Content+Technology June 2012

PP: 255003/06831

VOLUME 9 ISSUE 3 JUNE 2012

MEDIA + PRODUCTION + MANAGEMENT + DELIVERY

NAB Round-up ISSN 1448-9554 8

Sportscasting

www.content-technology.com

Preview

VOLUME 9 ISSUE 3 JUNE 2012

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

Cover Story – SBS Newsroom

35 REGULARS

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EDITOR’S WELCOME NEWS FOXTEL Finalises Merger, Panavision Asia Restructures, Wohler Opens in Hong Kong, Digital Nation Launches

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TAKING STOCK Harris Selling, Wohler

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CLASSIFIEDS AND EVENTS OFF-AIR What Happened on Tour, Gets Printed Right Here!

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TIME SHIFTER Look Back at the 2000 Torch Relay

Buying

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FEATURES

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BROADCASTASIA PREVIEW Conference

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Preview

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3D – THE THIRD DIMENSION Frame

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MEDIA IN THE CLOUD Front Porch Eyes Singapore, Dalet Galaxy, Digital Rapids Kayak

Cameras, HD Super Slo-Mo from Sony, ARRI Gets on a Chopper

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RADIO SCA Gets a New Studio, Radio-

SPORTSCASTING Boxxing at the

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AUDIO Impact of “Digital Switchover” &

ACQUISITION Blackmagic Making

Olympics, Online IPL Cricket, Gearhouse and Global Buy from Sony, Sky Racing Signs with Kit digital

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TED, Avengers Fuels Up in Sydney, HP Ditches Towers, CS6 Integration

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Rates Increasing, 3doo Launches, Blackmagic Announces Teranex

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POST-PRODUCTION Engine Works with

NEWS OPERATIONS SBS Gets Hands-

Assist 8 Enhanced 4G on Professional Wireless Microphone Systems, Multichannel AES3 Committee

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TRANSMISSION Nine Centralises Playout, Harris Helps

On in the Newsroom, Avid’s MPD Solution, plus APPiness!

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CONTENT+TECHNOLOGY: ISSN 1448-9554 PP:255003/06831 Broadcastpapers Pty Ltd (ABN: 34 095 653 277) PO Box 259, Darlinghurst, NSW 1300 Australia www.broadcastpapers.com PUBLISHER: Phil Sandberg Tel: +61-(0)2-9211 8205 Fax: +61-(0)2-9211 8208 Mob: +61-(0)414-671-811 papers@broadcastpapers.com

SUB-EDITOR: Keith Ford PRODUCTION MANAGER: Lucy Salmon Tel: +61-(0)29211 8205 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

All Star Revues

By Phil Sandberg

SINCE OUR LAST ISSUE, the Australian Federal Government has released the findings of a number of reviews, some of which cross over into each other, all of which, if implemented, will affect the way the country’s content producers and distributors operate.

Atop the pyramid of inquiry is the Convergence Review which attempts to “examine the policy and regulatory frameworks that apply to the converged media and communications landscape in Australia”.

The Review states it has identified three areas where “continued government intervention is clearly justified in the public interest”.

The first of these is Media ownership. According to the Review, “A concentration of services in the hands of a small number of operators can hinder the free flow of news, commentary and debate in a democratic society. Media ownership and control rules are vital to ensure that a diversity of news and commentary is maintained.”

For an inquiry examining the supposed new landscape of media convergence, the fixation on media ownership is a relic of an Orwellian view of the world.

Like its sister Review, The Independent Media Inquiry, it ignores the fact that viewers/readers are not brainless sponges, that they do vote with their wallets – as was the case with News Limited’s News of the World – and that people do spend their time on other things like getting outside and playing with the kids.

It also ignores the fact that Governments themselves hinder or, more accurately, schedule their own news according to agendas and/or deadlines, as does any corporate entity with a means of issuing information.

The second area the Review concerned itself with was Media content standards across all platforms. “Media and communications services available to Australians should reflect community standards and the expectations of the Australian public. As an example, children should be protected from inappropriate content.”

Well, who can argue with that? The problem is that this will have to be a technology fix and we know how successful the Government’s Internet filter program has been.

Lastly, there was the production and distribution of Australian and local content. According to the review, “There are considerable social and cultural benefits from the availability of content that reflects Australian identity,

character and diversity. If left to the market alone, some culturally significant forms of Australian content, such as drama, documentary and children’s programs, would be under-produced.”

While the uniqueness of Australian identity is something that could be debated, it would seem that here the review is skewed toward video content and throws its hand up when it comes to other forms of media content.

One of the more baffling pronouncements on Australian content pertained to broadcast versus online radio.

In the words of the Report, “The Review considered Australian music quotas on analog commercial radio. The Review found that the quotas are generally effective, and recommends that they apply to content service enterprises that offer both analog and digital commercial radio services. Occasional or temporary digital radio services should be exempted from this requirement.

“The diversity and emerging nature of internet-delivered audio services would make it difficult and ineffective to apply quotas to these services at this time.”

Did no-one from the Review Committee “review” the history of bandwidth development over the last 20 years? Did the phrases “podcasting” or “Internet Radio” not come up? Had no-one heard of Real Networks?

Broadcast.com? Napster? The Recording Industry?

Given that streaming audio has been technically viable for far longer than the streaming or downloading of video content, it can hardly be considered “emerging”. Also given that much of the content of broadcast radio is automated and “streamed” from play-out servers, why should the members of Commercial Radio Australia be subject to local content rules when Spotify which, given the number of countries it operates in, must surely qualify as a ‘content service enterprise’ is not?

Thanks for reading Phil Sandberg Editor/Publisher papers@broadcastpapers.com T: +61-(0)2-9211 8205

2012 C+T DEADLINES JULY-AUGUST 2012 VOL 9 ISSUE 4

Editorial/Advertising Bookings Ad Material

Save the date!

ABE2012 Australian Broadcast Exhibition

exhibition

EDITOR’S WELCOME

featuring the latest in digital broadcast & production technology

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

June 28, 2012 July 5, 2012

SEPT-OCT 2012 VOL 9 ISSUE 5

Editorial/Advertising Bookings Ad Material

Aug 13, 2012 Aug 20, 2012

NOV-DEC 2012 VOL 9 ISSUE 6

Editorial/Advertising Bookings Ad Material

Oct 19, 2012 Oct 25, 2012

FOR MORE INFORMATION

www.content-technology.com +61-(0)2-9211 8205 or +61-(0)414 671 811.

Email: papers@broadcastpapers.com Sales enquiries: papers@broadcastpapers.com +61-(0)2 9211 8205.

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

DirectOut Appoints PAT as Exclusive Distributor PROFESSIONAL AUDIO TECHNOLOGY Pty Ltd has been appointed the exclusive sales and support partner for DirectOut Technologies (D.O.TEC) products in Australia.

time PAT have been the exclusive distributor includes Global Television and SBS.

Patrick Salloch, MD of Professional Audio Technology, explained, “The PAT team is very excited about this new partnership and we are looking forward to providing DirectOut Technologies to our customers in Australia.

D.O.TEC products have a great synergy with our product range and our customers are already benefiting from the fact that these products are now available via PAT.”

Stephan Flock, CTO of DirectOut GmbH, commented, “As a fairly young brand in the broadcast and pro-audio market, DirectOut GmbH is currently in the process of establishing a distribution network worldwide.

We feel that it is imperative to work with distribution partners who, on the one hand have close ties in the Broadcast and Pro-Audio industry and share our company philosophy, and on the other hand also possess the technical expertise to provide our products as technical solutions.”

Broadcasters who have already adopted DirectOut Technologies products in the short

Visit www.proaudiotechnology.com.au and www.directout.eu

Wohler Names Maroun APAC Head, Opens in HK WOHLER TECHNOLOGIES has named Jhonny Maroun as the company’s new director of Wohler Asia-Pacific (APAC). Maroun previously served as Wohler’s regional sales manager in Asia and has proven instrumental in helping Wohler expand its operations and customer base throughout this region. Additionally, Wohler APAC will be opening a new Hong Kongbased office, as well as a regional service and support centre, effective June 1.

“As our business has grown and with the recent additions to our product line, we saw an opportunity to make significant changes in how we operate and support our valued resellers and customers throughout APAC,” said Don Bird, chief marketing officer at Wohler. “Jhonny is the ideal person to lead this effort, with his proven

commitment to meeting our customers’ technical requirements and his deep knowledge of the APAC market and the Wohler product family.”

Before joining Wohler, Maroun served as sales manager and business development engineer for IRT Electronics Pty Ltd in Australia, where he oversaw all international sales and business development functions including new product development and rollouts, key account management, customer relationship development, contract negotiations, and order fulfilment. He also served as a field sales engineer in the Sydney office of Richardson Electronics, working closely with customers to design and deploy successful solutions.

Visit www.wohler.com

Thomson Becomes Newest Magna Systems Principal MAGNA SYSTEMS will represent Thomson Video

NEWS + PEOPLE

Networks’ full range of encoding, transcoding and multiplexing products, together with its video servers, datacasting, network management, monitoring and switching solutions.

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“Thomson’s industry-leading product portfolio represents the state-of-the-art in many key technology areas, and the products are a great fit with our current portfolio,” said Magna Systems’ Stephen Clemesha. “Having worked with Thomson some years back, we have a good mutual understanding and a shared culture that will be of great benefit to our clients across the region.”

Thomson’s Director of Sales & Services, APAC, Tony Berthaud, added, “Magna Systems and Engineering have an extensive knowledge of the broadcast industry and the associated markets,

together with outstanding systems integration credentials. Their approach dovetails with our emphasis on selling systems rather than one-off products – which is particularly invaluable in the areas of convergent TV and OTT.” Visit www.magnasys.tv and www.thomson-networks.com

Switch Media Partners With TvTak MULTI-PLATFORM VIDEO SPECIALISTS Switch Media have partnered with image recognition software company, TvTak. Switch Media’s Global Head of Sales Mark Johns explained, “TvTak is an innovative platform for instant interaction during television shows, games and commercials. The technology makes every television interactive with viewers only needing to point their smartphone or tablet at their television screen and TvTak identifies the programme in a second, then allows the viewer to interact instantly. We have already run trials in Australia and they all worked perfectly.”

Visit www.switch.tv

FOXTEL Completes Merger, Expands IBMS FOXTEL AND AUSTAR have completed their merger transaction, creating a national subscription television service that will deliver innovative new digital products and content for all Australian consumers.

The new FOXTEL will directly employ approximately 2,500 people and service 2.2 million subscriber households.

FOXTEL is also expanding its deployment of Pilat Media’s Integrated Broadcast Management System (IBMS) with the addition of IBMS Rights. IBMS Rights will provide FOXTEL with a centralised tool for managing the rights for each piece of content to be delivered to multiple platforms and devices.

Available either as a standalone solution or as an addition to IBMS-managed environments, IBMS Rights delivers centralised rights management for all types of broadcasting operations and platforms.

With IBMS Rights, media operations can manage contracts and licensed rights for all content to be distributed through their own services or through sub-licensing.

“We launched IBMS Rights in 2010 with customers like FOXTEL in mind — successful media enterprises that are looking to maximise revenues in this multiplatform world, while at the same time ensure compliance with multiple and highly varied contractual obligations,” said Avi Engel, CEO of Pilat Media.

Visit www.pilatmedia.com and www.foxtel.com.au

Videohub Control Software

Universal Videohub 288 Universal Videohub 72

Videohub Smart Control

Now it’s easy to build your own customized SD, HD and 3 Gb/s SDI router!

Build your own customized router any size you need! Universal Videohub is a powerful broadcast grade routing switcher featuring up to a massive 288 inputs, 288 outputs and 288 deck control ports. You can add interface cards to either regular SDI or optical fiber SDI connections as well as single or dual power supplies and single or dual cross-points for full redundancy.

Cards can be removed when powered so all electronics can be swapped at any time for 24/7 reliability!

Industrial Strength Routing Switcher With up to 288 inputs and 288 outputs, Universal Videohub has enough SDI connections for the largest facility. With so many SDI inputs and outputs, Universal Videohub is perfect for broadcast with multiple feeds, as well as post production where you need loads of monitoring!

Universal Videohub also includes 288 RS-422 deck control ports for a complete routing solution.

Simultaneous SD, HD or 3 Gb/s Video Universal Videohub handles mixed SD, HD and 3 Gb/s SDI connections all on the same router at the same time.

Universal Videohub detects when an input changes, and automatically sets all the connected outputs to match the changed input.

For a true broadcast quality solution, all SDI outputs are fully re-clocked and output SDI slew rates update automatically.

World’s Highest Quality With future proof 3 Gb/s SDI connections built in, Universal Videohub allows twice the SDI data rate than normal HD-SDI. Use 3 Gb/s SDI for 1080p60 and high resolution real time 2048 x 1556 feature film editing.

3 Gb/s SDI allows auto switching between all SD, HD and 2K video formats in both 4:4:4 and 4:2:2 quality.

Network Router Control Universal Videohub is compatible with hardware control panels such as Blackmagic Design’s Videohub Smart Control and for lower cost includes free software control panels for both Windows™ and Mac OS X™.

Software panels let you route from your desktop! Universal Videohub uses ethernet for the control panel interface so you can control your routing from anywhere in the world!

Mix and Match to Customize!

Universal Videohub SDI Interface (4 x SDI I/O) Universal Videohub Optical Fiber Interface (4 x SDI I/O) Universal Videohub 72 Universal Videohub 72 Crosspoint Universal Videohub 288 Universal Videohub 288 Crosspoint

$415 $1,055 $4,175 $4,505 $8,829 $21,115

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

NEWS + PEOPLE

Panavision Asia Restructures AFTER 17 YEARS with the company MD Martin Cayzer has decided to leave Panavision Asia Pacific. The move sees a new management structure take the helm, with current Marketing Director Paul Jackson becoming Head of Rentals, and Finance Director Brett Rubin taking additional responsibility for John Barry sales.

