower the sound level on the primary audio stream

so that the descriptions can be heard. With broadcast-mixed audio description, the second audiostream contains both the original soundtrack and the descriptions mixed into it. The Australian Government considers receivermixed as preferable for viewers because it allows them to control the volume of the audio-described content, and it can be fed to headphones so the viewer can hear it while others in the room hear only the original soundtrack. The trial is intended to generate a greater understanding of the technical and consumer issues associated with establishing and delivering audio description services. It will encompass testing of the broadcast delivery path from capture to transmission and distribution. The trial is also intended to raise awareness of audio description within the industry, government and other key stakeholders, and obtain information on user requirements. Visit www.minister.dbcde.gov.au

Automated Loudness Solution AT NAB 2012 digital workflow specialists Emotion Systems will feature eFF (Emotion File Finish) a cost-eﬀective software application that automatically analyses and fixes audio loudness violations in file-based media. Already deployed at prestigious London facilities such as The Mill and Smoke & Mirrors, eFF ensures compliance with the latest international standards. To ensure that users make the right decisions, eFF eﬃciently analyses file-based media by utilising accurate modelling of VU and PPM meters, and loudness detection parameters. Visit http://emotion-systems.com

UK Studio Launches Affiliate Directory UK-BASED MILOCO SUDIOS has announced the launch of The Market Place; a new listing of affiliated recording, mixing and residential studios spread across the world. The Market Place is not an exhaustive directory of every recording studio but an international selection of high quality studios affiliated to Miloco. The aim is make it easier for clients to find good facilities outside of the Miloco group, which are nevertheless fully endorsed by Miloco. The studios that have launched on The Market Place have been carefully chosen to form

a global and dynamic group. They include famous commercial studios in major cities, luxury residential retreats in stunning natural surroundings and smaller studios located closer to home, all of which complement Miloco’s existing portfolio. The countries with Market Place studios at the time of launch are spread far and wide across England, Wales, Iceland, France, Belgium, Italy, Greece, Austria, Turkey, USA and Indonesia, with other countries (and continents) on the horizon. Visit www.miloco.co.uk/marketplace

AUDIO

AUGUST IS THE LIKELY START DATE for

AUDIO

Sonifex Show New Innovations SONIFEX ARE SHOWING a range of new innovations on booth C2739 at this year’s NAB Show. New products at the show include the Redbox RB-VHDDD8, a Dolby E Encoder and Embedder which encodes 8 channels of audio into two channels of an AES/EBU digital audio stream, which is then embedded onto any of the available groups within each of the two video output paths. The new range of Pro Audio Streamers is on display. They allow audio to be streamed around a building using IP audio and CAT5 cabling infrastructure. There are three professional audio IP streamers in the new range providing encoding and decoding in diﬀerent formats. And finally, the CM-CU21 is a portable commentator unit designed for use in sportsgrounds with two fully featured commentator positions and a third guest location that can alternatively be used as a line-level input. Visit www.sonifex.co.uk

Calrec Joins the Hunt CALREC WILL DEMONSTRATE Artemis Light, the newest member of its Artemis family of Bluefin2/Hydra2 audio consoles. New for NAB 2012, the Artemis Light introduces a new compact processing rack dedicated to delivering digital signal processing (DSP) and routing capabilities in a 4U enclosure. Like all Artemis consoles, Artemis Light incorporates Bluefin2 high-density signal processing and Hydra2 networking technologies in the same compact yet extremely powerful and scalable control surface used by Artemis Shine and Beam. Employing the same hardware and software architecture, the Artemis Light can be fully integrated with any existing Hydra2 network. Also at the 2012 NAB Show, Calrec will highlight its Hydra2 Operator, or H2O, a remotely accessible management system that enhances the flexibility of the company’s groundbreaking Hydra2 network router.

H2O allows the user to control the Hydra2 network independently from any console control surface. Users will be able to set up routes and configure access rights to all desks on a given network, as well as enter networkwide I/O boxes and port labels for ease of identification. The software uses Web technologies to allow network access from any tablet, laptop, or PC with a browser, making it compatible with all major operating systems including Windows, Linux, and OS X. Calrec’s Apollo audio console is also being showcased at the 2012 NAB Show. The Calrec Apollo console relies on Bluefin2, the next generation of Calrec’s trademark Bluefin highdensity signal processing system, to provide unrivalled resources. Bluefin2 gives Apollo up to 1020 channel processing paths, 128 program busses, 96 IFB/ track outputs, and 48 auxiliaries. Visit www.calrec.com

Aeta Audio Systems Scoops NAB AETA AUDIO SYSTEMS will feature Scoop 4IP, Scoop 5, 4Minx, and LTE support for Scoopy+ at NAB 2012, booth C2850. The new Scoop 4IP is a rack-mount codec focused on IP links, designed specifically for broadcasters (STL users) or others who wish to do their live transmissions over IP. Scoop 4IP has audio analogue input/output, simultaneous AES, additional I/O, and the option to configure and manage the equipment via embedded Web page. At NAB, AETA will introduce Scoop 5, the newest generation of Scoop technology. Building on the

RTW Showcases the TM3 TouchMonitor RTW WILL DEBUT the TM3, the latest addition to the company’s successful TouchMonitor range for NAB attendees at the company’s booth (C1844).

AUDIO

The TM3 includes features of the larger TM7 and TM9 versions and is controlled using a touchsensitive display. With its budget-friendly base price, 4.3-inch touch screen, and stylish exterior allowing for horizontal and vertical placement, the TM3 is a highly appealing compact alternative.

Featuring PPM and true-peak instruments, the TM3 oﬀers comprehensive loudness metering in compliance with all globally relevant standards, including EBU R128, ITU BS.1770-2/1771, ATSC A/85, and ARIB. Instruments include single-channel and summing bar graphs, an LRA instrument and numerical displays. Visit www.rtw.de

feature set that made Scoop4+ a success, Scoop 5 combines a major upgrade to the software platform with an ergonomically improved design. Faster, more intuitive operation; profile management and supervision via an embedded Web page; a new control panel with graphic displays; and an elastomer keyboard. A fully integrated multi-track digital recorder and mixer, 4MinX is capable of mixing and recording 5.1 or 7.1, both indoor and outdoor. 4MinX functions as a TV/film sync-sound location recorder, or it can be reconfigured to record music or mix up to four channels.

AETA’s renowned Scoopy+, the industry’s first portable professional audio hardware codec to support HD Voice (7 kHz), now supports the higher-speed LTE standard as well. LTE provides a significant performance improvement and alternative to congested 3G networks by enabling up to 100Mbits/s download and 50Mbits/s upload, with lower latency for better performance during live transmissions, and better coverage in rural areas by using lower frequencies in the 800 MHz band. Scoopy+ now includes IPv6 support. Visit www.aeta-audio.com.

DK-Technologies Shows New DK Meter DANISH MANUFACTURER DK-Technologies will be using the NAB 2012 platform to unveil a new version of its ITU, EBU R128 and ATSCcompliant DK Meter. The DK3 Compact Audio Loudness Meter (CALM) features a 3G HD/SDI video input so users can de-embed audio from a video stream. Broadcast engineers will now be able to work with any 5.1 audio format, including analogue, AES and SDI. DK-Technologies will also be showing the DK1 and DK2 meters. The DK1 is ideal for anyone working in stereo, while the DK2 is specifically aimed at the burgeoning 5.1 surround sound market. All three DK Meters are easy to use, easy to install and can be powered from a computer USB port, making them ideal for location recording. They are supplied with all known loudness

measurement recommendations, as well as the standard DK-Technologies meter scales. Richard Kelley, Sales and Marketing Director for DK, says, “The DK Meter is exactly what the industry has been waiting for - an aﬀordable audio metering solution that not only delivers conventional metering but also ITU, EBU R128, ARIB and ATSC-compliant loudness metering.” DK-Technologies will also be showing its full range of audio and video metering solutions, all of which are compliant with current loudness recommendations. These include the DK PT0760 HD/SD waveform monitor, which features a new software upgrade allowing users to swap functionality between its various control buttons. Visit www.dk-technologies.com

AUDIO

Wireless Microphone System THE SHURE ULX-D wireless microphone system is a digital version of the ULX series and uses true 24 bit 48 kHz end to end digital transmission, delivering 20Hz – 20 kHz audio with 120dB of dynamic range! ULX-D provides 60dB of analogue gain adjustment at the receiver. ULX-D receivers can also be networked via Ethernet (TCP/IP) providing full remote control via Shure Wireless Work Bench 6 (WWB6) software.

ULX-D includes advanced AES 256 bit encryption for secure transmission and operates in the UHF TV spectrum Unlike other digital systems which operate in crowded ISM bands such as 2.4GHz and need to compete for spectrum with Wi-Fi, blue tooth, wireless video, microwave ovens, etc. This also means that ULX-D is most likely compatible with your existing wireless microphone systems and can share antennas and antenna distribution systems.