Cayzer said, “It’s obviously a significant decision on my part but I leave happy in the knowledge that Panavision is in a good place moving forward with Paul and his 13 years experience with the company and Brett with his solid financial background.”

In his time at Panavision Cayzer has worked closely with both Jackson and Rubin on many major projects including the recent sale of Panalux to Fox Studios Australia.

Paul Jackson said, “We are very optimistic for the future and I am certainly looking forward to help grow the rentals side of Panavision further.”

Brett Rubin added, “Martin has been a great asset to Panavision and I am very much looking forward to building on the great platform he has helped create for John Barry in the market.”

Visit www.panavision.asia

Canon Strengthens Pro Video Team

Leslie Nassar Joins Amnesia Razorfish AMNESIA RAZORFISH has bolstered its senior team with the appointment of Leslie Nassar as technology director.

Amnesia Razorfish co-founder and executive creative director, Iain McDonald, said, “I’ve followed Leslie’s career closely and have long-admired his work with Telstra, ABC and Victoria Police, before we approached him directly with this role. His fearlessnesses towards technology is exactly what our clients need.”

Nassar joins the agency from TweeVee TV, a company he founded and managed for five years. At TweeVee TV, Nassar conceptualised, developed and delivered moderation and broadcast integration of Twitter for ABC1’s Q&A, which has the highest social activity of any TV program in Australia.

Nassar said, “I’m almost criminally excited to be working with Amnesia. There’s so much talent in this building and the projects coming into the studio are the kind you only dream about.”

Visit www.amnesia.com.au

CANON AUSTRALIA has announced the appointment of cinema and broadcast industry stalwart Charles Montesin as Brand Manager – Professional Video, Canon Australia.

“Charles brings a wealth of knowledge and professional video expertise to Canon at a very exciting time for the industry and our evolution in it,” said Darren Ryan, Canon Australia. “The professional video market is a growth sector and we are investing for the success of our partners and customers on the back of once-in-ageneration innovations that mark a new chapter in our 75-year history.”

Mr Montesin will lead Canon Australia’s Professional Video market development with a particular focus on the Cinema EOS System, launched in January this year.

“I am excited to join Canon at such a pivotal time in the cinema and broadcast industries,” said Charles Montesin. “New technology is enabling so much more to the creative process and is also enabling significant changes to workflow, and I look forward to partnering with the industry to achieve higher quality productions with reduced costs.”

Visit www.canon.com.au

WTS

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

NEWS + PEOPLE

WILL- BURT

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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

DIGITAL SERVICES CONSULTANCY, VentureOne, announced its expansion with the launch of a training and education arm: Digital Nation. Building on the 4 years of running the highly successful series on Digital Project Management, Digital Content Business and Commercialising Video, Digital Nation will focus on workshops and training for digital agencies, web publishers and corporates.

Digital Nation CEO Claudia Sagripanti says, “We know our approach and format works based on the positive feedback received and the fact that we have trained over 500 people in digital project management around the country.

With the rapid changes in digital services requirements, there is a great need to train the next generation of management in team building and management, business management, account management and other core skills.”

Sagripanti continues, “he first Digital Nation courses will be Building and Managing High Performing Teams on July 10 in Sydney, Advanced Digital Project Management in Sydney and Melbourne, and Grow your Business/Business Management Essentials in Melbourne in August.”

Visit www.digital-nation.com.au

Little Birdie Studios Lands FORMERLY MCM STUDIOS, Little Birdie Studios is a full service production facility with a soundproofed studio with green screen.

Located at the Fox Studios Entertainment Quarter in Sydney, Little Birdie has prime position for agencies needing a studio in close proximity to the CBD. “What’s great about it is it’s in the centre of town at the entertainment quarter. It’s quite convenient for all the agencies and all the production companies are based in Surry Hills, and Darlinghurst,” said Little Birdie Studios Managing Director, Marty McGrath.

The studio is available for essentially any type of shooting, with a whole host of productions already being shot or planned.

McGrath continues, “Basically, the studio can be hired for dry hire, for pretty much anything at the moment, we’re shooting TV commercials, they shot part of film graphics, Campbell Soup ad there with Manu, they even rented the carpark out the back to shoot a lot of the coach bay area to shoot their carpark scene. We’ve got Jungle Boy’s doing an IKEA commercial, I’ve had ADAD in here, and we’ve had a lot of green screen presenter shoots.

“We’ve also got capabilities for doing live streaming events, question and answer sessions with multi-camera shoots; it’s a full television studio with a control room upstairs” Due to the location, which is in close proximity to the Hordern Pavilion and the Hi-fi Lounge, there are opportunities for interviews with musical acts in their greenroom, as well as holding events in the space.

“It’s an exciting time, I don’t know where it’s going to go yet but definitely excited about it all,” concludes McGrath.

Visit www.littlebirdiestudios.com.au

NEWS + PEOPLE

VentureOne Launching Digital Nation

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NEWS + PEOPLE

Signiant Appoints Michael Burnie as MD of APAC SIGNIANT HAS NAMED Michael Burnie as Managing Director for Asia-Pacific. Based in Singapore, Burnie is responsible for advancing the company’s sales and service operations.

FOXTEL HAS APPOINTED Bruce Meagher as Director of Corporate Affairs. Mr Meagher joins FOXTEL after six years as Director, Strategy and Communication at SBS. He has formerly held senior positions at Optus Vision, Optus Communications, Austar and Visa International.

“Michael’s international business experience and stand-out success in introducing new companies and products into Asia-Pacific markets will be instrumental in achieving our goals,” said Rick Cramer of Signiant.

“I’m delighted to welcome Bruce to the FOXTEL senior executive team,” said FOXTEL CEO, Richard Freudenstein.

“I’m looking forward to establishing a thriving channel partner ecosystem that, in combination with our own direct sales efforts, will enable us to reach the next stages of the company’s growth and market leadership worldwide,” said Burnie.

Mr Meagher commented, “I am very excited to be joining FOXTEL at this important time for the company and the sector. Given my former roles as legal adviser and later Head of Corporate Affairs at Austar, it gives me a real sense of coming home.”

Visit www.signiant.com

Visit www.foxtel.com.au

Telstra Appoints Nason as FOXTEL Chair TELSTRA CEO, David Thodey, has announced that Robert Nason, Telstra’s Group Managing Director, Business Service and Improvement, will replace retiring FOXTEL chairman Bruce Akhurst.

Mr Nason has been a member of the FOXTEL Board since March 2012.

Mr Thodey said Telstra’s Group Managing Director for Innovation, Products and Marketing, Kate McKenzie would also be appointed by Telstra to the FOXTEL Board. Ms McKenzie will take the board seat currently held by Mr Nason.

The changes are effective 1 June 2012.

“Robert and Kate each will bring tremendous experience and leadership ability to the FOXTEL

Board at what is an important time for FOXTEL as it consolidates its acquisition of AUSTAR and continues to compete in a challenging market,” Mr Thodey said.

KIT DIGITAL, INC. (NASDAQ: KITD) announced its board of directors has accepted the resignation of non-executive Chairman Kaleil Isaza Tuzman.

Robert joined Telstra in February 2010 and has around two decades of experience in telecommunications or related industries.

Immediately prior to Telstra, Robert was Managing Director, Wagering, responsible for Tabcorp’s race wagering and media businesses.

Kate McKenzie oversees product, promotion and pricing across Telstra.

Wayne Walker, a director for KIT digital, noted, “As Kaleil’s relationship with the Company as an officer and director comes to an end, we want to once again express appreciation for his contributions over the years. We believe in and support our management team, which continues to focus on operations, cash flow growth and overall execution.”

Visit www.foxtel.com.au

Visit www.kitd.com

RealNetworks Names Two New Executives

Industry Veteran Gets New Role at AMX Australia

VOLICON HAS APPOINTED of Kelvin Ko

REALNETWORKS, INC. (NASDAQ: RNWK) announced that two new executives have joined its leadership team in new positions.

Torrie Dorrell joins the company as Senior Vice President of Digital Media and Strategy, while Robert Gross assumes the role of Vice President of New Products. Both executives report directly to RealNetworks President and CEO Thomas Nielsen.

AMX AUSTRALIA has promoted industry veteran, Peter Swanson to the newly-created role of National Business Development Manager for Australia & NZ. Peter will be primarily responsible for identifying, managing and maintaining AMX’s relationship and partnership with key end-user customers in the region.

“Kelvin’s outstanding record in high-technology sales and marketing, and in the broadcast, cable, and telecom markets in particular, makes him a great fit for Volicon,” said Russell Wise, vice president of global sales at Volicon.

NEWS + PEOPLE

KIT digital Chairman Resigns

Volicon Appoints Kelvin Ko as Sales Director as the company’s new sales director for the Asia-Pacific region. Based in Hong Kong, Ko will be responsible for overseeing APAC sales strategy and implementation, as well as regional distribution for the full line of Volicon Observer digital video monitoring and logging systems.

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FOXTEL Appoints Director of Corporate Affairs

Ko has held senior sales and marketing positions with a number of well-known companies in the broadcast and cable space including Ineoquest, Cisco, Leitch, and Harmonic. Ko, who holds a bachelor’s degree in electrical engineering, is fluent in English, Cantonese, and Mandarin.

Visit www.volicon.com

“Torrie and Robert bring a wealth of experience, energy and passion to the company as we continue to make progress on the next chapter of RealNetworks,” said Nielsen.

Peter will also move into a leadership position at AMX; heading up the sales operation in Australia & NZ, working directly with senior staff in the AMX Dealer Channel nationally and joining the local management team. He will remain based in the AMX Sydney office.

Torrie will focus on building out RealNetworks strategy and products around consumer-facing digital media solutions and products. Robert will be responsible for the development of emerging products from RealNetworks.

“I’m excited to be able to contribute to AMX’s ongoing success in Australia & New Zealand at a more senior level and look forward to developing closer relationships with the many existing and potential end-users of AMX”, says Swanson.

Visit www.realnetworks.com

Visit www.amx.com

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

Harris to Sell Broadcast Business FOLLOWING THE CLOSE of its third quarter for fiscal year 2012, Harris Corporation (NYSE: HRS) has approved a plan to divest itself of its Broadcast Communications business. The company also plans to divest its Cyber Integrated Solutions business, which is focused on cloud hosting and cyber monitoring and security. Both businesses fall under Harris’ Integrated Network Solutions segment.

While the company reported revenue in the third quarter of fiscal 2012 of $1.48 billion compared with $1.41 billion in the prior-year quarter, GAAP loss from continuing operations in the third quarter was $255 million, or $2.27 per diluted share. GAAP income from continuing operations in the prior year was $142 million, or $1.11 per diluted share.

Non-GAAP income from continuing operations in the third quarter was $159 million, or $1.39

per diluted share, compared with $151 million, or $1.18 per diluted share, in the prior year.

Non-GAAP income from continuing operations excludes acquisition-related costs in both quarters, as well as the non-cash charge recorded in the third quarter related to Broadcast Communications. Orders in the third quarter were $1.60 billion compared with $1.54 billion in the prior-year quarter.

“The decision to divest Broadcast Communications resulted from a thorough review of our business portfolio, which determined that the business is no longer aligned with the company’s long-term strategy. The plan to sell these assets supports our disciplined approach to capital allocation, and we intend to use the proceeds to return cash to shareholders and invest in growing our core businesses,” said William M. Brown, president and CEO.

Commenting on the divestiture decision, Harris Morris, President of the Broadcast Communications Division, said “I fully support this decision and believe that the timing is right for both Harris and Broadcast Communications.

“Harris has supported us by investing in our business, allowing us to develop some of the market’s most innovative, solution-based technologies. However, over time Broadcast Communications has become less aligned with the Harris core businesses and long term strategy.

“Operating independently or as part of a broadcast or media-focused enterprise will provide us with strategic investment, increased competitive flexibility, and customer focus to lead the continuing transformation in this competitive marketplace.”

Visit www.harris.com

Wohler Acquires RadiantGrid WOHLER TECHNOLOGIES HAS announced its acquisition of RadiantGrid Technologies, the developer of leading-edge transcoding, transformation, and New Media Automation service platforms.

“Our customers are increasingly making the move to more IT-centric infrastructures and looking to file-based solutions as a way to realise increased efficiency and profitability,” said Carl J. Dempsey, president and CEO of Wohler Technologies. “We have assembled engineering talent to develop our own filebased solutions, and the strategic acquisition of RadiantGrid — and the company’s exceptional technology and talent — expands and

accelerates that program.”

While there are many solutions dedicated to tasks such as transcoding and content management, the integration of their technologies enables Wohler and RadiantGrid to provide a fully integrated solution for managing content across the value chain, from ingest to delivery and back again, while employing intelligence in media processing.

“Wohler products address management of audio, video, ancillary data, and loudness, all with an eye toward QC-ing those signals to ensure a high quality of experience for consumers,” added Dempsey. “Radiant Grid offers a file-based path to achieve the same

result. We view it as highly complementary to our existing range and a logical extension of Wohler’s product offerings, from the baseband to the file-based domain.”

“This is the most important moment in the history of RadiantGrid,” said Kirk Marple, president and chief software architect of RadiantGrid Technologies. “We’re proud to be a part of the Wohler Technologies family, and we look forward to finding creative integration points with Wohler’s strength in managing audio, video, and data.”

Visit www.radiantgrid.com and www.wohler.com

TAKING STOCK

XOR Media Up and Running as SeaChange Sells ODG

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AS ANNOUNCED PRIOR TO the 2012 NAB Show, the former SeaChange International Broadcast server and storage business unit has established its own privately held independent company named XOR Media.

by incorporating our industry-leading MediaClient codecs with our unique simultaneous SAN/NAS Universal MediaLibrary storage architecture.

At the same time, we maintain support for our legacy MediaCluster customers.”

XOR Media CEO Zheng Gao, who continues the group leadership he started as SeaChange Broadcast president, explains, “The new XOR Media, with over 150 design and support engineers, is ideally positioned and focused to synergistically provide leading-edge media storage solutions across the Broadcast landscape

XOR Media brings with it an installed base of over 300 top-tier customers; 12,000 on-air channels; and 11PB of managed media-centric data.

SeaChange International, Inc. (NASDAQ: SEAC) has announced that it has also sold its media services company, On Demand Group (ODG), to Avail-TVN for $27 million on a cash-free, debt-free basis.

U.K.-based On Demand Group, specialising in content aggregation and management of VOD services, becomes part of Avail-TVN effective immediately.

SeaChange CEO Raghu Rau commented, “This sale is part of the ongoing execution of our strategy to transform SeaChange into a pure-play software company, while generating significant cash for our business and improving shareholder value.”

Visit www.xor-media.com and www.avail-tvn.com

Product Update

Wireless HD camera systems, MESH IP radios, ENG Receivers.

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S d Sydney Ph (02) 9452 8600 - M Melbourne lb Ph (0 (03) 03) 9815 2793 - Brisbane 0 B i b Ph (07) 3341 6487 National Toll Free Customer Service 1800 251 367 - Email: sales@ambertech.com.au

www.ambertech.com.au

TAKING STOCK

The Lighter Side of Work Media staff & strategy by Karl Jansson As HR issues can be perceived as dry and parched for some, I thought that in this issue I’d like to highlight some of those lighter moments.

I DON’T FIND THE day-to-day management issues to be boring, because as a professional consultant I’m constantly exposed to the idiosyncrasies of people.

+ Is unusually loyal: Wanted by no-one else. + Inspires the cooperation of others: Gets everyone else to do the work. + Happy: Paid too much. + Transitional: Wants to climb the corporate ladder at the expense of others.

The conversations I have with clients and candidates are usually insightful, thought provoking, sometimes humorous, but never dull.

+ Suicidal: Wants to take a current letter of offer back to current employer to get more money!

This week I was inspired by a company with an extraordinary high employee retention rate, and with 150 plus employees they have successfully built a business that sits upon a flat management structure.

The last definition is definitely not tongue in cheek, as we find that in over 80% of cases that their employment with a current employer is short lived after asking for a counter offer.

So flat is the structure, that senior management cook up a lunchtime feast every month for their staff, and they genuinely know every employee by name.

An interesting candidate interview I remember from my earlier years whilst cutting my teeth on recruitment, occurred without warning when he slumped forward hitting his head on the desk.

It’s more a fun, family culture, they call quirky, but it does spore dedication without demand.

Within 30 seconds, he lifted his head abruptly and continued the conversation without a pause.

Speaking of quirky, the following examples are some of the lighter moments I’ve experienced in contrast.

When I questioned him about this he was unaware that it happened but explained that he knew he had frequent blackouts. He unfortunately didn’t get the job.

Whilst I receive thousands of applications every year, it never ceases to amaze me the lack of preparation by some, in thinking about what to write, as well as not reading their application again before emailing it.

Here are a few examples: (They are all real!) + I have a graduate degree in unclear physics.

(Totally unclear!) + My hobbies include raising long-eared rabbis as pets.

(Interesting how a missing “t” can make all the difference) + Thank you, and may your life be long and fruitful. (??) + I have a girlfriend, 2 dogs, and a car and ready to work.

(Not sure what job he was applying for!) + My post-natal experience is impressive (What the???? In this case I’m sure it was meant to read “Post-Sales”, but when using “WORD” it has the ability to drop in the last recorded string attached to for example, “Post-…”, so be careful of this function.)

The most memorable application for me though is when a young applicant submitted an attachment, which he stated was a JPEG copy of a certificate, but instead was a picture of him and his girlfriend in let’s say a compromising position. The lesson here is to open all attachments before sending any email.

Also I’ve heard the following terminologies used to describe some noteworthy individuals.

SCARY TAGS

TAKING STOCK

From previous colleagues I used to work with, within recruiting, I’ve heard the following comments raised.

I include myself in that mix!

THINK TWICE, READ TWICE!

12

APPRAISALS, SCHMAISELS!

He was applying to a forklift driver position!

THE AD! The following, although not widely used have been interpreted from adverts on-line. + Seeking candidates with a wide variety of experience: You will, in fact, be replacing three people who have just left. + Problem solving skills a must: You’re walking into a company which is in perpetual chaos. + Requires team leadership skills: You’ll have the responsibilities of a manager, without the pay or the respect. + Good communication skills: Management communicates, you listen, figure out what they want and then do it. + Must have an eye for detail: We have no quality control. + Competitive salary: We remain competitive by paying less than our competitors.

On a more serious note, I couldn’t help but include an incident that occurred in the last couple of years when a company was trying to highlight the importance of OH&S, to both inductees’ as well current employees.

By trying to continue its five-year perfect safety record they showed their workers a film aimed at encouraging the use of safety goggles on the job.

According to the Health and Safety Council News, the film’s depiction of gory industrial accidents was so graphic that twenty-five workers suffered minor injuries in their rush to leave the screening room.

+ Vampires: Those employees who hide in the shadow and suck an organisation dry.

Thirteen others fainted, and one man required seven stitches after he cut his head falling off a chair while watching the film.

+ Zombies: Those employees whose minds and dedication have left long ago.

Enjoy your work place, take your job seriously, but don’t forget to have fun along the way!

+ Ghosts: Those employees who seem to be able to walk through walls and disappear.

Karl Jansson previously owned and managed “J-Curve Broadcast Recruitment”.

+ Aliens: The employees that no-one is quite sure where they came from.

He has since merged his business within “Interlogic Placements” at North Sydney.

Ok, in defence of those above tagged individuals; “Eagles may soar, but weasels don’t get sucked into jet engines”

Contact: karl@interlogic.com.au or 9922 2711 or 0408 274 413

TAKING STOCK

Briefs NVIDIA and IV Partner for Wireless Patents NVIDIA (NASDAQ: NVDA) and Intellectual Ventures (IV) announced that they have jointly acquired a set of patents developed and owned by IPWireless. The portfolio comprises approximately 500 patents granted and pending in the wireless communications area, including essential concepts in LTE, LTEAdvanced and 3G/4G technologies. Terms of the acquisition, which closed on April 30, 2012, were not disclosed.

Ownership of the patents was split between NVIDIA and IV, with NVIDIA licensing the rights to those patents that it did not acquire. As part of the acquisition, IPWireless retains perpetual, royalty-free access to these patents.

Visit www.intellectualventures.com and www.nvidia.com

Technicolor Announces Solid Performance The Board of Directors of Technicolor (Euronext Paris: TCH) have met to review the Group’s revenues for the first quarter of 2012.

Q1 2012 revenues highlights include the announcement that Group revenues from continuing operations amounted to €800 million compared to a strong first quarter of 2011 at €812 million with continued strength in Technology Licensing revenues; resilient revenue performance from Entertainment Services, almost entirely compensating the rapid decline in photochemical film activities; and stabilisation at Connected Home level as the Digital Delivery division recorded stable revenues year-on-year.

Visit www.technicolor.com

Inmarsat Releases Interim Management Statement

TAKING STOCK

Inmarsat plc (LSE: ISAT.L), a leading provider of global mobile satellite communications services, has provided information for the three months ended 31 March 2012.

14

AGM Backs Miranda Board Miranda Technologies Inc. (TSX:MT) has announced that the Company’s shareholders have elected Miranda’s slate of seven Director nominees at the Annual General Meeting of Shareholders. A new director, Tim Thorsteinson, who had been nominated by the Company, was elected to replace Thomas Cantwell who retired from the Board.

In addition, all other items put forth at the AGM were approved, including the re-appointment of the Company’s auditors and the adoption of an amended and restated shareholder rights plan.

Visit www.miranda.com

Ross Acquires Cambotics Ross Video has acquired Cambotics, a robotic camera systems company based in Escondido, California. Cambotics joins the recently established Ross Robotics division to compliment the Furio Robo and Furio RC systems.

The Cambotics products will become the CamBot Series within Ross Robotics. The CamBot Series are robust, durable and precise studio workhorses, distinguished by their ability to accept up to 200 pounds on the 700 Series pedestals.

Visit www.rossvideo.com

CEDAR Licenses Spectral Interpolation Patent CEDAR Audio Ltd. invented and patented a method of editing audio using a spectrogrambased interface and has announced that it has entered into a licence agreement with iZotope, Inc., granting iZotope a non-exclusive license for the iZotope RX 2 Spectral Repair module.

Gordon Reid, MD of CEDAR Audio added, “While CEDAR will always seek to protect its rights in its technology, we welcome licensing opportunities and are delighted to have concluded this agreement with iZotope.”

Visit www.cedaraudio.com

Digital Vision Restored Image Systems has announced the return of the Digital Vision name to its restoration, colour grading, and mastering business.

Total revenue was at $355m, up 10% (2011: $324m) and wholesale maritime revenues have increased by 7%. Over 2,000 FleetBroadband terminals were added in Q1 and there are now over 55,000 IsatPhone Pro subscribers as of the end of Q1. Honeywell will develop Global Xpress in-flight passenger services and the first XpressLink dealers have been appointed.

Simultaneously, long time company insiders Hans Isoz and Kelvin Bolah have been named CEO and Managing Director respectively. Isoz has served on the Company’s Board since 2010.

Prior to his CEO duties, Isoz was CFO for Bonnier Broadcasting & Evening Paper and Bonnier Entertainment. Bolah has spent seven years with Digital Vision, serving as Worldwide VP of Sales since 2005.

Visit www.inmarsat.com

Visit www.imagesystems.se

IABM Training Academy Launches Online Course The IABM (International Association of Broadcasting Manufacturers) Training Academy has launched its first online course.

“Introduction to Broadcast Technology” encapsulates key elements of the academy’s classroom course entitled “Broadcast and Media Technology — Understanding Your Industry.”

In providing an overview of broadcast and media technology, the online course will cover subjects including the distribution chain for broadcast and media production; distribution, delivery, and business fundamentals; products, systems, and services; who’s who in the supply chain; traditional media and new media; and emerging technologies and markets.

The new online course is delivered in short user-friendly modules and can be carried out at any time and in any place to suit personal and occupational schedules.

Visit www.iabmacademy.org

KIT digital Acquires Hyro KIT digital, Inc. (NASDAQ: KITD) has signed a definitive agreement to acquire Hyro Limited (ASX: HYO), headquartered in Melbourne, Australia.

KIT digital expects to leverage Hyro resources in support of current and future deployments across Asia-Pacific, whereby skilled resources are required to fulfil both existing contracts and future growth, based on the sales pipelines of both companies. Currently, Hyro employs 115 staff in Australia and Thailand.

The agreement was signed on April 21, 2012 with the closing of the transaction subject to Hyro shareholder approval at the Hyro Annual General Meeting in first week of June 2012.

Visit www.kitd.com

Pace Results in Line with Expectations Pace plc, the global developer of technologies and products for PayTV and broadband service providers, has announced its Interim Management Statement for the 15 week period from 1 January 2012 to 14 April 2012.

At its AGM, Allan Leighton, Chairman, said, “I am pleased to report that Pace has had an encouraging start to the new financial year with revenue in line with our expectations.

The business is benefitting from a stronger operational focus and this is delivering tangible benefits in procurement, operating efficiency and costs.”

Visit www.pace.com

TECHNICAL STANDARDS www.content-technology.com/standards

Open IPTV Forum and MPEGIF Join Forces THE OPEN IPTV FORUM (OIPF) and MPEG

fundamental technologies.

Industry Forum (MPEGIF) have announced they have reached agreement to merge the assets of MPEGIF into the OIPF.

Nilo Mitra, President of OIPF says, “We are pleased to contribute towards this consolidation of the work from the MPEGIF and welcome those additional members from the MPEGIF who join our efforts.

The activities of the MPEGIF have reached a natural and successful conclusion with the emergence of MPEG-4 Part 10, alternatively known as H.264, as the dominant codec in next generation video technology and the proven successor to MPEG-2.

As in 2011, when the Broadcast Mobile Convergence Forum (BMCO) merged into OIPF, which followed the Internet Streaming Media Alliance (ISMA) merging with the MPEGIF, these asset mergers represent natural consolidation in a maturing industry - the positive result of cross-industry consensus on

Digital TV Labs HbbTV Solution DIGITAL TV LABS has announced a turnkey solution enabling OTT operators to ensure seamless delivery of services based on its market-leading Ligada iSuite. Ligada iSuite consists of a highly automated test harness and test suite covering HbbTV, OIPF, DRM and DASH adaptive streaming. The company is engaging with a number of hybrid platform operators to provide interoperability, functional and security tests.

TECHNICAL STANDARDS

Keith Potter, CEO says, “Our Ligada iSuite for HbbTV will enable interoperability by supporting country-specific HbbTV profiles, such as the French TNT2.0 platform, as they emerge. Operators need to have a test regime with either an approved receiver list, trusted certificate authentication or logo approval system in place otherwise apps simply won’t work.

16

Digital TV Labs can offer existing extensive HbbTV 1.1 and 1.5 test suites including DASH adaptive streaming, as well as specific operator test case authoring, allowing users to build their own test suites. The company also offers an outsourced test service in the UK and Hong Kong.

Visit www.digitaltv-labs.com

“The end result is that the Open IPTV Forum will be an even stronger and more vigorous industry body, representing all constituents and contributors within the ecosystem of businesses creating and delivering the next generation of television entertainment” David Price, President of MPEGIF and Head of Business Development, Compression, Ericsson, says, “When the MPEG Industry Forum was founded the future of IP based video technology was far from clear, except that the

Broadcast International Joins DASH BROADCAST INTERNATIONAL has joined the DASH Promoters Group, an organisation of technology leaders dedicated to driving the broad adoption of MPEG’s DASH specification.