ULX-D systems can be integrated with other Shure networkable products such as UHF-R, Axient and PSM1000 for system wide programming and control.

It is also Digital Dividend Ready. ULX-D delivers highly eﬃcient RF performance, capable of squeezing 14 active systems into a single un-occupied TV channel. This coupled with an

impressive 64 MHz tuning range means ULX-D is capable of delivering around 60 compatible systems in one frequency band. ULX-D Advanced Lithium-ion rechargeable batteries provide over 12 hours of operation on a single charge. A new docking recharge station facilitates recharging of transmitters without removing the batteries. ULX-D utilises the same battery and charging solution as the recently released PSM 900 and PSM 1000 in-ear systems - providing a common rechargeable battery solution for all systems. Visit www.jands.com.au

WOHLER TECHNOLOGIES has announced the release of the AMP1-16M dual-input SDI audio monitor, engineered to enable monitoring of embedded audio in 3G/HD or SD-SDI streams. The compact 1RU unit de-embeds and monitors any or all of the 16 audio channels in 3G/HD/ SD-SDI signals, providing intuitive operation via adjustable volume and balance controls, as well as clear display of levels and other critical information on bright 2.4-inch LED-backlit LCD displays.

The AMP1-16M de-embeds audio within the selected 3G/HD/SD-SDI stream and enables one-touch monitoring of any selected pair(s) via built-in speakers, headphones, or XLR balanced outputs. The monitor oﬀers convenient capabilities including instantaneous selection and summing of any SDI audio pairs; gain adjustment/trim on individual audio channels; pass-through of both SDI inputs; and re-clocked output of the selected monitored SDI stream.

engineer in charge to reconfigure multiple units to not only meet the needs of a specific show or production application, but also the requirements of the diﬀerent operators working with the system. Using the PC-based software interface, an engineer can quickly configure, download, and store presets for multiple units from one central location. The software also provides a “lock-out” function so that operation of the unit can be restricted.

An Ethernet port on the AMP1-16M allows an

Visit www.wohler.com

AUDIO

SDI Audio Monitoring

RADIO The original broadcast media

www.content-technology.com/radio

CRA Bullish About the Future of Radio By Keith Ford Speaking at the Australian Broadcasting Summit at the Sydney Convention Centre in February, Commercial Radio Australia (CRA) CEO Joan Warner shared her thoughts on a range of subjects such as radio advertising, interaction with digital media, and digital radio. THE FIGHT FOR CONSUMERS’ time and attention in an ever-expanding market, across more platforms than ever before, is a challenge for content providers in any medium. Coupled with a challenging economic climate, this has meant that more providers are battling for fewer marketing dollars, often having to settle for a smaller slice of the pie. According to Ms Warner radio has held up remarkably well. “The resilience of radio as an advertising medium, which of course is our bread and butter, has again been highlighted with the industry recording revenue growth in 2011 of 1.1%,” she said. “Now that may seem small, but when you compare it to other media, and indeed television announced recently that their ad revenue went down by 5% in the last six months of 2011.” Among the reasons for radios continued growth and staying power, Ms Warner includes the ability to adapt to a changing media landscape over a number of years and paradigm shifts. TV, iPods, the Internet and podcasts have all been harbingers of doom for the century old

The final point of discussion was the adoption and future of digital radio in the Australian market. At a time in which so many sectors of the media are moving to digital as the predominant format, CRA is keen to increase the install base for DAB+ radios. “We are all fully committed, we don’t have an analogue switch oﬀ date yet, and we’re not going to talk about that until we have a national rollout plan so that there is no digital divide between metro and regional listeners, so that’s why we don’t have an analogue switch oﬀ date, but it is happening around the world,” said Ms Warner.

technology, yet it remains a key medium of content distribution. As Ms Warner points out, “During 2011 the Metropolitan surveys highlight the fact that around 97% of Australians listen to radio in an average week.” Ms Warner felt that digital media is an area that radio excels saying, “A couple of years ago the CRA commission researched into the relationship specifically between radio and online, and the findings highlighted radio’s strength at driving people online. The study found that 80% of people who heard a relevant ad mentioning a website on radio would visit that website, and that’s a fantastic stat for us to have.” This has led to further investigation of the relationship between radio listening and Internet use. Studies conducted by CRA and others have shown an increase in the percentage of people searching by brand when they have been exposed to radio advertising, and 35% of radio listeners do so while browsing the web.

With over 700,000 units sold in Australia after just two years on the market, excluding radios integrated with iPod docks or cars; there is clearly a desire for high quality audio. There is also, based on oﬃcial Nielsen radio rating figures, over 1 million Australians listening to digital radio every week. “We believe that once we get DAB+ into cars the spike in DAB+ listening will go through the roof. Why? Because 34% of all listening in Australia is in car, probably more in some regional areas,” said Ms Warner. “So while the whole industry’s strong support for DAB+, the minister’s announcement of spectrum, plus the commencement by the regulator of detailed planning for TV switch oﬀ and allocation for megahertz is all-good. The best thing about it is it’s given the automotive industry the confidence to actually move forward in announcing the inclusion of digital radio into cars. They’ve been saying to us for years, when we hear that it’s going national then it makes a more compelling proposition for us.” Visit www.commercialradio.com.au

ACMA Issues New Commercial Radio Standards The ACMA has issued new Commercial Radio Standards designed to strengthen the rules on advertising and the disclosure of commercial influence on commercial radio programs.

RADIO

“The new standards begin 1 May and reflect the ACMA’s recent decision to continue regulating both commercial influence in current aﬀairs programs and advertising on commercial radio,” said ACMA Chairman, Chris Chapman.

The standards were developed following the ACMA’s review and extensive consultation with

industry and the public. The ACMA’s reforms to the Disclosure Standard: + Require disclosure of not only ‘presenter agreements’ but also of some ‘licensee agreements’; + Allow current aﬀairs presenters more flexibility in how they identify sponsorship arrangements – rather than compelling them to use one of six current scripted statements; and + Change the register and formal notifications process so that industry can keep online

registers without the need for formal notices to the ACMA. The reform also makes it clear that advertising must be distinguishable from other program material at the time of broadcast, rather than later in a segment or program generally. Finally, in both standards, the definition of ‘consideration’ has been broadened to better capture instances of paid advertising and commercial influence. Visit www.acma.gov.au

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RADIO

ABC Radio Opens New Streams ON THE FACE OF THINGS, radio may not be the first medium that springs to mind when thinking about innovation. In recent years, with the introduction of digital radio and the utilisation of digital media, radio has been quietly adapting to the changing media landscape. The ABC’s Director of Radio, Kate Dundas, spoke about how ABC Radio has been driving innovation during the Australian Broadcasting Summit, particularly looking at ABC Open, the possibilities opened up by digital radio, and the introduction of smartphones and apps. ABC Open is something of a hybrid between radio and online, producing content for both and uses the idea of local, regional radio and puts it onto the web. “ABC Open was launched in September 2010 and it’s our biggest online project. It comes out of the radio division and people sometimes, quite often actually, would ask me ‘why on earth is this in the radio division, it’s an online project?’” said Ms Dundas. “The reason is that it leverages oﬀ our regional radio stations that have been there for decades, and is very locally based and very locally focused.” ABC Open producers have been educating people how to create their own stories and upload them onto the ABC website, a large number of which have had very little experience with new technologies. “Now we’re kind of putting the tools in their hands, and the great thing about it is they get to tell their stories to a national audience, because all that content goes onto our websites,” explained Ms Dundas. The rise of smartphones and apps has changed the way many people consume media, casual gaming being a large area, and the possibilities for radio are huge. “In my view the advent of the app changes the game again and puts radio back in people’s pockets where it belongs,” said Ms Dundas.

Fraunhofer FIRST and Frontier Silicon Join Forces THE NEXT GENERATION of digital helpers will deliver complete and current information, provide reliable forecasts of traﬃc development and oﬀer additional technologies, such as seamless navigation. This is made possible by the TPEG coding standard (Transport Protocol Experts Group). Fraunhofer FIRST and Frontier Silicon are cooperating on developing components to facilitate the reception of TPEG services via digital broadcasting (DAB+). A showcase application demonstrates the greater functionality that will be available after the impending transition from RDS-TMC via FM radio to the significantly more powerful TPEG via DAB+. Prototype hardware was equipped with a Frontier Silicon DAB+ module capable of streaming broadcast TPEG data using AUTODAB1.0 software. For receiving, decoding and managing TPEG-Data Fraunhofer’s TPEG Client-Kit was implemented. The Kit facilitates management of TPEG messages with little memory requirements and makes them available to subsequent applications.

RADIO

The ability to stream radio onto a portable device has added another way for listeners to gain access to content. Radio is already a medium which lends itself to secondary use during other activities, making mobility a perfect companion. One of the most marked changes in the ABC radio structure has come from digital radio. The addition of new digital channels has allowed ABC to refine their channels into much more focused, niche transmissions. “On digital radio our local services like 702, don’t play sport because we’ve got the grandstand sport station for that on digital,” explained Ms Dundas. “New Radio doesn’t have parliamentary broadcasting on it, it just continues as a new service on digital radio. Classic FM is a complete classical music station and it doesn’t have jazz programmes on it because we’ve got ABC Jazz. So it’s just allowed us to really pull things apart and give much more focused and total services to people.”

All In Media Launches New Company for SE Asia Region ALL IN MEDIA (AIM), the leading supplier of digital radio software and mobile phone apps to the European and Australian radio industries has announced the launch of All In Media Malaysia. The new company will cover the entire Southeast Asia region, where it will supply and support the expanding DAB digital radio market. All In Media Chief Executive, Chris Gould, made the announcement at WorldDMB’s digital radio session at the ABU Digital Broadcasting Symposium. Based in Kuala Lumpur, All In Media Malaysia will provide a regional presence for broadcasters across the Southeast Asia region. It will enable broadcasters to provide new interactive services to listeners and will help stations manage their data services. Managing Director Steve Barnes will run the Malaysian company. Jørn Jensen, President of WorldDMB, said, “Southeast Asia is an important region for DAB, and it’s encouraging to see All In Media bringing their DAB expertise to this market.”

Toyota will be releasing a Land Cruiser V8 with the new multimedia system Touch Pro on board, implementing TPEG in addition to DAB+.

All In Media’s founder and Chief Executive, Chris Gould, said, “With 15 years’ experience developing services for telecoms, digital TV and radio, plus an intimate knowledge of the area, Steve is the ideal man for the job. We are looking forward to expanding All In Media and bringing our DAB systems and smart phone apps to the Southeast Asia region.”

Frontier silicon has also released Venice 8.1, a DAB radio module that can drive a colour LCD or a receiver or dock.

The expansion of All In Media follows new contract wins for the company in Europe and Asia. In Hong Kong, the company’s business continues to grow.

According to the firm, slideshow transmissions can include news, sports reports, weather, traﬃc camera pictures, now-playing screens and station logos. Commercial stations can also use the facility for adverts.

Concurrently, The Government of Hong Kong has granted sound broadcasting licences to Digital Broadcasting Corporation Hong Kong Limited, Metro Broadcast Corporation Limited and Phoenix U Radio Limited for providing digital audio broadcasting service.

In addition to radio and iPhone dock features, Venice 8.1 plays from an external USB mass storage device and supports codecs including MP3, WMA, AAC, HE-AAC, FLAC and WAV.

“Where MP3 ran over the top of music radio, I think smartphones and apps absolutely puts us back there by streaming.”

Visit www.frontier-silicon.com and www.first.fraunhofer.de/en/

Together with Radio Television Hong Kong (RTHK), they will provide a total of 18 channels, some of which have already been soft-launched or formally launched. The service of the commercial operators and RTHK will be rolled out in full in the coming months. Visit www.thisisaim.com

TRANSMISSION Signal distribution, test & measurement

www.content-technology.com/transmission

Kordia Monitors DVB-T2 with VideoBRIDGE network, built by national broadcast transmission company Kordia for the country’s new IGLOO TV pay television platform, will use a VideoBRIDGE end-to-end monitoring and analysis system. The system, a first in New Zealand, includes Bridge Technologies’ VB120 probes, supplied by Magna Systems and Engineering. Magna Systems and Engineering Head of Technology Richard Greed said, “Using the new features of T2, Kordia will be deploying a single physical layer pipe (PLP) and has chosen modulation parameters that will provide

comparable coverage to their existing DVB-T services. The new technology has however raised the data rate achievable in an 8 MHz channel from 26 Mb/s to 38 Mb/s allowing IGLOO TV to operate 12 SD services in a single former analogue TV channel.” VideoBRIDGE features include seamless integration between broadcast and IP standards, support for all major industry standards and formats, including DVB-T2 MI and sophisticated data probes for multiple locations. The VideoBRIDGE components Magna Systems supplied to Kordia includes multiple VB120

AFTRS Chooses Ross NK Router THE AUSTRALIAN FILM, TELEVISION & RADIO SCHOOL (AFTRS) has chosen a Ross NK

to the next generation of film and television enthusiasts.”

96 x 96 Router for their Moore Park facility in Sydney to provide central routing services across all of their studios, suites and teaching rooms.

“We are excited to oﬀer this high quality router at a competitive price point. 3Gb/s capable, scalable up to 144 x 144, and backed by Ross Video’s world renowned support and warranty service, the NK routing system will be a great fit for AFTRS” said Brad Plant, Assistant Marketing Product Manager, Gear and Routers.

Delivering advanced training for the film, television and radio industries for almost 40 years, AFTRS attracts students from all over Australia who are driven to create, experiment and develop their skills in all the specialist areas that make up this dynamic and exciting sector. AFTRS is constantly adapting new technologies and evolving its course oﬀerings. “Being able to support the Australia education market with an Australian made product is something very special to Ross Video Australia,” said Dae Choe, Director of Sales, Asia Pacific, Ross Video. “We are honoured to provide a solution

“Our investment in the Ross NK Series was a logical choice as it was a natural upgrade path from our existing routing system,” said Mr Tim Sadler, Director – Technology and Infrastructure. “Another deciding factor for AFTRS was the aﬀordability of the NK Router, and the easy and on-time installation. I look forward to continuing our relationship with Ross Video in the future.” Visit www.rossvideo.com

Newtec Demonstrates 372 Mbps Throughput

probes with ASI, IP inputs and VB252 probes with COFDM interfaces and will provide comprehensive monitoring capability of their service. Kordia Broadcast Network Architect Adam Tommy said, “We chose the VideoBRIDGE probes because they are extremely powerful and as we are moving into a completely new and complex technology, we realised the need to provide comprehensive monitoring throughout our private IP network to the final output of the transmitters.” Visit www.magnasys.tv

Brightstar Selected by IGLOO Brightstar Corp. has been appointed as the exclusive supply chain provider for IGLOO, New Zealand’s new pre-pay and on-demand TV provider. Brightstar NZ will provide a complete end-to-end supply chain solution for IGLOO’s TV Set Top Boxes. “When we started looking for a company to support the delivery of our services, the response from Brightstar was exceptional,” said Chaz Savage, GM of IGLOO NZ. “Brightstar’s comprehensive set of supply chain services and solutions enables us to anticipate and deliver on all of IGLOO’s requirements as they enter the NZ market,” said Jamie Cormack, General Manager, Brightstar NZ. Visit www.brightstarcorp.com and www.igloo.co.nz

Broadcast Australia Signs Deal with Vodafone

SATELLITE COMMUNICATIONS specialist Newtec has demonstrated 372 Mbps bidirectional throughput and 313 Mbps unidirectional throughput over a 72 Mhz Intelsat Ku-transponder.

ficiency enables considerable operational savings. The higher speed levels will help our customers to increase the total amount of services provided within the available satellite bandwidth.”

During testing an Intelsat 72 MHz Ku band transponder was saturated using Newtec’s latest modem technology and a 4.5 metre antenna. The result using Wideband, Clean Channel Technology (CCT) and Equalink was 313 Mbps.

The technologies used in the test and the other upcoming technologies will be made available to major operators and service providers for testing prior to their commercial release.

BROADCAST AUSTRALIA has signed a deal with Vodafone Hutchison Australia (VHA) for a network rollout which will extend VHA’s capacity and coverage. The deal will cover all Broadcast Australia sites across Australia with a discount for volume.

“It’s Newtec’s intent to productise the most eﬃcient modulation and demodulation algorithms and to help standardisation bodies with defining and bringing new standards to the market.” said Dirk Breynaert, Newtec’s CTO. “We are strong believers in a non-proprietary technology approach, sharing our innovations to the benefit of the whole satellite industry.”

Brett Savill, Broadcast Australia’s Strategy and Corporate Development Director said, “Broadcast Australia’s high quality site portfolio brings huge benefits to VHA as they expand their network coverage and capacity. We are therefore delighted to be able to help them accelerate their roll out to Australian communities in a speedy and cost eﬀective manner.”