DASH addresses the evolution of Internet video by defining a universal delivery format which dynamically adapts to changing network conditions as video streams to devices.

“Joining the DASH Promoters Group allows us to highlight the strength and flexibility of CodecSys as the industry is coalescing around MPEG DASH,” said Steve Jones, GM, Broadcast International.

Visit www.brin.com

Telestream Contributes to x264 TELESTREAM HAS CONTRIBUTED OpenCL performance improvements for pre-integration review to the x264 project. This follows Telestream’s integration of x264 across its filebased transcoding products.

The enhancements developed by Telestream, completed in partnership with MulticoreWare., provide improved performance on AMD GPUs, including Tahiti, to reduce x264 processing time.

“We are glad to contribute the OpenCL optimisations to the project, providing improved performance to other x264 users,” said Shawn Carnahan, CTO of Telestream.

Visit www.telestream.net

industry knew that conventional TV services were going to be radically and permanently changed. At the centre of this revolution was the emergence of new, highly efficient codecs that enabled new business models such as TV over DSL and broadband television.

“As the premier industry body advocating adoption of standards based technologies with over 100 companies in its membership, MPEGIF used educational MasterClasses at major trade shows and 9 rounds of interoperability testing to show that MPEG-4 AVC (H.264) was the clear successor to MPEG-2 for the next generation of services. We are pleased to declare ‘victory’ and merge the assets of the forum into the Open IPTV Forum going forward.”

Visit www.mpegif.org and www.oipf.tv

IRT Publishes BMF 2.0 THE INSTITUT FÜR RUNDFUNKTECHNIK (IRT) has published the Broadcast Metadata Exchange Format (BMF) version 2.0. BMF 2.0 is a manufacturer independent format and enables a continuous exchange of metadata in radio, television and internet. This reduces both costs and risks when integrating interfaces in an IT-based production environment.

BMF 2.0, in comparison to the previous version, was substantially extended, the user friendliness was improved, and a process for flexibly generating subsets of the BMF model was developed. Manufacturers and system integrators can use the published BMF 2.0 format for unifying the metadata exchange in their products. The basics for the extension of BMF to version 2.0 were developed within the framework of the research project CONTENTUS and were supported by the German Federal Ministry of Economy in the frame of the Theseus program.

For the technical use of BMF 2.0, IRT assists its associates and customers with suitable services, as the analysis of use cases, the generation of BMF subschemes for the implementation, as well as the metadata mapping.

Visit www.irt.de

PREVIEW The 17th International Digital Multimedia & Entertainment Technology Exhibition & Conference

www.Broadcast-Asia.com/visitor-pre-registration

Stronger Focus on Content Development at BroadcastAsia2012 THE RISE OF SOCIAL PLATFORMS IS compelling the broadcasting industry to develop content suitable for multi-screen delivery and to reinvent their strategy to successfully engage audiences through social TV. The Content Creative Production Conference at BroadcastAsia2012 is back for its third installment, bringing together industry professionals in discussions on content formats and mediums, content distribution, as well as production and post-production strategies.

Held from 20 – 21 June 2012 at Suntec Singapore, the Creative Content Production Conference will focus on small screen and big screen production on the first and second days respectively.

Speakers including Mike Lake, CEO of Pinewood Iskandar Malaysia Studios, Mohen Leo, VFX Supervisor, Lucasfilm Animation, Fotini Paraskakis, Director of Content, Fremantle Productions and Jeffrey Chan, CEO, HK Film Workshop will share their knowledge and experience in all aspects of filmmaking, across various mediums and genres.

Two post conference workshops on 22 June will provide tips and tricks to create stunning motion graphics, visual effects, and design a complete 4k post production pipeline, complete with remote editing setup.The conference will be spread over two days with the Small & Multi-screen Track on 20 June and the VFX, Motion Picture & Feature Film Track on 21 June.

DAY 1: SMALL & MULTI-SCREEN TRACK – EXPLORING CONTENT & BEYOND While content is king, it is essential for producers to stay ahead of the evolving industry trends in order to be able to deliver their content to everexpanding audiences, on various platforms, in the most effective way.

BROADCAST ASIA

Speakers on the first day of the conference include representatives from Fremantle Productions, Magic Lantern UK, Social@Ogilvy and Universal McCann, who will discuss the challenges of constantly creating and re-inventing content that keeps audiences engaged and interested.

18

“With the Internet, a video can reach an audience of millions across the globe easily within a couple of days. Content developers need to look beyond the traditional mediums and stretch their boundaries to include new kinds of content that appeals to audiences today. With Social TV, the role of a producer has shifted – in addition to quality of content, producers must now also devise strategies to leverage the real-time engagement in social media. Only then will they be able to produce content that will truly entertain, educate and engage the public. Coupled with personal devices such as smartphones and tablets and the worldwide popularity of gaming, these developments mean that it has never been more

important to understand the core of an idea, the behaviour of the audience and how to get their attention,” said conference speaker, Anthony Lilley, Chief Creative Officer and CEO, Magic Lantern UK.

supervising the visual effects team for Pirates of the Caribbean: On Stranger Tides and production of Mission Impossible: Ghost Protocol, where he worked on-location in Dubai.

Day 1 will also feature discussions on how to create content to appeal to specific target audiences on various platforms. A panel discussion titled, ‘Monetisation of Content’ will help attendees gain a deeper understanding of what content buyers now look for while buying content, the different types of formats for different regions, and what some of the most sought-after genres and stories are for the year ahead.

A separate session highlighting how visual effects can help turn challenging story ideas into reality will allow delegates to learn specialist techniques of visual effects such as stereoscopic (3D), motion control and motion capture.

Universal McCann will present the latest findings from wave 6 of its on-going social media tracker study, revealing where huge requirements for content exist and the production and diffusion of content in Asia.

DAY 2: VFX, MOTION PICTURE & FEATURE FILM TRACK – EXPLORING TECHNOLOGY TRENDS AND BEYOND The second day of the conference will see representatives from Blackmagic Design, HK Film Workshop, Lucasfilm Animation Singapore, Pinewood Iskandar Malaysia Studios, Rhythm & Hues Studios and Widescreen Media discussing various aspects of production and post-production and also new and upcoming technology trends in VFX and film production.

Mohen Leo, VFX supervisor of Lucasfilm Animation Singapore, will share case studies from ILM Singapore on breaking down the VFX pipeline as he talks about his rich experience working on Hollywood projects such as Star Wars Episode 1 and 2 and Pearl Harbor and more recently,

The Place to Be for Content Producers The Creative Content Production Conference will culminate with two dedicated half-day post conference workshops on Friday, 22 June.

“Digital Feature Film Workflows – Doing it Right for Editing and VFX” will focus on using an endto-end solution to produce content for different mediums including film, while “Creating Stunning Motion Graphics and Visual Effects for Films and Animations” will offer tips & tricks on how to create stunning visual effects shots and motion graphics elements with significant time efficiency.

Complementing the Creative Content Production Conference, BroadcastAsia2012 will bring back the Cinematography/Film/Production techzone this year. The techzone will see an increase of about 14% as new exhibitors such as Tiffen, Miller, Scubacam, and Kinoflo join the show. Returning exhibitors such as Blackmagic Design, Matthews Studio Equipment, Cine Equipment, Miller, ScubaCam and The Media Village will be back to launch their latest products.

Visit http://broadcast-asia.com/creativecontent-production-conference.html

Australasiaâ&#x20AC;&#x2122;s conference and expo Australasiaâ&#x20AC;&#x2122;s llargest argest c onference a nd e xpo focused focu fo cuse use sed on sed on the on the he multi-screen, mul ulti ti-sscr creen, cree n, multi-platform mul ulti ti-p plla atf tform business bu b usi sin ne ess ss opportunity oppo ppo pp orrttu uni nity ty

Robert Tercek

21st & 22nd November Melbourne Convention & Exhibition Centre

Entrepreneur, Creative Artist, Educator

connect with ideas connect with people connect with opportunity

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Seth Shapiro

Two-time EmmyÂŽ award winner, leading advisor, author and speaker in digital media and media strategy

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Jim Hassell

Head of Product Management and Industry Engagement, NBNCo

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Michael Lantz CEO, Accedo

Diamond Sponsor

Gold Sponsors

Workshop Sponsor

Organised By

In Association With

Media Partner

Prof. Duane Varan

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PREVIEW

Magna Exhibiting Live and Interactive OTT MAGNA SYSTEMS AND ENGINEERING and Switch Media will be at the heart of the first ever OTT exhibit at this year’s Broadcast Asia show. Magna Systems has been appointed official systems integrator of the project and Switch Media will be handling the video content management and distribution in addition to the platform design. The exhibit sees a multitude of industry players coming together to create the show’s first live and interactive OTT exhibit.

Content will be provided by SPTL and consists of programming in English, Mandarin and Korean with multiple episodes of various shows. The source files are HD XCDAM 422 and there will also be promo and pre-roll content.

Switch Media’s Mark Johns said, “The content will be transcoded in the Switch Media platform to 5000kbs, 1000kbs and 512kbs versions and delivered with ABR. The content will also be loaded on to XOR Media servers and played back for the Switch Media tablet application as well as to Sony Bravia screens within the exhibit.”

There will also be a VOD portal created which will work on users’ own devices as well as Sony

tablets and PS3s provided for use in the OTT area. The tablets will support DLNA to send content to the main exhibit television screens.

Magna Systems and Engineering Director – Asia Pacific Operations, Patrick So, said, “It’s a great honour to be chosen and appointed as the official systems integrator for the Broadcast Asia 2012 OTT exhibit. We are drawing on over 40 years

systems integration experience in the broadcast industry to successfully bring all the elements together. Our role as Systems Integrators includes responsibility for the overall system design and integration, finalising the equipment list, defining rack space, creating circuit diagrams and detailing power requirements.”

Visit www.switch.tv and www.magnasys.tv

BroadcastAsia Goes Over-The-Top BROADCASTASIA HAS SET its sights beyond broadcasting to spotlight the convergence of technologies and solutions that are relevant to the fast-changing media landscape. Trade visitors at BroadcastAsia this year will get an opportunity to preview live demonstrations of new technologies such as Cloud Broadcasting and Over the Top Technology (OTT).

This new feature area will zoom in on OTT, a must-see for industry professionals as OTT

delivery promulgates in the coming years; with cloud broadcasting setting new standards in video content delivery network (video CDN).

Solutions for Digital Radio, DVB-T2, File-based and Digital Media Asset Management will also be showcased.

Visitors can also expect to see exhibitors’ advanced multi-screen technology, and multi-package, live-media delivery solution.

The equipment will be supplied by Axon, EVS,

Magna Systems and Seachange; and Sony Pictures Television Networks Asia will provide the content for this showcase.

Companies who will be part of the limelight at BroadcastAsia2012 include ATG, Blackmagic, Evertz, Envivio, Fortis, Grass Valley, Harmonic, Harris, Miranda, Nevio, Plisch, Quantel, Salzbrenner Stagetec, Sennheiser, Snell, Tektronix and Thomson Video Networks.

Visit www.broadcast-asia.com

Signiant CTO Ian Hamilton Presenting on the Cloud SIGNIANT’S IAN HAMILTON, the company’s Chief Technology Officer, will be a featured speaker at the upcoming BroadcastAsia2012 International Conference. His session entitled “Moving Global Content Exchanges to the Cloud,” will compare today’s private, public and hybrid cloud architectures for enterprise file transfer, including important considerations for content security, acceleration and control.

BROADCAST ASIA

“In today’s interconnected digital environments, media enterprises of all types have one thing in common: a requirement to move very large

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content files rapidly, securely and in a carefully controlled fashion,” said Hamilton. “The advent of globally dispersed content supply chains, multiplatform workflow complexities and shrinking distribution windows has stimulated vast digital content flows, and resulted in the need for greater content security and differentiated levels of service for users inside and outside of media organisations. With the emergence of private, public and hybrid cloud technologies, there is no shortage of options.

The key to a successful solution is the ability to

understand the differences.”

A featured session in this year’s Cloud Broadcasting track, Hamilton’s presentation will explore the realities of various cloud architectures to help attendees pinpoint the best solution for their organisation. Attendees will also learn how various systems are designed to manage authentication, authorisation, data integrity, data confidentiality and non-repudiation for added security at the content, user and network levels.

Visit www.signiant.com

Keep Up with BroadcastAsia and CommunicAsia Online!

For exhibition and conference news, Visit www.content-technology.com/broadcastasia

RAI Amsterdam Conference 6-11 September : Exhibition 7-11 September

IBC2012 Discover More IBC is at the cutting-edge of new technology in the rapidly evolving electronic media industry. It couples a comprehensive exhibition covering all facets of today’s industry with a highly respected peer reviewed conference that helps shape the way the industry will develop in the future.

Take advantage of a variety of extra special features including: • • •

Future Zone showcasing the latest developments in broadcast technology IBC Connected World including demonstration area in Hall 14 IBC Big Screen providing the perfect platform for manufacturer demonstrations and the Saturday Night Movie

•

•

IBC Production Village presenting the latest camera technology in a purpose built environment IBC Awards Ceremony acknowledges those who have made a real contribution to the industry hosted on Sunday 9 September

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

t w a ster o n i ter g/reg s i r g Re ibc.o w. ww

THE 3RD DIMENSION Stereoscopic production & exhibition

Cranking Up 3D Frame Rates FOLLOWING ON THE HEELS OF NAB2012, this year’s CinemaCon drew mixed reaction to 48fps, 3D preview screenings of Sir Peter Jackson’s The Hobbit.

Jackson and his crew maintain that with the human eye operating at the equivalent of 60fps, this 48fps production is a “natural progression toward giving the viewer what they would see in the real world”.