Visit www.newtec.eu

Visit www.broadcastaustralia.com.au

When adding a return carrier within the same transponder and Newtec’s 2nd generation Bandwidth Canceller (ZN781), 372 Mbps was reached, far exceeding current market available alternatives within the same link conditions. Newtec CEO, Serge Van Herck, said, “Our customers will be able to achieve a new level of speed and eﬃciency. This extra satellite transmission ef-

TRANSMISSION

NEW ZEALAND’S FIRST DVB-T2 transmission

TRANSMISSION

Unblocking the High-Definition Bottleneck By Anthony McLachlan, VP Asia Pacific, Ciena. Ask yourself: when was the last time you watched a high-definition (HD) film or event on Australian television? With the London Olympic Games around the corner, HD broadcasting is once again on the agenda, and you can be sure retailers will yet again be singing the praises of their HDcapable TV sets and set-top boxes. BUT HOW MUCH HD content can we really expect to see, and why has the quantity (and quality) of HD content seen a sharp decline in recent months and years? The key challenge for broadcasters in Australia is that quite often they have to rely on feeds from Europe or North America for their HD content. Due to the high bandwidth cost of these feeds, heavy compression is used to minimise the amount bandwidth required. When the HD feed reaches Australia, the signal is already degraded so when the content is locally produced from those degraded feeds, the end product doesn’t look as sharp as what customers would expect from a premium service. In digital cinema, the need to preserve the original signal quality is often addressed through the use of tapes and disks to exchange information back and forth between various post-production locations. While eﬃcient in maintaining signal quality, it is a rather tedious, costly and time-consuming process – and impractical for broadcast purposes.

DOING THE MATH The math required to calculate the digital bandwidth requirements for uncompressed video is relatively simple, and all you need are three parameters: colour depth, video resolution and frame rate. Colour depth, also referred to as bits-per-pixel or bpp, defines how many colours can be represented by each pixel in the video. For example, a color depth of 1-bit is monochrome, either black or white, while 8-bits can generate 256 colors. Most professional broadcast cameras have a color depth of 24–bits or more per pixel, which is considered ‘true colour’ with over 16 million color variations. Video resolution is measured by the number of pixels wide by the number of pixels high of a video stream. HD video is generally defined as having a resolution of at least 1280x720. But there are a wide variety of available video resolution formats. 1920x1080 is another common HD resolution. Frame rate is the number of still images or frames per second (fps) sent as part of the video stream. Broadcast HD is transmitted at a rate of 50 fps in Australia. However, you also need to account for possible interlacing of the video, which is a way of sending only half of the video frame at a time, either the odd rows or the even rows of the image. This eﬀectively reduces the number of ‘full’ frames sent per second by half, and likewise cuts the bandwidth requirement in half.

TRANSMISSION

Assuming you know the three above parameters, you can easily calculate the total bandwidth requirements for uncompressed HD video. For example, a 1280x720 stream sent in Australia (50 fps) with 24-bit colour depth requires 990 Mbps of bandwidth (and this represents the low end of bandwidth requirements for uncompressed HD video).

These are huge amounts of bandwidth. That’s why many times even uncompressed broadcast HD video is interlaced (for example 1080i which would cut the total bandwidth requirement in half) or uses chroma subsampling (which would cut the total bandwidth requirement by one third). Combine these high bandwidth requirements with the obvious need for a very reliable network that can transport the video stream across sometimes very long distances, and you quickly start thinking about the need for optical transport.

GETTING (DOWN) UNDER With new standards (such as 4K) promising to quadruple the resolution of modern TV screens (and bandwidth requirements), the search is on for technology that can deliver the goods today, and keep delivering for years to come. Fortunately there is a technology alternative available today that doesn’t require any new investment or re-tooling: optical transport. Australia already receives the bulk of its internet traﬃc via super high-speed optical submarine cables. The same technology has the capacity (and economies of scale) to contribute HD feeds at a lower cost, oﬀering a viable alternative to the expense of satellite transmissions for HD broadcasts and markedly improving the chances for true HD broadcasts to Australian viewers. In broadcast applications, once the video stream has arrived in Australia, it can then be transported across high-speed terrestrial optical or Ethernet networks from venue to studio, studio/live broadcast centre to studio/live broadcast centre, or studio/live broadcast centre to a video head-end or satellite distribution point. Optical transport technology has several advantages for HD broadcasting:

FLEXIBILITY All the established video interfaces used in contribution networks are supported, allowing content producers to reduce inventory and maintenance costs. Optical and electrical video service interfaces are also supported.

ARCHITECTURE SIMPLIFICATION AND ENHANCED RESILIENCY Video traﬃc can be broadcast from each venue to multiple studios for enhanced resiliency or multi-site production.

HIGH-PERFORMANCE The solution delivers video transport with high-performance, oﬀering a scalable, resilient and fully transparent video transport solution seamlessly integrated into the highly reliable optical platforms. There’s no question that next generation optical transport technology is helping broadcasters and content producers overcome uncompressed video distribution challenges. Broadcasters can improve service quality, reliability, and cost by replacing satellite links with dark fibre or managed wavelengths. Producers can eliminate antiquated distribution methods and use optical networks to deliver original-quality content eﬃciently to dispersed post-production teams. Time will tell if broadcasters respond to the challenge of delivering quality HD content in time for major events like the Olympic Games, but it’s a good bet that in years to come, more - and better - HD content will make its way to Australian screens. Visit www.ciena.com

TRANSMISSION

Portable RF Link IMT WILL FEATURE its RF Central microLite HD Elite system at the 2012 NAB Show, Booth C6432. The RF Central microLite HD Elite system is a complete video RF link in a portable package. Featuring IMT’s award-winning microLite HD Transmitter and microLite HD Receiver, this complete setup includes hand-selected antennas that are optimized for high gain, durability and low weight. The microLite HD ultra-compact MPEG-4 COFDM digital transmitter can deliver up to 200mW from a package of less than six cubic inches and features superb H.264 HD and SD encoding capabilities while operating in the standard 2k DVB-T COFDM mode. Visit www.imt-broadcast.com

Cobalt Digital Goes Retro COBALT DIGITAL is returning to its roots with the addition of a modular signal conversion line. The series – named Blue Box Group – will debut at NAB 2012 on Cobalt’s booth N1929 in the North Hall. Cobalt Digital returns to its origins of throw-down modular bricks with the introduction of the Blue Box Group to answer the demand for first class quality, price competitive, signal conversion equipment.

E 5 – Efficiency redefined ! ¸Tx 9, the new transmitter generation from Rohde & Schwarz. Presenting the first transmitter generation that ideally combines various aspects of efficiency to “give you five”: Efficiency to the Power of Five! A perfect combination: Ɗ *KIJGUV GPGTI[ GHHKEKGPE[ EQUV UCXKPIU QXGT VJG U[UVGO NKHGVKOG Ɗ 5RCEG GHHKEKGPE[ UOYCNNGT HQQVRTKPV [GV OQTG RQYGT Ɗ 1RGTCVKQPCN GHHKEKGPE[ HCUVGT QRGTCVKQP CPF OQTG HWPEVKQPCNKV[ Ɗ 5GTXKEG GHHKEKGPE[ EWUVQOK\GF U[UVGO UQNWVKQPU HTQO C TGNKCDNG partner Ɗ +PXGUVOGPV GHHKEKGPE[ OQFWNCT U[UVGO EQPEGRV VJCV OGGVU future needs True efficiency in broadcasting. www.rohde-schwarz.com.au

Initial product oﬀerings include HDMI to SDI and SDI to HDMI converters, and Analogue to Digital, Digital to Analogue converter boxes with audio embedding and de-embedding. These are the initial oﬀerings of an extensive product line that will provide high quality, price sensitive solutions as requested by Cobalt Digital customers. Visit www.cobaltdigital.com

Wohler Technologies Monitors NAB THE NEW DVM-2443 MPEG video monitor from Wohler is a costeffective four-screen monitoring system that offers broadcasters advanced test and measurement features in a stand-alone 2-RU configuration. The DVM-2443 MPEG video monitor incorporates four 4.3-inch 16:9 ratio LED backlit displays for flexible and convenient at-a-glance monitoring of program content from MPEG-2/4 ASI streams, as well as PID table metadata, waveform, and vectorscope overlays, and audio-level meters. Wohler will debut a new dual input SDI audio monitor that offers high-performance monitoring of embedded audio in 3G/HD or SD-SDI streams at an attractive price point. The 1RU unit de-embeds and provides metering and monitoring of any or all of the 16 audio channels in the selected 3G/HD or SD-SDI stream. It offers intuitive operation and clear display of levels and other critical information using bright 2.4-inch LED-backlit LCD displays. Also on display at the 2012 NAB Show will be the new RMQ-230 quad split video monitor, which allows users to watch video and monitoring data in up to four display windows on a single 23-inch 1920×1080 LED backlight screen. RMQ-230 series monitors accept 3G/HD/SD-SDI, analogue composite, and HDMI inputs in varying configurations tailored for different monitoring applications. Wohler will introduce two versions of its popular HDCC Series captioning/ subtitling cards for use with the openGear 2RU modular frame and associated Dashboard control software. The first is a full-featured model that provides all the capabilities of the current HDCC Series dual-channel captioning/subtitling card within the openGear form factor. The second HDCC version is a cost-effective single-channel encoding solution designed to complement the new Ross Nielsen Watermarks Encoder (NWE-3G). Visit www.wohler.com

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TRANSMISSION

Snell to Display TV Everywhere SNELL’S TV EVERYWHERE solutions, ICE and Morpheus, will be on display at the 2012 NAB Show, Booth N1820. As will the new, compact Kahuna 360 production switcher, the 15RU Sirius 830 and Vega routers, Signal Sentri protection technology, KudosPro signal processor, and Alchemist Ph.C-HD motion-compensated standards converter. New features to ICE v3.0 further extend Snell’s channel-in-a-box cost benefits. Snell’s ICE now includes powerful integrated 3D graphics and CG functionality with timeline control and the ability to populate fields from Morpheus automation schedule events, as well as external data sources. Of the refinements made to Morpheus automation in version 3, Snell will demonstrate new secondscreen capabilities, such as enhanced e-commerce functionality with comprehensive user transaction and purchase models. The new, lower-cost Kahuna 360 Compact advanced production switcher oﬀers the functionality of the popular full-size Kahuna 360, including 7 keyers per M/E, resource sharing with Make M/E technology, and FormatFusion3 allowing any format in and any format out.

Bridge to Debut DVB-T2 Monitoring THE 2012 NAB SHOW marks the U.S. debut of the world’s first complete monitoring solution for DVB-T2 with Bridge Technologies range of VideoBRIDGE probes. Bridge will display the VideoBRIDGE VB330, the first product to be based on Bridge Technologies’ entirely new 10GB architecture. With three blades fitting in a single 1-RU chassis and each VB330 probe having two 10GB interfaces, the system can deliver a massive 60GB monitoring capability. Designed for real-world use by engineers on the road, the VB12-RF packs every required broadcast and IP interface into a ruggedized chassis with a form factor smaller than a laptop computer.

TRANSMISSION

The new VB252 is the monitoring probe for DVB-T2 networks, and part of the industry’s first complete monitoring solution for DVB-T2, including the T2-MI protocol.

The new VideoBRIDGE 4.9 software release adds new enhancements and upgrades for the complete VideoBRIDGE range of products. At the show, highlights and previews of upcoming versions of the system will be demonstrated. Visit www.bridgetech.tv

The new 15RU Sirius 830 will be on display featuring high-performance modules for flexible routing. New embedded audio and AES/MADI processing modules with AHP provide embedded audio routing, audio track swapping, and processing on all inputs and outputs. Snell’s award-winning Vega is a new routing platform that allows users to configure any signal port independently for fibre or coax. Its unique design also enables any port to be configured as either an input or output, available in 2RU with

96 ports or 4RU with 192 ports. Snell will be demonstrating Signal Sentri, a new technology that addresses the need to protect revenues by maintaining unimpaired signal transmission despite any technical diﬃculties or maintenance requirements within the onair chain. Targeted at the automated playout environment, Signal Sentri watches over the main and back-up signal paths, using Snell’s Hyperion content monitoring system. Visit www.snellgroup.com

LiveU to Demonstrate Portable Enhancements at NAB LIVEU, WILL BE presenting the latest enhancements to its premium, professional-grade LU60 solution for global broadcasters and its handheld, lightweight LU40i solution . LiveU will demonstrate its new multi-core, distributed processing technology for superior video quality and improved wireless bandwidth utilisation, and a range of features and capabilities, including extra-strong resiliency for extreme conditions.

LiveU will demonstrate its ground-breaking high-quality solution, weighing less than 1.5 pounds (700 grams), with SDI, analogue and LiveU LU40i with GUI HDMI outputs. With up to six network connections, the bonded LU40i oﬀers 4G LTE/3G, WiMAX, Wi-Fi and LAN video transmission. Visit www.liveu.tv

TVN’s New Range

Triveni Keeps CALM

FOR THE 2012 NAB Show, Thomson Video

AT NAB 2012, Triveni Digital will introduce the new StreamScope MT-40 4.7 with mobile DTV analysis capabilities.

Networks is introducing the ViBE CP6000, the ViBE EM4000, and a new IP-enabled version of the Amethyst switcher. The ViBE CP6000 is a dedicated multiformat, high-performance platform for contribution of live video. It also has an unprecedented eight HD channels per 1RU chassis, and industry-leading compression performance. Incorporating Mustang 2.0 within a multichannel frame, the ViBE EM4000’s integrated architecture and multichannel HD capabilities delivers valuable energy savings and reduces the complexity of headend infrastructure.

Given the legislation in the US (CALM) and in Europe (EBU, AGCOM), loudness monitoring remains an important regulatory topic among broadcasters. To address this, Triveni Digital’s StreamScope MT-40 software release enhances the MT-40’s comprehensive real-time analysis and verification of DTV transport streams with loudness monitoring. StreamScope MT-40 provides end-to-end MPEG-2/MPEG-4 transport stream analysis and monitoring for DTV.

The new-generation Amethyst III Switcher provides fast switching between multiple 1+1 MPEG transport streams transported over IP networks.

Triveni Digital will also introduce ISDB-T table support, the Brazilian standard used widely in South America.

Visit www.thomson-networks.com

Visit www.trivenidigital.com

TRANSMISSION

DVB-T2 – The New Story

a constellation of 256 QAM that increases the capacity of the spectrum by about 30%. The rotative constellation feature can provide a gain of 5 to 7dB enabling higher code rate and data rates to be used.

The new DVB-T2 standard is on the way for democratizing the bestin-class TV content with the highest video quality, the High Definition (HD) Television. The standard includes the most sophisticated techniques for providing a very high eﬃciency of the channel transmission.

The Forward Error Correction (FEC) scheme used on the physical transmission layer relies on the LDPC and BCH algorithm to support a higher robustness during bad conditions reception. In addition, the DVB-T2 standard benefits from several interleavers at the bit, cell, time and frequency level to increase and to insure a better robustness against impulse noise.

THE PHYSICAL LAYER PIPES (PLP) technology enables tremendous business cases allowing the delivery of HD or SD TV services with radio services for fixed or mobile devices. Based on the PLP mechanism, Time Frequency Slicing (TFS) can spread services over diﬀerent frequencies to reach a maximum throughput of about 300Mb/s. The combination of TFS and statistical multiplexing can form a hyper statistical multiplexing to maximise the spectrum usage. However, all those innovations have some impacts on the infrastructure and require the identification and definition of new measurement levels, units and thresholds to roll-out DVB-T2 services with the best Quality of Service.

Introduction The second generation terrestrial network (DVB-T2) specifications work has started since 2006. After only two years, the DVB-T2 specification was approved by the DVB steering board. In 2009, several plug-fests were organised to check and to validate the different techniques of the specification. As for DVB-T, UK is already the first country to deploy a broadcasting network based on the DVB-T2 technology and shall offer 6 HD TV channels across the whole country in coming weeks. Other trials all over Europe are assessing the technology or preparing to roll-out new DVB-T2 multiplex. The Analog Switch-Off (ASO) is planned for 2012 in most European countries. It will be the perfect time frame to switch-over DVB-T2 services with the released frequencies. The DVB-T2 standard includes state-of-the art technology to efficiently use as much as possible of the terrestrial spectrum while relying on a better algorithm. The different transmission parameters, the possibility to transmit services over different robustness, and the different interleaving possibilities, enables a great deal of flexibility to operators so that it also offers a wide variety of new business models. Operators can transmit HD services with high robustness and SD services with low robustness at the same time. A single multiplex can address fixed TV antenna but also nomadic and mobile devices. The TFS technology is an amazing tool to transmit a wide multiplex of HD content spread over 6 RF channels. It can provide a multiplex of 300Mb/s with the latest technology. Combined with a smart statistical multiplexing, it can offer the highest TV experience on terrestrial network. Though the DVB-T2 standard has unveiled the best broadcasting techniques, deploying a DVB-T2 compliant network requires to adapt some equipments or to add new ones.

Furthermore, exploiting live broadcasting requires the necessary tools to monitor 24/7 the signal over the air but also to analyse the new T2-Modulator Interface between the head-end and the modulators. With all the innovation and enhancements defined with the DVB-T2 standard, the test and monitoring chain remains to be defined at the diﬀerent levels, physical layer, service layer and protocol layer. This paper intends to present an overview of the DVB-T2 standard to get the reader familiar with the novelty of the standard. The TFS technology is introduced to demonstrate that DVB-T2 can reach an hyper statistical multiplexing of about 300 Mb/s. Based on the flexibility of the standard and the TFS feature, the paper describes a non exhaustive list of business models that can be addressed when broadcasting DVB-T2 based services. Finally, it presents how to migrate from a DVB-T network to a DVB-T2 network and what the elements that have to be monitored and analysed are.