It is a progression that is likely to continue with developments such as Qube Cinema’s demonstration at CinemaCon of dualprojector 120 fps stereoscopic 3D playback during a Filmmaker’s Lunch with a panel that included Ang Lee and Martin Scorsese.

The demonstration used two stacked Barco projectors to show a combined 240 fps projection driven by a single Qube XP-I server sending 120 fps per eye to the Qube Xi IMBs in the two projectors. The demonstration featured test footage from the Fraunhofer Institute.

“Delivering two streams of 120 fps from a single source is a first in digital cinema,” said Eric Bergez, Qube Cinema’s director of sales and marketing for the Americas. “Qube is not only showing that technology for the new HFR films is ready but demonstrating the limits to which this technology can be taken with currently shipping products.”

“When you see HFR 3D at 48 and 60 fps for each eye, you can really appreciate the tremendous improvement over 3D at 24 fps,” said Rajesh Ramachandran, president of Qube Cinema, “but 120 fps 3D truly blows everything else away. Filmmakers can now be truly liberated from the barriers that technology has imposed – with no visual artifacts.”

Visit www.qubecinema.com

Bright Optimises 3D Data AT NAB 2012, Bright Technologies showed an enhanced version of its DataMover file management tool which now supports HyperFS, a file system that simplifies the management of large files, while providing high-speed, lowlatency file access across global repositories.

The development allows DataMover customers to benefit from HyperFS’s Ethernet and Fibre Channel connectivity, and provides additional 3D capabilities via DataMover’s 3D Stereoscopic Optimizer.

DataMover is designed to expose some of the most powerful elements of Bright’s data transfer technologies. Command-line user can leverage DataMover’s scripting power for innovative processes and customised workflow automation.

Its file-format agnostic feature reduces the need for excessive data shuffling for 3D projects by enabling content creators to merge 3D frames for optimised playback in one contiguous stream.

This simplifies the workflow requirements of 3D post-production by significantly reducing manual effort while delivering optimised playback at the same time. That way DataMover enables smaller post facilities to undertake 3D projects without having to dramatically increase their hardware commitments.

DataMover follows Bright’s basic principle of proactively preventing fragmented, randomised and interleaved file layout in the beginning by recognising sequences. This feature makes it possible to manage file based sequences as if they are a single file.

HyperFS provides over 140 petabytes of scalable storage capacity and multiple gigabyte transmission bandwidth, and supports massive data sets, single files as large as 32TB, and concurrent heterogeneous multi-user access.

Users are able to utilise storage resources more efficiently and share data from a single consolidated pool, thereby alleviating operational challenges and reducing operational costs.

Visit www.4bright.com

www.3d-day.tv

Teranex 2D and 3D Processors BLACKMAGIC DESIGN used NAB 2012 to announce Teranex 2D and Teranex 3D Processors, a new family of high end broadcast standards converter processors featuring Thunderbolt I/O technology capture and playback features.

After the acquisition of Teranex Systems Inc. in December 2011, Blackmagic Design commenced a product review process, and designed two new models of Teranex processors that would improve on the VC100 design that Teranex had been selling.

The Teranex 2D Processor is a single processor model that offers all conversions in 4:2:2 quality in a single channel. The Teranex 3D Processor model features dual model includes the extra SDI connections for dual link 3 Gb/s SDI input and output, as well as built in redundant power supplies.

These new models still features high quality processing, including up conversion, down conversion, SD/HD cross conversion, SD/HD standards conversion, cadence detect and remove, noise reduction, adjustable scaling, aspect ratio conversion, smart aspect, timecode conversion, subtitle conversion, 16 channel audio, test signals and more.

The Teranex 3D Processor model includes all this as well as 3D camera align, 3D dual stream standards conversion, 3D format conversions and 3D simulation.

The Teranex 3D Processor will also capture and play back two video files for dual stream 3D. This means customers get full compatibility with all popular software, including Final Cut Pro X, Adobe Premiere Pro CS6, After Effects CS6, Photoshop CS6, Avid Media Composer 6, and more. Also included is Blackmagic Design’s Media Express software.

Visit www.blackmagic-design.com

THE 3RD DIMENSION

Quantel Speeds Up 3D

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AT NAB 2012 Quantel showed a raft of

+ Mixing of Stereo3D and mono clips

new tools and capabilities for its Pablo colour correction and finishing system.

+ Addition of a Stereo3D or mono video guide track

A new Stereo3D multi-layer timeline (MLT) takes S3D colour and finishing to the next level, making Stereo3D finishing every bit as fast and productive as conventional 2D projects. Features of the new Stereo3D MLT include: + Stereo3D disparity control, allowing clips to be positioned in z-space

+ Easy swapping of eyes on a segment or track basis + Slide control to correct timing offsets between eyes Pablo now supports the import of Sony F65 RAW files, providing F65 users with the highest quality

post workflow for their projects. Also new at NAB was support for the latest RED HDRx, RED colour 3 and RED gamma 3. Pablo now also supports GPU acceleration for faster working with ARRI RAW files. ACES (Academy Colour Encoding Specification) is also now supported by Pablo.

As high-end post moves towards higher frame rates, Pablo is also ready with a new 48fps timeline.

Visit www.quantel.com

THE 3RD DIMENSION

3doo Launches In Europe 3DOO, INC. HAS officially launched through a strategic partnership with Panasonic Global in European markets.

“We are tremendously excited to introduce the world to 3doo’s innovative breakthrough media platform in Europe, in close collaboration with one of the world’s leading television manufacturers,” stated Michael Stougiannos, CEO of 3doo. “With the push of just one button, 3doo connects 3D users with unlimited 3D content in partnership with Panasonic’s Smart VIERA 3-D enabled television” 3doo’s cloud-based platform connects Panasonic’s European television viewers with High Definition 3D broadcast media content, including full-length and short 3D films, live and video-on-demand events.

Stougiannos also announced that within the first fifteen days of the 3doo-Panasonic partnership, the 3doo app was ranked among the ten highest in usage by Panasonic customers, along with industry giants such as YouTube, Facebook and Skype.

3doo users also enjoyed 61,000 3D movie viewings in leading markets such as Germany, Great Britain, Russia, Poland and France.

“3doo has rapidly captured the imagination of young, innovative and loyal 3D consumers, producers and users,” Stougiannos added. “After our dynamic European launch, 3doo is poised to enter the American 3D markets, where 3D enabled televisions, computer monitors, smart phones, and digital cameras and recorders are poised to unleash a technological revolution in entertainment and other 3D applications.”

Visit www.3doo.com

DVS Unleashes CLIPSTER 3D DVS HAS SHOWN version 5.0 of its DI workstation CLIPSTER introducing a set of dynamic enhancements and features in the 3D arena.

CLIPSTER’s integrated STAN (Stereoscopic Analyser) software’s algorithm analyses and corrects the 3D material geometrically, including keystone correction. The handling of independent streams and their synchronisation offer time-savings even when processing tasks with the highest frame-rates.

Users can apply the overlay’s difference and anaglyph modes to control the result, or consult the 3D depth histogram for quickly readable depth allocation - including configurable thresholds for maximum disparities.

Along with its Digital Cinema Mastering Tool, CLIPSTER supports mezzanine files such as IMF (Interoperable Master Format), providing the digital master as a file package with different video, audio, subtitles or closed caption tracks. The integrated SOAP (Service Oriented Architecture Protocol) interface provides automated control from third-party applications.

In combination with RAW cameras, CLIPSTER assures massive flexibility – e.g. by supporting RAW material from RED, ARRI and now also Sony cameras. The CLIPSTER accelerator board decodes, demosaics, and processes RAW content faster than real-time.

Furthermore, CLIPSTER supports formats like Panasonic AVC-Ultra, Sony SR, Apple ProRes 422 and Avid DNxHD, and is capable of reading and writing OpenEXR. Visit www.dvs.de

3D Perception Launches StarScan NORWAY-BASED 3D PERCEPTION (3DP) and RPA Electronic Solutions of the USA have combined to integrate RPA’s automated alignment scanner with 3D perception’s image processing solutions to provide a complete visual alignment solution.

StarScan uses high-resolution optical sensors to perform 360-degree, three-dimensional screen measurements resulting in a precise 3D map of the screen surface. This is live-linked to 3DP’s nBox display processor, where the measurement data is processed and geometric warping and blending is applied to raw source visuals. The result is a precision-aligned image projected onto any screen shape or size.

than one arc minute of accuracy as well as optional colour sensing devices to perform colour matching across all display devices within the visual system. A visible spectrum laser rangefinder provides screen surface scanning and measurement to produce 3D screen maps.

Knut Krogstad, CEO of 3D perception said, “The 3D perception and RPA systems merge perfectly with one another, playing upon the strengths of both designs, providing the most accurate automated alignment system available for critical applications where absolute placement of visual imagery is required.”

The system can also act as an installation aid, providing real-time measurements of distance to various points on the screen in order to ensure accurate placement.

Rick Pray, CEO of RPA said, “We are delighted to have been able to work with 3D perception to produce this exciting new visualisation automatic calibration system.”

Visual sensors include a high-resolution optics system which measures test points to better

Visit www.3d-perception.com Visit www.rpaelectronics.com

ACQUISITION www.content-technology.com/acquisition

ARRI ALEXA Cameras Chosen for Helicopter Shots option for slo mo. For their production they needed stabilised aerial shots and they were also interested in both 2D and 3D applications.”

With the brief from the client locked in and the cameras chosen, Coyle and his team discussed the best way to integrate the cameras into the rig.

He added, “Shotover designs high end gyro-stabilised camera systems for helicopters, both 2D and 3D versions, so we know our craft well. That said it still took several months to design the correct solution which would successfully integrate the cameras and lenses into our gimbal system – it’s a complex process as you can imagine. ARRI Australia were a big help with the integration of the cameras into the gimbal and also helped with the alignment process for 3D footage recording.”

Helicopter shoots can be tricky at the best of times and with the added complexities of 3D production in play, close collaboration with suppliers is essential.

SHOTOVER CAMERA SYSTEMS NZ provides stabilised aerial and ground based camera systems that produce high quality images from the world’s best camera and optics. When a requirement came in from a European client for a 2D and 3D capable ‘gimbal’ rig system, they chose ARRI ALEXAs as their cameras for the project.

ACQUISITION

Shotover MD John Coyle said, “The customer really wanted the ALEXA too, as it is very much the camera of choice in Europe. Their requirement was the use of the standard ALEXA or the ALEXA PLUS and a high-speed

24

ARRI Australia MS Stefan Sedlmeier said, “Shotover Camera Systems work with high-end 2D and 3D aerial solutions. Thus the cameras they choose are important, as is the support that comes with the cameras. We have been working closely with Shotover for a few years now and I’m delighted we were able to help them in such a comprehensive way on this project. We are very much looking forward to the next one involving the new ALEXA M cameras.”

Visit www.shot-over.com and www.arri.com.au

Sony HXR-NX5P Wins Over Educators

Global TV Expands Canon HD Lens Inventory

THE HXR-NX5P from Sony’s NXCAM family of camcorders records 1920 x 1080 images at 24Mbps using the MPEG4 AVC/H.264 codec and features relay recording to dual memory slots. Its three 1/3” Exmor CMOS sensors deliver the image quality required for industry acceptance, without the cost of higher end technologies. Two of several institutions across Australia that have adopted the HXR-NX5P are Swinburne and Curtin Universities.

CANON AUSTRALIA AND GLOBAL TELEVISION have announced the purchase by Global Television of 17 Canon High Definition (HD) Box-style and Electronic Field Production (EFP)-type lenses with full controls. The purchase agreement was reached at the recent NAB conference in Las Vegas.

The Faculty of Design at Swinburne University of Technology in Victoria recently added 38 HXR-NX5P cameras to its inventory of 80 cameras servicing more than 300 students.

“We are delighted to extend our relationship with Global Television through this agreement,” says John McInerney, National Sales Manager – Optical, Canon Australia. “It delivers Global the very best lens complement available in the industry today and confirms Canon as the brand of choice for HD professional optical products.”

“We have more than 120 first year students and I made the decision last year that it was time to move them up to high definition, tapeless cameras,” said Dennis Nicholson, AV Production Manager at Swinburne. “A film school is a great place for testing equipment and our Sony HVR-Z1P cameras survived well in arduous conditions but as good as they were, tape has had its day.”

The lenses expand Global Television’s inventory of Canon high-end HDTV lenses, which includes a vast number of XJ100:9.3, XJ86:9.3, XJ75:9.3 and XJ27x6.5 Box-style lenses as well as HJ22:7.6 and HJ14:4.3 EFP-type lenses.

Global has acquired this lens inventory over the past three years as part of the HD upgrade of its outside broadcast fleet.

Howard Worth, Head of Department at Curtin University’s Film & Television and Screen Arts course, also moved his growing number of first year and journalism students to the NXCAM HXR-NX5P camera.

Geoff Rudder, Global Television’s General Manager – National Resources, said, “We decided on the Canon lenses as they offer the best picture quality and operator familiarity, as well as the post-sales service you would expect from an industry leader,” said Rudder. ”The flexibility of the Canon components also enables us to mix and match accessories for myriad uses.”

“For the past five years we have been using Sony DSR-PDX10 cameras but they are limited to DV tape quality and we decided to upgrade because we wanted to move to a tapeless environment and were starting to get a few failures,” said Worth.

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

Among its projects, Global will deploy the Canon lenses on a number of upcoming outside broadcast events including the new series of Big Brother.

Visit www.canon.com.au and www.globaltv.com.au

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FFV Launches sideKick HD Studio FAST FORWARD VIDEO (FFV) has launched the sideKick HD Studio, a rack-mounted version of the company’s new sideKick HD family of multiformat, straight-to-edit digital video recorders (DVRs). The sideKick HD Studio records video directly into NLE codecs such as Avid DNxHD and Apple ProRes, enabling movement of high-quality content directly into studio editing and playout workflows.