DVB-T2 Overview The European-based DVB consortium elaborated the DVB-T2 specification as an extension of the existing standard DVB-T, in order to allow a better use of the spectral resources by integrating the latest signal processing technologies. DVB-T2 multiplexes can reach an overall throughput of 50Mb/s compared to the 32 Mb/s in DVB-T. Like DVB-T, DVB-T2 relies on the OFDM (orthogonal frequency division multiplex) modulation to transmit the signal but supports a wider range of transmission parameters. It enables higher FFT size (16K and 32K) that can be extended to deliver more data. It defines new Guard Interval Fractions (GIF) to maximise the bandwidth utilisation and to provide a better robustness against impulse noise. New pilot patterns have been also specified to provide more flexibility in order to reduce the pilot overhead. Whereas DVB-T is limited to a constellation of 64 QAM, DVB-T2 can support

DVB-T2 standard also takes care of transmitter equipments. In 32k particularly, high power peaks are generated and thus minimise the amplifier eﬃciency (or can even damage it). A special feature called PAPR (Peak Average Power Ratio) reduction has been included in the standard specifications to limit these peaks power without losing information.

T2 SIGNAL STRUCTURE The DVB-T2 standard defines a new framing structure for the DVB-T2 signal. The physical frame structure is composed of super frames, T2 frames, FEF and symbols. Super-frames can contain up to 255 T2 Frames (2 are recommended). Future Extension Frames shall carry frames defined in the future DVB standard, possibly NGH. The maximum duration length of a T2 frame is 250 ms so that the system is set up to be as close as possible to this maximum value to have the better performance. A T2 frame is divided into three parts: one P1 preamble that is a robust symbol to identify a DVB-T2 signal, one P2 preamble that carries the signalling describing the content and the structure of the T2 frame and data symbols that carries the DVB-T2 services within OFDM symbols. The logical framing structure includes BB-Frames, Interleaving frames and TI-blocks. Within a DVB-T2 system, BB-frames are the basic unit in the logical framing structure of DVB-T2: allocation and scheduling are performed in whole number of BB-Frames. One FEC-Frame carries exactly one BB-Frame adding BCH and LDPC FEC information.

PHYSICAL LAYER PIPES The PLP concept is inherited from the DVB-S2 standard. It allows service-specific robustness. Every PLP can have its own modulation, FEC code rate and interleaving. All PLP are broadcast over the same frequency so that it is considered as a single DVB-T2 multiplex. A DVB-T2 multiplex can carry a single PLP, defined as input mode A,

TRANSMISSION

Laurent ROUL ENENSYS Technologies, France

TRANSMISSION or multiple PLP, defined as input mode B. A T2 system can broadcast a maximum of 255 PLP per multiplex. There are 3 types of PLP: common PLP of type 0 that carries information extracted from the other data PLP such as program guide, or other common information. Data PLP of type 1 and type 2 carries the actual data. The data PLP of type 1 can be used for services that require a good power saving. The data PLP of type 2 are carried in multiple sub-slices per T2 frame to provide better robustness. In multiple PLP mode, the demodulator shall receive the common PLP and one data PLP to be able to build the MPEG-2 Transport Stream as it is received at the input of the PLP.

BUSINESS MODELS The PLP concept allows a wide range of business models. Operators can easily differentiate services on a PLP basis with an offering that varies according to the robustness level: + HD/SD services: One PLP can carry HD services with high robustness, while another PLP could carry SD services with low robustness. + Fixed/Mobile services: One PLP can be dedicated to carry services for fixed devices while another PLP can be dedicated for delivering video services for mobile handsets. + TV/Radio services: TV services can be broadcast over a specific PLP with a normal robustness, while radio services are delivered on different PLP on a higher robustness to support indoor reception. + Video/Data services: TV services can be carried in a dedicated PLP, while a second PLP can carry data services such as interactive services, push information, etc. + SVC based services: The Scalable Video Coding service is the on-going video compression standard that encodes the content once and deliver it at different rate with different video quality. Within a DVB-T2 system, the base layer shall get more robustness than the other layers to guarantee the reception of the video service by all the devices. + Emergency services: Operators can also dedicate one PLP for broadcasting specific alert messaging in case of emergencies such as earth quake, bad conditions weather, etc. Such PLP will get the highest robustness to guarantee the maximum reception by everybody.

TRANSMISSION

Hyper Statistical Multiplexing Through TFS Technology

The DVB-T2 standard has defined another feature to gain in terms of robustness by adding frequency interleaving in addition to the timing and data interleavers. The Time Frequency Slicing (TFS) feature spreads the transmission of DVB-T2 services over diﬀerent RF channels. The diversity on the transmission channel introduced throughout this technology improves reception of the signal. Operators can also take benefits of the overall bandwidth that can be used when

broadcasting with TFS. TFS is designed to spread services over 6 RF channels maximum. This allows the broadcast of a huge multiplex of about 300 Mb/s. Combining TFS and all the other DVBT2 advantages with statistical multiplexing can lead to the most eﬃcient spectrum utilisation of the DTTV market.

STATISTICAL MULTIPLEXING Statistical multiplexing is the possibility to distribute video services at diﬀerent bit rates within a channel with a fixed bandwidth to provide the highest quality of service. Video service bit rate can vary according to the complexity of the video. The more complex the picture is to encode, the higher bit rate it requires. The statistical multiplexer assigns the bandwidth of each stream according to the fixed overall bandwidth, the bandwidth required by each encoder based on the video complexity, and priority streams. In addition to broadcasting better quality services, statistical multiplexing is designed to optimise the multiplex bandwidth and allow the inclusion of additional services in the multiplex.

TFS DESCRIPTION The Time Frequency Slicing mechanism exploits the multiple PLP feature and the data PLP of type 2 in particular to provide time and frequency interleaving. Sub-slices of a PLP are broadcast over diﬀerent RF channels for a T2 frame. The beginning of a T2 Frame shall be synchronised between all the RF channels that are part of the TFS system: the P1 symbol occurs at exactly the same time on all RF channels to enable the synchronisation of the receiver on the frequencies and ease channel hopping. Data PLP of type 1 are broadcast on one RF channel on a T2-frame basis. It can be broadcast over a diﬀerent channel but only each T2 Frame. As for the data PLP of type 2, sub-slices of a PLP are spread over all the RF channels for the same T2 frame. The TFS method can be optimised when

associating one video service per data PLP of type 2. Each service is then distributed over the diﬀerent frequencies to improve the robustness and to maximise the spectrum eﬃciency.

HYPER STATISTICAL MULTIPLEXING Statistical multiplexing maximizes the bandwidth of the spectrum while oﬀering high quality of service for VBR services. When broadcasting HDTV over DVB-T network, the multiplex is generally composed of 3 to 4 HDTV services. Second generation terrestrial network extends the capacity of the DVB-T spectrum to reach 50 Mb/s. Operators can then use a DVB-T2 network to transmit 5 to 6 HDTV services in a statmux environment. Combining DVB-T2 TFS technology with statmux leads to the most eﬃcient usage of the terrestrial spectrum to reach a hyper statistical multiplexing. By using 6 RF channels, the TFS services can spread the HDTV services over an overall bandwidth of around 300Mb/s. If the TFS services are statistically multiplexed it leads to a hyper statistical multiplexing that maximise the spectrum usage.

Migrating To DVB-T2 Network The DVB-T2 commercial requirements enforced the re-use of domestic receive antenna installations as well as existing transmitter infrastructure. The resulting standard fulfils this requirement but mandates the update of equipment (modulators, de-modulators) or the insertion of new ones (T2 Gateway). Rolling-out DVB-T2 services also has an impact on the test and monitoring chain since new modulation parameters, protocols and services have been defined in the DVB-T2 standard.

FROM DVB-T TO DVB-T2 Migrating to a DVB-T2 architecture implies the insertion of the T2 Gateway at the head-end, the update of DVB-T modulators to DVB-T2 modulators, as well as the replacement of STB or

TRANSMISSION + DVB-T2 RF analyser to monitor and analyse the broadcast signal + DVB-T2 monitoring probe to monitor the DVB-T2 network 24/7

Conclusions The second generation terrestrial network DVB-T2 extends DVB-T to add more robustness, flexibility and eﬃciency.

The T2 Gateway aims at encapsulating the incoming MPEG-2 TS into baseband frames, inserting synchronisation information for SFN broadcasting, controlling modulator configuration, scheduling the multiple PLP broadcasting as well as the TFS allocation. The T2 Modulators receive configuration from the T2 Gateway, performs the channel encoding by adding the forward error correction information, builds the T2 frames, and modulates the signal prior to transmitting over the air. The DVB-T2 standard has defined a new protocol interface, T2-MI (T2-Modulator Interface), to communicate between the T2 Gateway and the Modulators. The T2-MI packets carry the data encapsulated into BB-Frames, provide synchronisation information when broadcasting over SFN, and include all the signalling information for the transmission. All the PLP, TFS, SFN featuring are scheduled from the T2 Gateway and described within specific T2-MI packets.

scheme (LDPC, BCH), new GI fractions, higher constellation support (256 QAM) and new rotated constellation, additional bandwidth support (1,7 MHz, 10 MHz), new interleaving schemes (time, bit, cell, frequency), and new Physical Layer Pipes to provides service-specific robustness. At the transport level, the specification introduces a new encapsulation mode (BaseBand Frames), a new protocol for interfacing modulators (T2-MI), and new SFN signalling All those innovations have to be monitored and analysed to guarantee any DVB-T2 broadcasting. The DVB-T2 enhancements require the definition of new monitoring levels: + T2 Frame level: analysing baseband framing + T2 PLP level: checking PLP structure and signalling + T2 Transport level: validating T2-MI packets structure

The DVB-T2 standard brought a great deal of enhancements and innovations to maximise the spectrum eﬃciency and to increase the robustness.

DVB-T standard relies on the famous ETR290 to validate RF signals, MPEG-2 streams as well as SFN broadcasting. The DVB TM working group has recently been re-opened to deal with the new measurements attributes for DVB-T2 broadcasting. This should lead to new test and monitoring tools to integrate all along the DVB-T2 chain :

At the RF level, it includes new carrier mode 16K, 32K with extended mode, new FEC

+ T2-MI analyser between the T2 Gateway and the modulator

TEST AND MONITORING CHALLENGES

T-VIPS DVB-T2 Monitor T-VIPS WILL BE demonstrating best-inclass solutions in live contribution, HD DTV broadcasting, managed video services and reliable IP video transport at NAB 2012 (stand SU7907). T-VIPS will launch its new TNS547 DTT Monitor for DVB-T and DVB-T2 networks, expanding their nSure product line oﬀering true end-to-end monitoring and increase QoS for terrestrial operators. Other product launches include the US debut of the TNS544 TSoIP Switch, designed to ensure the reliability of high-quality video transport by providing intelligent redundancy switch-over between MPEG Transport Streams delivered over IP networks. NAB will also see the US market launch of the TVG650, an MPEG4 Contribution Encoder and the TVG610, an MPEG-4 Contribution Decoder, high-end, flexible solutions which handle the encoding and decoding of MPEG- 4, 4:2:2, and 10-bit video. Visit www.trivenidigital.com

Grass Valley Upgrades AT NAB 2012, Grass Valley is adding to the flexibility of its 3G Camera Transmission system with the LDK 4427 3G Fibre Camera to 3G Triax Converter, allowing users producing programs in resolutions up to 1080p50/60 to send their signals across any type of cable infrastructure. The LDK 4427 performs a 1-to-1 conversion of a 3G fibre camera signal to a 3G triax signal. Grass Valley has also added additional functionality to its Trinix NXT Multiviewer for SD, HD, and 3G. This powerful multiviewer can be added as an option to all Trinix frames worldwide and any Trinix frame ever sold. Expanding the Trinix product line, Grass Valley oﬀers a series of asymmetric router frames, in matrix sizes of 128×256, 256×512, and 512×1024, all of which support the Trinix NXT Multiviewer. Visit www.grassvalley.com

It introduces a new technology called TFS, Time Frequency Slicing, that allows the broadcasting of services over multiple RF channels. The immediate advantage of TFS is the better robustness it brings through the diversity property of the feature. Another advantage of the TFS is that it can oﬀer a hyper statistical multiplexing of 300Mb/s that can lead to an eﬃcient bandwidth utilisation with the highest video quality. Yet, the DVB-T2 innovation requires the adaptation of test and monitoring tools to roll-out any DVB-T2 broadcast network. It impacts all the DVB-T2 broadcasting chain, at the head-end, the network distribution, the transmission and the on-site reception. New measurements, attributes, and monitoring levels have to added within the measurement guidelines of DVB systems.

REFERENCES [1]

ETSI EN 302 755 V1.1.1 “Frame structure channel coding and modulation for a second generation digital terrestrial television broadcasting system (DVB-T2)”

[2]

DVB BlueBook A136 “Modulator Interface (T2MI) for a second generation digital terrestrial television broadcasting system (DVB-T2)”

[3]

TR 101 891 “Digital Video Broadcasting (DVB); Professional Interfaces: Guidelines for the implementation and usage of the DVB Asynchronous Serial Interface (ASI)”

Crystal Vision Gets Multi-Functional CRYSTAL VISION will be showing its latest multi-functional interface products on Booth N1815 at NAB 2012, with six modules on display. TANDEM 310 is a combined embedder and de-embedder for 3Gb/s, HD and SD sources for a mixture of up to eight AES and analogue audio channels at once. The FTX-L 3G is a dual channel fibre optic transmitter, designed to transmit 3Gb/s, HD or SD signals over large distances. The first new video synchroniser is SYN 3G, a video frame synchroniser, which works with 3Gb/s, HD and SD sources. The second is SYN-A 3G, featuring a tracking audio delay with additional AES and Dolby E delays. The Up-Down-AS 3G allows engineers to synchronise sources timed to a diﬀerent reference while converting. AVDELAY 3G is an a/v delay designed for correcting large lip-sync errors on incoming 3Gb/s, HD or SD signals. Visit www.crystalvision.tv

TRANSMISSION

iTV with the new DVB-T2 front-ends.

CONFERENCES, EXHIBITIONS + ROADSHOWS www.content-technology.com/events

SMPTE Technology Forum on Emerging Media Technologies The Society of Motion Picture & Television Engineers (SMPTE) has announced that Leszek Izdebski, the Managing Director of the media and entertainment practice within Cisco’s Internet Business Solutions Group (IBSG), will join a panel of industry leaders to discuss the 10 to 15 year trajectories of acquisition, local post-production, and infrastructure technologies at the SMPTE Forum on Emerging Media Technologies. THE FORUM is an executive-level symposium to be held by the Society from 13-15 May in Geneva and produced in collaboration with the European Broadcasting Union (EBU). Izdebski will be part of The Forum panel “More Than Clouds On The Horizon,” which will examine content production and delivery trends against the backdrop of pervasive and rapidly evolving media and entertainment industry drivers, including IT-based production and cloud deployments.

Izdebski is responsible for identifying evolving trends in the media industry and assisting Cisco clients in that area to improve their business performance. A 20-year consulting veteran, his work spans IPTV, interactive TV, broadband music and gaming, and mobile gaming and media services. Grass Valley CEO Alain Andreoli will also join the “More Than Clouds On The Horizon,” panel. Tom Morrod, the head of TV technology at the global research firm IHS Screen Digest, will moderate The Forum panel “Show Me Where The Money Is.” The panel will discuss the collaboration and/ or consolidation that will be required in next 10 to 15 years; how organizations can keep costs down while maintaining value across their operations; and the financial impact of other issues, such as green initiatives, ongoing regulatory and legislative activities, and the transition to the cloud. A media-focused research, publishing, and consulting company, the work of Screen Digest spans the entire traditional and emerging media content and distribution technology value chains for music, movies, TV, games, and digital media. Martin Guillaume, the IBM Global Business Services leader for media in the UK and Ireland, and, will join Morrod and share his insights on

the panel. John CS Yip, the chief engineer for the public broadcaster Radio Television Hong Kong (RTHK), will also join the panel. RTHK operates multiple radio channels and produces educational, entertainment, and public aﬀairs programs that are broadcast through local television stations in Hong Kong. Other executive presenters at The SMPTE Forum include those from ABC Australia, ATSC, BSkyB, EBU, Ericsson, the Fraunhofer Institute IIS, IBM, Intel, NHK, Radio Bremen, Radio Television Hong Kong, Screen Digest, Sony, Sports Video Group, Warner Bros., and zeebox. The SMPTE Forum on Emerging Media technologies is the only symposium to bring together leading motion-imaging technologists, researchers, scientists, practitioners, manufacturers, and strategic thinkers. Over the course of two days, it will provide a science-based, non-commercial opportunity for executives and other senior leaders from the broadcast, broadband, and cinema industries to discuss the most important and innovative research taking place over the next 10-15 years, with a particular focus on technologies likely to come to market within the next three years. All in an environment designed for easy networking. Visit www.smpteforum.org

what’s on APRIL

MAY

JUNE

SMPTE 2012 TECHNOLOGY SUMMIT ON CINEMA

ICAA CONFERENCE

COMMUNICASIA2012/ENTERPRISEIT2012

May 1-3, 2012 Dendy Opera Quays Sydney www.independentcinemas.com.au

June 19-22, 2012 Marina Bay Sands Singapore www.communicasia.com

FMX 2012

BROADCASTASIA2012

May 8-11, 2012 Stuttgart, Germany www.fmx.de

June 19-22, 2012 Suntec Singapore www.broadcast-asia.com

CONFERENCES, EXHIBITIONS + ROADSHOWS

April 14-15, 2012 Las Vegas Convention Center www.nabshow.com/2012/education/ conferences/technology-summit-cinema.asp