Occupying a half RU in width and 2 RU in height, the sideKick HD Studio is ideal for fixed production environments such as studios, base stations, and OB trucks. Like the camera-mounted sideKick HD, the sideKick HD Studio is able to record at 220 megabits per second at 7:1 compression.

The sideKick HD Studio records directly onto 2.5-inch SSD drives in native DNxHD or ProRes formats, meaning files can be uploaded directly into the NLE environment without requiring ingest or transcoding. Users can transfer footage recorded by the cameramounted sideKick HD into the sideKick HD Studio, or use the system to record video from other content sources such as satellite feeds and studio cameras.

The sideKick HD Studio also features a 1GbE port, a 4.3-inch on-board confidence monitor, genlock, 4:2:2 sampling, and timing control.

Visit www.ffv.com

Sound Devices Introduces PIX 260

New Sony HD Super Slo-Mo Camera SONY HAS ANNOUNCED the NEX-FS700U Full-HD Super Slow Motion camcorder, the latest in Sony’s line of NXCAM interchangeable E-mount camcorders. The new Super 35mm model is designed for high-speed shooting, capable of capturing footage at up to 960 frames per second. The camera also features a range of capabilities such as 3G HD-SDI output and built-in ND filters.

The camera delivers full HD quality at 120 and 240 frames per second in a 16 or 8 second burst mode respectively. The NEX-FS700U’s high sensitivity and low noise shooting capability makes super slow motion shooting more convenient without the need for additional equipment. Its 480 fps and 960 fps at reduced resolution are available for faster frame rate recording.

The NEX-FS700U uses a new 4K “Exmor” Super 35 CMOS sensor (Total 11.6 million pixels). This high-speed readout chip is optimised for motion picture shooting, giving high sensitivity, low noise and minimal aliasing.

The NXCAM line’s E-Mount flexibility is designed to accept virtually all SLR and DSLR 35mm lenses, and is 60/50Hz switchable to give shooters the freedom of working in any geographic region without being restricted to only PAL or NTSC recording.

Sony is planning a future firmware upgrade that will enable the NEXFS700U to output 4K bitstream data over 3G HD-SDI when used with an optional Sony 4K recorder. The NEX-FS700U is planned to be available in June at a suggested list price less than $10,000.

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

AJA Ki Pro Goes 4K

SOUND DEVICES HAS INTRODUCED its new PIX 260 production audio/ video recorder. Based on Sound Devices’ PIX 220 and PIX 240 recorders, the rack-mounted PIX 260 is a file-based video/audio recorder/player that replaces tape-based video decks in production and post-production environments.

Using the Apple ProRes or Avid DNxHD codecs, the PIX 260 records and plays files up to 220 Mbps in 10-bit 4:2:2 video as well as 32 tracks of 48 kHz audio. Files from the PIX 260 are ready for direct import into Avid and Final Cut editing environments, and can also play out of the PIX 260 for realtime applications.

In addition to 16 channels of embedded SDI audio and eight channels of HDMI audio, the PIX 260 also accepts eight channels of line-level analogue I/O and eight channels of AES digital audio. Using Dante, the PIX 260 can accept and transmit up to 32 channels of audio over Ethernet.

The PIX 260 has a built-in five-inch 800 x 480-pixel video display that allows users to view video and setup-menu selections. The PIX 260 can be controlled by both external RS-422 and via Ethernet through the embedded Web server. Up to four SATA drives can be connected simultaneously, and all four drives can also be recorded to simultaneously.

Visit www.sounddevices.com

Panasonic Debuts microP2

ACQUISITION

CONTINUING ITS EVOLUTION to higher-speed, lower-cost media, Panasonic announced a new series of memory cards called microP2 card, which have an SD card form factor. The simultaneous introduction of a microP2 Card Adaptor ensures that the new series of 64GB and 32GB microP2 cards will operate in current P2 hardware.

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The microP2 card will ensure high-speed transfer, high reliability and the writing assurance of all P2 frame rates, formats and codecs, as well as Panasonic’s newest compression platform. The microP2 media and microP2 Card Adaptor will be available in spring 2013.

Visit www.panasonic.com

AJA VIDEO SYSTEMS has announced Ki Pro Quad, a new solid-state portable video recorder. Ki Pro Quad is capable of capturing high-quality edit-ready files in formats including 4K (4096 x 2160), Quad HD (3840 x 2160), 2K (2048 x 1080), and HD (1920 x 1080), for the fastest path from camera-to-editorial with 10-bit 4:4:4 and 10-bit 4:2:2 colour support.

Ki Pro Quad helps facilitate a powerful workflow for 4K, accepting RAW camera output via SDI simultaneously outputting that data via Thunderbolt. The recorder also performs debayer processing of the RAW data that can be used to produce on-board Apple ProRes recordings to SSD media. HD, 2K and 4K ProRes files recorded to removable SSD media may easily be used in a variety of popular non-linear editors.

The debayered image produced by the Ki Pro Quad can also be used for 4K monitoring in real time. A scaled or cropped output is also simultaneously available for 2K or HD monitoring via dedicated SDI and HDMI connections.

“We have been working very closely with Canon Inc. headquarters in Japan to optimise performance between Canon’s upcoming Cinema EOS C500 digital cinema camera and our Ki Pro Quad,” said Nick Rashby, President, AJA Video Systems. “Ki Pro Quad offers some amazing new ways of working; by creating post-friendly files to removable SSDs, moving the original camera RAW files to a Mac, and allowing 4K monitoring all at the same time.”

Visit www.aja.com

ACQUISITION

Canon Shows Prototypes of 4K Digital Cinema Cameras

Blackmagic Enters Camera Arena BLACKMAGIC DESIGN HAS announced Blackmagic Cinema Camera, a digital cinema camera that includes features such as a super wide 13 stops of dynamic range, high resolution 2.5K sensor, built in high bandwidth SSD recorder, open file format support, colour correction with full version of DaVinci Resolve and a built in LCD with metadata entry, all in a compact design for US$2,995.

Blackmagic says the Cinema Camera has been designed so customers get a true feature film look, and can shoot high end television commercials, episodic television programming and feature films.

Blackmagic Cinema Camera includes a super wide 13 stops of dynamic range, large 2.5K sensor, a built in SSD recorder that has the bandwidth to capture open standard CinemaDNG RAW, ProRes and DNxHD files, a built in capacitive touch screen LCD for direct metadata entry, standard jack audio connections, built in high-speed Thunderbolt connection, 3 Gb/s SDI output, a refrigerated sensor for low noise, and is fully compatible with Canon EF and Zeiss ZF mount lenses.

CANON INC. IS DEVELOPING two digital cinematography cameras as part of its new Cinema EOS System of professional cinematography products.

Designated as the Cinema EOS C500 for use with EF-mount lenses, and the Cinema EOS C500 PL for use with PL-mount lenses, the cameras will be capable of originating 4K (4096 x 2160-pixel) resolution digital motion imagery with uncompressed RAW output for external recording.

“With the unveiling of our Cinema EOS System last November to great acclaim, Canon marked our full-fledged entry into the motion-picture production market,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “To further serve the needs of Hollywood’s premier filmmakers, Canon is developing the Cinema EOS C500 and Cinema EOS C500 PL digital cinematography cameras, which deliver the added benefit of full 4K motionimage capture to the Cinema EOS System.”

Blackmagic Cinema Camera also includes a full copy of DaVinci Resolve for colour correction and Blackmagic UltraScope software for waveform monitoring. UltraScope can be run on a laptop connected to the camera via a Thunderbolt connection.

Blackmagic Cinema Camera includes an innovative industrial design built from solid machined aluminium metal, which results in an attractive but rugged design. All of the camera, recorder and display have been shrunk down into a lightweight design that’s very portable.

Visit www.blackmagic-design.com

The Cinema EOS C500/C500 PL digital cinematography cameras will not only support 4K-resolution video but also outputs this as a 10-bit uncompressed RAW data stream with no de-Bayering. The cameras offer the additional versatility of being able to output Quad HD (3840 x 2160), 2K (2048 x 1080), full HD (1920 x 1080), and other imaging options. All 4K formats can be selected to operate from one to 60 frames per second. The cameras employ a 12-bit RGB 4:4:4 signal format during 2K output, which can be selected to operate from one to 60 frames-per-second (fps) as well. If switched to a 10bit YCrCb 4:2:2 mode, the camera can operate up to 120 fps.

ACQUISITION

Visit www.canon.com.au

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ACQUISITION

NAB Through the Looking Glass New Camera Roundup Part 1 ARRI USED THIS YEAR’S NAB to unveil the ALEXA Plus 4:3, a new ALEXA model with similar functionality to the ALEXA Plus but featuring a 4:3 Super 35 sensor, the ability to switch from 16:9 to 4:3 sensor mode and built-in licenses for high speed shooting, anamorphic de-squeeze and DNxHD. The ALEXA Plus 4:3 joins the ALEXA Studio and ALEXA M, which already have 4:3 sensors.

Anamorphic Lenses squeeze the image by a factor of two, thus projecting a 1.195:1 aspect ratio image onto the sensor. When using sensors that are natively 16:9 or even wider, it is necessary to crop the sides, resulting in a much smaller used sensor area and a different angle of view for the lens.

With the ALEXA 4:3 cameras, the full area of the sensor is used which means more light per photosite, translating into greater sensitivity, less noise, more exposure latitude and sharper images. Alternatively, the larger sensor area can be used for greater freedom in vertical repositioning when using spherical lenses. It is not possible to upgrade from any version of the ALEXA to the ALEXA Plus 4:3 since the yield for ALEXA 4:3 sensors is lower than that for 16:9 sensors.

In February of 2012, ARRI released the Software Update Packet (SUP) 6.0 for ALEXA, enabling DNxHD recording with the purchase of a license from the ARRI Webshop. In addition, there were a number of new features, including colour bars, new user button abilities and new icons in the electronic viewfinder and on MON OUT to indicate an ARRI Look File being active.

Smooth Mode was also indicated in the electronic viewfinder.

DNxHD meant ALEXA cameras could support four different output formats, each with various flavors (for example five ProRes codecs with different compression ratios).

ALEXA output formats include: ARRIRAW and HD-SDI video, which both require an external recorder; and Apple QuickTime/ProRes files and Avid MXF/DNxHD files, both with internal recording to SxS PRO cards.

Following that update, SUP 6.1 is due for release at the end of June, which will result in one united software across all ALEXAs. Among the new features is unique camera ID to facilitate improved switching on multi-camera shoots.

Meanwhile, SUP 7, which is scheduled for Q3 2012, will include a new Debayer algorithm that provides even cleaner, sharper-looking images, especially on high contrast edges and in areas with fine detail.

Currently equipped with horizontal image flip, SUP 8 will introduce vertical image mirroring for quick low mode Steadicam shots, as well as the ability to post trigger recording (via a buffer), card spanning (automatically switching recording from Card A to Card B, within half a frame, without having to halt shooting), compatibility with the Cooke /i system allowing the recording of

ACQUISITION 28

lens metadata into footage and compatibility with the ARRI Ultrasonic Distance Measure (UDM-1). SUP 8 is due at the end of 2012.

Visit www.arri.de

PANASONIC While many companies talk about workflow and the cloud, Panasonic in the U.S. presented the pieces of that jigsaw in the form of a network of content upload bureaus working with cloud video production platform Aframe.

Tapping into Panasonic dealers across the country, the Panasonic Production Network (PPN) will initially target New York City, Los Angeles, Chicago, San Francisco, Atlanta, Miami, Boston and Dallas as the first cities to host upload centres linked to Aframe’s cloud video production servers in the U.S. A cloud video production platform, Aframe allows users to share, search and collaborate without on-site equipment or full-time staff, and only requires an Internet connection. Aframe allows for any original, large broadcast-quality video format in any length to be uploaded, including uncompressed raw footage, not proxies or intermediaries.

Visit http://aframe.com

Following that update will be SUP 8 which will include two new ProRes recording formats, ProRes 4:3 (2048 x 1536) and ProRes 2K (2048 x 1152) for those who want to use the simple, fast and efficient ProRes workflow for anamorphic or spherical feature films. For DNxHD license owners, DNxHD 444 (10 bit 4:4.4) will provide high quality in-camera DNxHD mastering.

Tape

Ready for cellular networks, Panasonic’s new AJ-HPX600 P2 camcorder.

Also on the workflow front, this time in the field, Panasonic announced alliances with video-over-mobile providers LiveU and Dejero.

Panasonic and LiveU are to deliver an integrated camcorder and live video uplink solution, utilising the LU40i video uplink device and the new AGHPX600 P2 camcorder with planned wireless integration features. The LU40i will be linked via the camera interface, giving camera operators a real-time indication of LiveU’s transmission status and video quality. It will also enable camera operators to manage the video uplink while shooting.

Meanwhile, Panasonic and Dejero announced plans to offer the Dejero LIVE+ NewsBook, a complete cellular uplink solution for remote production and electronic news-gathering (ENG) operations.

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ACQUISITION

The LIVE+ NewsBook is an extension of Dejero’s bonded live video transmission platform, which also includes the LIVE+ 20/20 Transmitter, a professional grade rugged mobile transmitter, and the LIVE+ Mobile App. The LIVE+ NewsBook will send signals using an online system manager to in-station LIVE+ Broadcast Servers, which capture the incoming video and convert it to genlocked HD/SD-SDI video ready for ingest into a television station’s workflow.

On the camera side, Panasonic unveiled the AG-HPX600, a new shouldermount P2 HD camcorder with 10-bit, 4:2:2 AVC-Intra recording.

Weighing less than 7 pounds and using low power, the HPX600 incorporates a 2/3 type MOS sensor to produce HD and SD images. The HPX600 will achieve the high sensitivity of F12 (at 59.94 Hz) and a signal-to-noise ratio of 59dB. It supports AVC-Intra100/50, DVCPRO HD, DVCPRO50, DVCPRO, and DV as standard. It is 50 Hz and 59.94 Hz switchable for worldwide use.