2012 NAB SHOW April 16-19, 2012 Las Vegas Convention Center www.nabshow.com

CINEMACON April 23-26, 2012 Caesars Palace Las Vegas, NV www.cinemacon.com

CEDIA ASIA PACIFIC EXPO 2012 May 9-11, 2012 Brisbane Convention & Exhibition Centre Queensland, Australia www.cediaexpo.com.au

SMPTE FORUM ON EMERGING MEDIA TECHNOLOGIES May 13-15, 2012 Intercontinental Hotel Geneva, Switzerland www.smpte.org

CREATIVE STORAGE CONFERENCE June 26, 2012 DoubleTree Hotel West Los Angeles, CA www.creativestorage.org

CLASSIFIEDS POSITION VACANT – BROADCAST ENGINEER – COMPRESSION We have a permanent vacancy with our Sydney based client for a Support Engineer to work in the Broadcast and Digital TV Industry. You will have good knowledge of video compression/decoding, datacasting, multiplexing and network management, and have experience in Transport Streams including Headends, Integrated Receiver / Decoders, MPEG 2 & 4, Broadcast Equipment and Hardware. The successful applicant should have engineering experience with complex headends, networks (including switches and routers), servers, networking, transcoding systems, digital video encoding systems and maintenance practices. Ideally, you will have installed and commissioned equipment such as Scopus, Scientific Atlanta or Tandberg-digital headend on MPEG-4 for Digital Video Broadcasting over satellite (DVB-S2). In addition knowledge in Integrated Receiver Decoders (IRDs), Encoders, Transcoders, Multiplexers, and Modulators. If you are conversant with fully-integrated IP video solutions for convergent applications like Web TV and Over-The-Top (OTT) services delivery, including traditional IPTV and IP/Cable delivery, then apply today! This is a real career opportunity that awaits the successful candidate! Email today your application in WORD format to Karl Jansson at jobs@interlogic. com.au with the reference number 8436 in the subject field, or call on 02 9922 2711 for more information.

Save the date!

ABE2012 Australian Broadcast Exhibition

content+technology+video Catch up on all the behind the scenes action from NAB 2012 and much more with C+TV online video on the C+T web site.

exhibition

featuring the latest in digital broadcast & production technology

Tuesday 7 – Thursday 9, August 2012 Novotel Manly Paciﬁc Hotel www.abeshow.tv

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

www.content-technology.com

Adimex.....................................45, 49 Amber Technology ......................15 AVC Australia Pty Ltd ..........IFC, 67 Avid Technology ..........................37 AVTech Video.com......................... 7 Blackmagic Design ........................ 5 Digital Rapids ...............................54 Eureka Pacific................................53 FujiFilm/Fujinon....................78-79 Fuji Xerox .......................................51 Gencom Technology Pty Ltd ....13 Grass Valley Group ......................26 Harmonic Inc. .................................. 3 Harris Communications Limited.......................................... IBC KVM Australia ................................. 4 Lumina Broadcast Systems......... 6 Magna Systems & Engineering........................11, 33

NABSHOW......................................19 OB Group........................................77 On Air Solutions ....................35, 43 Powermedia ..................................47 Quantel ...........................................61 Quinto Communications ............. 9 Riedel ..............................................39 Rohde & Schwarz ........................71 Salzbrenner Stagetec .................40 SMPTE .............................................17 Sony Australia.................................... .................................. 21,23,25,27,31 Storm FX .........................................44 Thomson Video Networks .... OBC Techtel ............................................20 Video-8 ...........................................59 Videocraft ......................................29 Wohler Technologies..................65

CLASSIFIEDS

Advertiser Index

01> Australian Broadcasting Summit 02 > Australian Broadcasting Summit 03 > Australian Broadcasting Summit 04 > Australian Broadcasting Summit

05 > Australian Broadcasting Summit 06 > Australian Broadcasting Summit 07 > Australian Broadcasting Summit 08 > Australian Broadcasting Summit

OFF-AIR

09 > Australian Broadcasting Summit 10 > Australian Broadcasting Summit 11 > Australian Broadcasting Summit 12 > Australian Broadcasting Summit

13 > Australian Broadcasting Summit 14 > Australian Broadcasting Summit

OFF-AIR

18 > Australian Broadcasting Summit

019

>> Harris Harbour Cruise >>

020

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021

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022

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023

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024

>> Harris Harbour Cruise >>

025

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027

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028

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029

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030

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031 >> Harris Harbour Cruise

032

>> Harris Harbour Cruise >>

OFF-AIR

15 > Australian Broadcasting Summit 16 > Australian Broadcasting Summit 17 > Australian Broadcasting Summit

TIME shifter Spinning Discs, Mirrors and Electrons An Antipodean Perspective on the History of TV Technology Bob Forster, former ABC TV Technical Producer and Doug Grant, former ABC TV Engineer recently launched their new book “Spinning Discs, Mirrors and Electrons” at the Australian Film, Television and Radio School. BOTH AUTHORS have well over half a century of association with the broadcasting industry, and were sometime colleagues at the Australian Broadcasting Commission/ Corporation in Melbourne and Sydney. Robert Forster was employed by the BBC at both the Alexandra Palace and Lime Grove during the early 1950s, returning to Australia for the start of ABC-TV in 1956. He had a distinguished career with the ABC in Operations based in Melbourne as a Technical Producer and Lighting Director. Robert also enjoyed a training role with the Australian Film, Television and Radio School. Douglas Grant began his television engineering career with the Postmaster General’s Department in Melbourne, and transferred to the Australian Broadcasting Commission’s Technical Services Division in 1966 based in Sydney. In Spinning Discs, Mirrors and Electrons, the combined talents of two veterans of the industry combine to produce a work which provides an overview of the development of television technology from a diﬀerent perspective. Spinning Discs Mirrors and Electrons’ is an entertaining history of the technical evolution of the medium of television from the 1920s to the 1960s, commencing with the groundwork by such people as Berzelius, Nipkow, and Braun, consolidated by the likes of John Logie Baird, Jenkins, Philo Farnsworth and Vladimir Zworykin, and implemented in the UK by Marconi-EMI and the BBC, in the USA by RCA and NBC, and in Germany by the Reichpostministerium, and many more. Spinning Discs, Mirrors and Electrons examines the incredible array of apparatus devised for mechanical television, the transition to wholly electronic television, and concludes as if the wheel had turned full circle, with the development of a seamless television recording system, again utilising a mechanical process – videotape! Television has become so much a part of our lives that it is hard to imagine a time when it didn’t exist. Yet it was only in the 1920s that the world saw the first crude attempts at ‘seeing by electricity. The technology had been evolving for much longer, but it took the likes of John Logie Baird in the UK, Charles F. Jenkins in the USA, and Denys von Mihaly in Hungary, and many others, to coalesce the individual contributions into what we call today ‘television’.

attention than like-minded researchers. The reasons for this are equally as numerous, including aspects of funding diﬃculties, shortages of specific materials, the privations due to wars, the occurrence of the Great Depression, the stages of technological development, the prevailing political attitudes, etc. “People, including John Logie Baird, Philo Farnsworth and Vladimir Zworykin, are all represented in the book, but we also discuss the contributions of people like Denes Von Mihaly, Kalman Tihanyi, Manfred Von Ardenne, Edouard Belin, Boris Rosing, Kenjiro Takayanagi, George Walton, Dr. James McGee and many others, who all pursued the fascinating goal called television.” The scope of the book is intentionally restricted, encompassing a period from early days of the evolving technology, through to around the mid to late 20th century. Beginning with a review of the discoveries which eventually enabled the Scot John Logie Baird to demonstrate a rudimentary form of television on the 26th January 1926, through a multiplicity of mechanical variations on that theme. Then follows a review the discoveries and developments involving cathoderay technology, through to the inauguration of the world’s first all-electronic high-definition public television service in 1936. On to the introduction of colour television, and ending with the achievement of an elusive goal, that of the ability to record and replay television images (and sound) indistinguishable from the original. ‘Spinning Discs, Mirrors and Electrons’ provides a fascinating journey within the analogue domain of ‘seeing by electricity. The book is published in hard copy and PDF by Lulu. You can find it at www.lulu.com

TIME SHIFTER

Part of the impetus behind the book stemmed from co-author Robert Forster’s visit to the UK National Media Museum located in Bradford, which contains a considerable amount of early television equipment, not the least being John Logie Baird’s original 1925 experimental television apparatus. It was during a visit to the Museum that Robert met Iain Baird, the grandson of John Logie Baird. Mr Baird is the Curator of Television responsible for the National Television Collection at the National Media Museum.

According to the authors, “The subject of the technical aspects of early television technology has tended to become overtaken by considerations of national pride. Consequentially, numerous contributions from researchers in diﬀerent countries, all working towards the goal of ‘seeing by electricity’, have themselves tended to become discounted in favour of one particular country’s contribution(s). “It is true, however, the work of a relatively small number of people contributed considerably more than others, and/or attracted greater public

Authors Bob Forster [right] and Doug Grant

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