The HPX600 will allow the user to upgrade his camera as new functionality becomes available. When available within 2013, AVC-ULTRA will offer master-quality and/or low-bit-rate 10-bit, 4:2:2 recording in Full HD to meet variety of user needs from mastering to transmission (the AG-HPX600 will not support all AVC-ULTRA formats).

The HPX600 also features wireless and wired connection ability with Wi-Fi, USB and Gigabit Ethernet.

The interchangeable lens camcorder will be equipped with Chromatic Aberration Compensation (CAC) to maximise lens performance, Dynamic Range Stretch (DRS) function to help compensate for wide variations in lighting, and flash band detection and compensation software that eliminates this effect. Original features will include a smart user interface that permits accessibility to the camera’s extensive functions from an LCD display on the side of the camera. The HPX600 will offer two P2 Card Slots and an SD Card Slot.

Panasonic has also introduced a software upgrade to augment the recording and shooting functions of its AG-AF100 Large Imager HD Cinema Camcorder.

The upgrade (AG-SFU100) will enable acquisition in the 1080/60p and 1080/50p HD recording formats (in new 28Mbps PS mode), and will substitute the 2.39:1 aspect ratio marking for the current 2.35 marker.

The company also announced the AG-AC160A and AG-AC130A, upgraded versions of its newest professional AVCCAM HD camcorders. Improved functionality in both camcorders includes expanded focus assist and turbo speed one-push auto focus function; the AC160A also incorporates acquisition in the 1080/60p and 1080/50p HD recording formats, especially valuable to worldwide customers in broadcasting, sports and scientific analysis, where this mastering-quality format is rapidly proliferating.

The new HXR-NX30U records at full 1920x1080 HD resolution using a Carl Zeiss Vario-Sonnar T* lens (35mm equivalent: 26.0mm -260mm). The camcorder’s 1/2.88-inch image sensor uses Sony’s Exmor CMOS technology, which significantly enhances low-light performance, speeds image readout, reduces rolling shutter artifacts and enables a range of frame rates 1080/60p, 1080/30p, 24p, 60i, 720/60p.

Using AVCHD recording, the camera has 96GB of internal memory (approx.

40 hours of HD content), with a slot that accepts either SD or Memory Stick media cards for additional recording capacity. A built-in video projector lets users play back images of up to 100 inches from a distance of about 16 feet (5m) on any flat surface.

Another addition to Sony’s line of NXCAM interchangeable E-mount camcorders is the NEX-FS700U Full-HD Super Slow Motion camcorder. The new Super 35mm model is designed for high-speed shooting, capable of capturing footage at up to 960 frames per second (see p26 for more details).

Sony also claimed to raise the bar for remote cameras with the release of the BRC-H900 which is equipped with three 1/2 type Exmor HD CMOS sensors, HD 1920x1080p with 1000 TV lines (horizontal) in HD-SDI mode, sensitivity of F10 and a signal-to-noise ratio of 50dB. The BRC-H900’s three 1/2 type HD CMOS sensors each have an effective pixel count of 2.07 megapixels (x3). The BRC-H900 features 14x optical zoom and optical image stabilisation features, as well as colour and lighting adjustment functions, allowing for tweaks in colour matrix/detail, gamma level/black gamma, and knee point/slope/SAT Level. Other features include HD/SD-SDI outputs, tally lights, and, for long distance transmission of video signals, the BRC-H900 can be used with an optical transmission unit, model BRU-SF10. Sony will introduce IP control options in 2012, including an IP remote controller which enables control of several BRC-H900s.

Sony also unveiled additions to its range of live production solutions: the HDC-2000 and the HDC-2550. Both the HDC-2000 and HDC-2550 models utilise a newly developed 2/3-inch-type Charge-Coupled Device (CCD) image sensor and Digital Signal Processing (DSP) with a 16-bit A/D converter.

The HDC-2000 is the studio version of the portable HDC-2500, which is suitable for studio and sports applications with a variety of signal output formats, including 1080/50P, 59.94P and RGB 4:4:4 output.

Like the HDC-2500, it uses 3Gbps, high bit-rate fibre transmission, enabling greater data throughput and higher frame rates without compression. This bigger bandwidth can support 3D operations, transmitting two single camera signals in parallel through a single fibre cable. 3Gbps fibre transmission also realises 2x slow motion picture (1080/60i, 50i, 720/60P, 50P) production.

In addition, 3Gbps fibre can enable dedicated IP network communication between the HDC-2000 and HDCU-2000 or HDCU-2500 control units.

The new HDC-2550, meanwhile, includes as standard a triax cable interface, which enables simple integration with existing studio or outside broadcast infrastructures. This portable camera has a new changeable transmission side cover, which allows the user to easily switch between fibre and triax.

In addition to conventional focus-in-red assist, the expanded focus assist enables the AC160A and AC130A to zoom in on the picture to check focus. The “turbo-speed” one-push auto focus capability ensures that the camcorders quickly attain focus.

The HDC-2550 camera is also equipped with a dual optical filter wheel and it offers variable frame rates: 1080/50i, 59.94i and 720/50P, 59.94P as standard, as well as progressive frame rates 1080/23.98PsF, 24PsF, 25PsF and 29.94PsF as an option.

The AC160A and AC130A incorporate high-sensitivity 1/3”, full-HD 2.2 megapixel 3-MOS imagers to capture native 1920x1080 resolution images, with a new, wider 22X HD zoom lens, the longest in its category. Key features include two SD Memory Card slots for relay or simultaneous recording, compatibility with Panasonic’s new SDHC full Class 10 UHS-1 (Ultra High Speed) Memory Cards, an enhanced viewfinder and LCD display, and DV recording. The higher-end AC160A also includes such top production features as variable frame rate recording in 1080p, Linear PCM audio, HD-SDI output, and switchability between 59.94Hz/50Hz.

Lastly, the new PMW-100 XDCAM HD422 Handheld Camcorder records full broadcast quality MPEG HD422 video within a hand-held form factor.

Equipped with a newly developed 1/2.9-inch Exmor CMOS sensor, the camcorder delivers excellent picture performance and also achieves minimum illumination of 0.08lx. It features a 5.4-54mm (40-400mm in 35mm equivalent) zoom lens. The PMW-100 supports full HD video at 1080i, 1080p and 720p up to 50 Mbps MXF record, and can record high quality 24-bit four-channel audio at uncompressed 48kHz.

Email broadcastsales@panasonic.com.au

SONY Sony claimed to have cured the shakes at this NAB with the HXR-NX30U high-definition camcorder, a palm-size addition to Sony’s NXCAM line. The new model uses Sony’s Balanced Optical SteadyShot image stabilisation technology to significantly reduce camera shake. SteadyShot combines the entire lens and image sensor assembly into one floating element that moves as a unit to reduce the shaking effect caused by motion during shooting.

The camcorder offers a high level of flexibility using a variety of recording media including high speed SxS PRO memory cards as well as SD cards, Memory Stick media, and XQD cards as an ‘emergency’ secondary media.

The new application software “SxS Memory Card Management Utility” will provide additional operational convenience with SxS memory cards, such as data back-up functions and the life time indication of the card in use.

Other features include a full colour 3.5-inch WVGA (852x480) LCD, a Slow & Quick Motion function, HD/SD-SDI output, Composite Out, Genlock input, time code in/out, i.LINK (HDV/DV) in/out, and A/V Out. Visit http://pro.sony.com.au

ACQUISITION

Dejero has created a version of its LIVE+ 20/20 Transmitter that enables the Panasonic Toughbook 53 semi-rugged notebook computer to transmit live video, edited packages, or media files over public broadband networks.

This will not only allow a live input from a camera, but will also enhance the ability to stream an edited package back to a station in real time.

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SPORTSCASTING Sport coverage worldwide

www.content-technology.com/sportscasting

It’s Straight Out of Boxx for Olympic Non-Rights Solution LOOKING TO TARGET those broadcast organisations who missed out as rights holders for the 2012 London Olympics, Australian expats Scott and Mark Walker of Boxx Digital Microwave Systems are touting wireless broadband as the distribution medium of choice for sportscasters looking to convey that bit of Games magic.

According to Boxx Technical Director, Scott Walker, the company will be building on the Wi-Fi service it set up for coverage of 2011’s Royal Wedding.

“In April last year, we produced a product called Street-Live which we developed for the Royal Wedding in London and we set up some industrial level Wi-Fi access points and sold off dedicated uncontended bandwidth to broadcasters so they could use products like Streambox or Dejero or Quicklinks.

“These products are usually laptop based products

and are primarily designed to go and read poor quality internet connections or 3G bonding and so what we thought is, if we were able to supply a good quality uncontended internet connection at these key locations outside Westminster Abbey, the broadcasters could use these platforms that are engineered to work over very poor quality internet connections. They have very clever forward error correction and buffering technology.

So, when you actually give them a good quality internet connection which isn’t contended - we can offer them 2, 3, 4 Mbits upload - these platforms really perform very well.”

Boxx Technical Director Scott Walker.

Now, says Walker, the company is looking at taking that same technology into coverage of the Olympics.

probably marketing this to non-right holders, the broadcasters that aren’t able to get inside the facilities, looking for cost-effective options other than the traditional satellite trucks. We can provide the end user with a directional antenna which they basically point up towards our receive station and they buy slots which then give them 2, 3 megs uncontended guaranteed upload.”

“We’ve secured some building rooftop space right around the Olympic Village and we’re

For more information, call +44 (0)845 643 2874 or email sales@boxx.tv

BBC Chooses Harris for 2012 Olympics UK-BASED SYSTEMS INTEGRATOR, Dega Broadcast Systems, is building the BBC Production Centre for its coverage of the games in London this summer, based on a Harris Corporation integrated broadcast solution.

Harris is supplying a range of technology for the BBC Production Centre onsite at the Summer Games, including the Selenio media convergence platform and the new Harris HView SX Pro multidisplay management solution. The complete Harris infrastructure solution will provide missioncritical broadcast services for a global viewing audience of many millions.

To help support it through the critical period leading up to the games, BBC has brought

together an expert team of systems designers and integrators in which Dega Broadcast Systems is playing a leading role. In turn, Dega has designed a broadcast production workflow that incorporates system components from a single technology vendor, Harris, to simplify systems integration and product support.

Selenio will handle all video and audio processing requirements from a single, highly integrated platform that simplifies deployment and maximises ease of use. Another spacesaving Harris solution, the new HView SX Pro multiviewer, will live within a Harris Platinum integrated routing solution to enable signal monitoring with top grade picture quality and

control options. Harris 6800+ core processing and Videotek test and measurement products complete the solution.

“Our choice of Harris was based on the quality of their technology solutions, combined with their ability to provide a comprehensive package of products cost-effectively,” said John Cleaver, project manager, Dega Broadcast Systems.

“Importantly, Harris works closely with us to ensure that the use of the facilities is maximised, that we understand their products and that the products are efficiently supported throughout the games in London this summer.”

Visit www.harris.com

SPORTSCASTING

First SE Asian Swim Championships Go Cross-Platform

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THE FIRST-EVER Southeast Asian (SEA) Swimming Championships will be broadcast on major regional television and online video streaming channels under an agreement with World Sport Group, the company which has been appointed as the exclusive media rights partner for the 2012, 2014 and 2016 editions of the event.

the 2012 London Games will begin on June 13th on leading video streaming websites UStream (http://www.ustream.tv/SEASwim) and YouTube (http://www.youtube.com/SEASwim), as well as on StarHub (Singapore), Astro (Malaysia), Skynet (Myanmar) and ONEWorldSports (USA), with other broadcasters to be confirmed.

This FINA-sanctioned regional event is being held in Singapore from May 28th to June 17th, and features four aquatic disciplines – swimming, water polo, synchronised swimming, and diving.

Highlights clips of the water polo, synchronised swimming, diving and swimming competitions are available on YouTube and UStream as of May 28th. Fans can also get up-to-the-minute news and updates on social media portals Facebook (http://www.facebook.com/SEASwim) and Twitter

Live coverage of the swimming competition finals which will also serve as the final qualifiers for

(https://twitter.com/#!/SEA_Swim).

“We are delighted to be a part of the first-ever SEA Swimming Championships, a milestone for aquatic sports in the region. Coverage on some of the world’s most popular video streaming and social media sites, along with television broadcast will ensure that the competition will be available to a wide audience in the region and beyond,” said Mark Hardess, President, ASEAN and Australia, World Sport Group.

Visit www.seaswim.org and www.worldsportgroup.com

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Digital Rapids Enables Online Coverage of IPL Cricket DIGITAL RAPIDS’ STREAMZ LIVE adaptive bit rate (ABR) encoders have been chosen by Times Internet Limited (TIL) for live online streaming of the 51-day Indian Premier League (IPL) tournament through the indiatimes.com website and via YouTube.

Eight StreamZ Live ABR encoders were supplied for the project by Digital Rapids partner Shaf Broadcast Pvt Ltd. The encoders are deployed in a high-availability configuration, with redundancy further bolstering the robust reliability of the StreamZ Live encoders. Each HD input source is encoded to multiple output profiles at varying resolutions and bit rates for adaptive streaming, enabling viewing experiences that automatically adapt based on the viewer’s available bandwidth.

Separate streams are available for different geographic regions with varying time delays.

The live HD streams of the IPL matches are

supported by a host of new features and interactivity introduced by TIL this year on its IPL website. A new interactive video scorecard shows important highlights such as wickets and runs scored, while new video-on-demand features offer additional highlights such as fours, sixes and face-offs between players. New DVR-like features allow viewers to rewind the live stream and watch any parts of the match they may have missed, while social media integration enables fans to come together to support their favourite teams and players.

“With IPL on India Times, there was a 79% rise in viewership of the site in just one year. This year, we hope to take that figure even higher by creating a virtual IPL hub where fans can view and engage with the game even more actively. High-quality streaming video is at the centre of that experience, and the Digital Rapids solutions are critical in

Global TV Buys 24 Sony HDC2400 Camera Chains IN ONE OF SONY’S most significant deals of recent times, Sony Australia’s Professional Solutions Division announced that Global Television had purchased 24 Sony HDC2400 camera chains at this year’s NAB Show.

Garry Rhodin, General Manager of Sony Australia’s Professional Solutions Division, said, “As one of the region’s most forward thinking service providers Global TV is further expanding its camera fleet to meet the market’s growing needs for high definition coverage and the HDC2400 meets these requirements perfectly.”

Sony’s HDC2400 HD camera chain is a member of the company’s flagship HDC2000 series of high performance HD cameras featuring 3G SMPTE fibre connection, 2/3-inch CCD and 16bit A/D converter. Global’s newest acquisitions join an already substantial fleet of over 140 HDC series cameras owned and operated by the company.

Geoff Rudder, Global Television’s General Manager – National Resources, said, “In order for Global to stay ahead of the game we

are continually acquiring the best possible technology. We decided on the HDC2400 camera chains as they are Sony’s top of the line cameras with unparalleled picture quality, operator familiarity and flexibility of formats.

The HDC2400s also enable us to mix and match accessories and chain components with our existing HDC1000 series fleet for even greater flexibility.”

Global’s new HDC2400s will predominantly be used in the coverage of major Australian sporting events, OB environments, stadiums and event venues.

Rudder added, “When you offer the type of broadcast services Global TV does, the picture quality and reliability of the cameras we use are paramount. We have a close working relationship with Sony which, in addition to the quality of Sony equipment, also allows us access to the broadcast industry’s leading service and support resources.”

Visit www.globaltv.com.au and http://pro.sony.com.au

Gearhouse Adds to Fleet

SPORTSCASTING

SONY AUSTRALIA’S Professional Solutions Division announced that Gearhouse Broadcast has made a major addition to its fleet, taking delivery of ten Sony HDC-2500 camera chains and a multitude of other gear.

32

Anthony Kable, Senior Product Manager, Sony Australia, said, “The new HDC-2500 has several features that really impressed Gearhouse.

They particularly liked the standard 2X slo-mo capability, plus multi-format 24p and 4:4:4 functionality. Gearhouse also chose the highest quality HDVF-EL70 OLED 7” viewfinders.

Basically, Gearhouse has purchased the highest spec, top of the range camera chain available.”

Gearhouse also purchased three of Sony’s flagship MVS-7000X switchers, which build on the success of the MVS-8000 Series. The recently launched MVS-7000X gives Gearhouse the flexibility to meet widely differing production requirements, with the ability to onfigure the switcher with up to 4 or more M/E rows, plus native 3G architecture, 1080p support and 3D production capabilities.”

Visit www.gearhousebroadcast.com and http://pro.sony.com.au

delivering that to our viewers,” said Rishi Khiani, CEO, Times Internet Limited. “Our online IPL video and site are a tremendous revenue opportunity for us. We have already generated 40% profit, and the figure is rising. This might well be our largest revenue generating online event.”

“Indian Premier League cricket is followed passionately by tens of millions of fans around the world, and we’re very pleased that Times Internet Limited has again chosen our solutions to bring live streaming of the tournament to their audience,” said Clive Vickery, Managing Director, EMEA and Asia at Digital Rapids. “StreamZ Live’s outstanding visual quality, reliability and support for integration with TIL’s advertising workflows enable TIL to capitalise on broad monetisation opportunities while delivering a rich online experience to their viewers.”

Visit www.digitalrapids.com

Riedel Adds to AVB and MediorNet RIEDEL COMMUNICATIONS has shown off a suite of AVB products for the Artist digital matrix intercom platform, as well as high-end conversion features for MediorNet. Riedel’s AVB product line provides a real-time communication solution fulfilling the demands of professional intercom users. Based on IEEE next generation Ethernet standards like 802.1Qav, P802.1Qat and P802.1AS, AVB allows risk-free utilisation of AVB compliant facility or enterprise LAN infrastructure for intercom applications.

Intercom applications for Riedel’s AVB products feature matrix-to-control panel connections via LAN, audio distribution via LAN, matrix-to-matrix trunking connections via LAN and distribution of digital partylines via LAN. The Riedel suite of AVB products includes the AVB-108 G2 Client Card and Connect AVBx8 panel interfaces. The AVB-108 G2 card is a regular Artist client card to be used inside the Artist mainframe. It converts eight Artist matrix ports into AVB and vice versa. The AVB-108 G2 client card communicates either with other AVB-108 G2 client cards in another Artist systems or with Riedel’s Connect AVBx8 panel interface.

The new conversion features for MediorNet’s MN-HDP-6-IO media card offers broadcast quality signal conversion as an integrated processing feature. The low-latency processing includes up, down and cross conversion including ARC for multi-rate 3G/HD/SD-SDI signals.

The HDP-6-IO auto senses the connected signal format and can work with simultaneously with HD and SD inputs and outputs. The MediorNet MNHDP-6-IO HD SDI video card offers two inputs, two outputs and two universal connectors that can be defined by the user as inputs or outputs.

The conversion is controlled via MediorNet configuration software MediorWorks.

Visit www.riedel.net

Make the Most of Your Media with Avid Motion Graphics Your media is your lifeblood and Avid can help you use it more effectively than ever before.

Leveraging the latest advancements in real-time 2D/3D graphics creation, Avid Motion Graphicsâ&#x201E;˘, a next-generation graphics platform, enables you to: t $SFBUF TUVOOJOH DPOUFOU UIBU DVUT UISPVHI UIF WJTVBM DMVUUFS t -FU KPVSOBMJTUT RVJDLMZ JOUFHSBUF HSBQIJDT JOUP UIFJS TUPSJFT t (FU UP BJS GBTUFS BOE FBTJFS

Find out how. Visit www.avid.com/mmm/motiongraphics Ă? "WJE 5FDIOPMPHZ *OD "MM SJHIUT SFTFSWFE 1SPEVDU GFBUVSFT TQFDJmDBUJPOT TZTUFN SFRVJSFNFOUT BOE BWBJMBCJMJUZ BSF TVCKFDU UP DIBOHF XJUIPVU OPUJDF "WJE UIF "WJE MPHP BOE .PUJPO (SBQIJDT BSF USBEFNBSLT PS SFHJTUFSFE USBEFNBSLT PG "WJE 5FDIOPMPHZ *OD JO UIF 6 4 BOE PUIFS DPVOUSJFT "MM PUIFS USBEFNBSLT DPOUBJOFE IFSFJO BSF UIF QSPQFSUZ PG UIFJS SFTQFDUJWF PXOFST

SPORTSCASTING

Sky Racing Extends Contract With KIT digital KIT DIGITAL, INC. (NASDAQ: KITD) has signed a two-year contract extension with Sky Racing to power the Australian broadcaster’s live and on-demand IP-delivered video service.

Leveraging the KIT Video Platform, Sky Racing has expanded its offering to deliver live races over the web and to connected tablet devices.

Integration with Sky’s live betting system allows customers to wager on the outcomes of races through an online interface, even if they can’t make it to the racetrack. The solution also supports online in-stream and paired advertising, as well as e-commerce merchandising.

“The Sky Racing online video portal already receives over one million views each month, and we project that number will grow dramatically as we work with KIT to roll out even better functionality for our viewers across an expanding range of international markets,” said Alex Harradine, Broadcast IT Manager for Sky Racing.

KIT digital’s solution also delivers on-demand access to Sky Racing’s recordings of past races.

Customers can purchase access to individual videos, or sign up for a monthly subscription.

“For really the first time, the technology and infrastructure in both developed and emerging markets can support the fidelity of live video delivery necessary for successful sports betting. A punter in say, Dubai or Singapore, can easily place a bet and watch the Melbourne Cup from their smartphone or tablet — meaning that no matter where you are, you’ll never miss the race that’s important to you,” said Nicole Dixon, Managing Director APAC, KIT digital.

Visit www.kitd.com

EVS’s Sporting Revolution EVS HAS PRESENTED its latest range of solutions for fast turnaround TV sports, Sports360°, which includes XT3 and C-Cast.

EVS Sports360° solutions meet new sports market requirements focusing on the monetisation of live recorded content. They allow broadcasters and producers to cover their whole operations including advanced media production, archive research, and instant and exclusive package distribution through traditional or webconnected networks to multiple audiences.

XT3 is the new video recording and production server from EVS. At the heart of Sports360°, XT3 has been designed with advanced capabilities such as eight recording/playback channels in loop mode, multi-codec native support, and embedded high/low-res media management to get the most out of any recorded frame at the highest speed and reliability.

EVS C-Cast is the first advanced multi-cam solution allowing instant distribution of multicamera angle content from venues to webconnected screens during live productions. It offers broadcasters and media holders unlimited possibilities to deliver extended media packages to multiple audiences including TV viewers, spectators, coaches, journalists and referees.

Visit www.evs.tv

Ateme | APT | Audemat | AJA | Arctic Palm Blackmagic Design | Ecreso | LiveU | Logitek Meinberg | NewTek | Sencore | TransLanTech UBS | Volicon | ViewCast | Wisycom

Professional Wireless Microphone Systems

SPORTSCASTING

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

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.

Video & Audio Links | Television Production | Transmission Monitoring | Internet Streaming | OnAir Radio | much more…

Phone +61 2 8882 7766 Email sales@onair.com.au www.onair.com.au

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NEWS OPERATIONS www.content-technology.com/newsoperations

SBS Goes Into OverDrive THE SPECIAL BROADCASTING SERVICE (SBS) has recently revamped their newsroom with a comprehensive studio upgrade. There were three main components of the overhaul: the levelling of the studio floor, a new Perceptive Pixel display (with a second coming), and at the heart of the new studio, the Ross Video automated production control system, OverDrive.

Commissioned by local business partner Techtel, the OverDrive Automation system was part of an integrated solutions package with Ross’ Vision switcher and XPression graphics system, Telemetrics camera robotics, Autoscript teleprompters, Sony cameras, Apantac multiviewers and TVLogic broadcast LCD displays.

Ross OverDrive is a flexible, automated solution that enables touch screen control of the production environment. OverDrive also offers a MOS newsroom interface, which allows the placement of DVE effects, robotic camera movements, audio mixes and other production elements directly into the rundown.

Since being implemented by SBS in January this year, OverDrive has dramatically reduced the complexity of going to air. It is currently being used for the news bulletin and Global Village, with plans for other shows, such as NITV news, to start using the system. The solution also comes with additional benefits outside the scope of functionality, with reduced staff and maintenance costs a side effect of the more efficient, reliable system.

There have however been a few unforseen consequences that have come with OverDrive’s automation, mainly centred on the radical change in workflow. While there has not been anything as drastic as lost bulletins, there have been a few on-air glitches, such as missing stories, caused by the new role some people have to play. Graphics insertion now being automated and only requiring text input, means reporters are doing it themselves and, in some cases, leading to small errors.

The same has been occurring when logging stories for playout, with one small error on the unfamiliar system causing larger issues further down the line. SBS Capital Development Manager, John Lock, referred to this as an “Error magnification system,” though was very pleased with the solution, and expects these minor issues to clear up as users adjust to the new workflow.

“We required a fully redundant system, so Techtel and Ross Video proposed a mirrored system, allowing the operator to easily and quickly hit a master switch and change over to the redundant system with minimal effect to air,” said Peter Stavrianos, Broadcast Engineering Manager, SBS. “The OverDrive system already included a good level of redundancy, but this project required us to go the extra mile and create a 100% fully redundant system, the end result is a simple to manage system that provides multiple layers of protection for any imaginable failure,” commented Jeff Moore, EVP & CMO Ross Video.

Other than the levelling of the studio floor, which allows for the possibility of moving to all robotic cameras, the other main feature of the upgrade is the use of a Perceptive Pixel display on-air, which Lock described as “A giant iPad.” Perceptive Pixel displays, which were most famously used during CNN’s coverage of the 2008 US Presidential election, allow presenters to interact with what is being displayed in a very hands-on way through multi-touch technology. Videos can be brought up and maps can be manipulated while going live and an essentially unlimited number of users can interface with the screen at any time, with the device being able to interpret a huge amount

of inputs. The Perceptive Pixel display allows the presenter to easily switch between content, whether that is simply moving between graphs, switching to video, or interacting with the content through a variety of apps that are available for the system.

A second Perceptive Pixel unit is due for installation in the next month or so, as an addition to the suite of production tools SBS uses to produce their programs. Having two units provides in-built redundancy plus the agility and versatility of being able to manipulate double the amount of features necessary. For practical purposes, during the afternoons when the News Studio is being used by other program bookings, journalists and creative production crew will be able to pre-produce the presentation segments in the newsroom for on-air broadcast later in the evening. It’s also possible to have two Perceptive Pixel screens on air at the same time for events like elections or budgets, while also giving 100% redundancy in case the on-air units server fails.

The new newsroom set is now completely white with a RGB LED lighting setup which, when combined with the new display and a 103” plasma monitor from Panasonic, can completely change how the set looks. This helps reduce the space being used and set-up time between shows, while still being able to maintain both consistent branding and distinct aesthetics.

NEWS OPERATIONS

Another important feature of OverDrive is one that SBS had a hand in creating. Having 100% redundancy was an important requirement for their live productions, so Ross took this on board. Version 12 of OverDrive now incorporates single button switching between two synchronised feeds in the event of a technical error occurring on the primary feed.

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NEWS OPERATIONS

Avid Announces New MPD Solution for Video AVID (NASDAQ: AVID) HAS DEBUTED a new Multi-Platform Distribution (MPD) solution to address the demands of viewers who are driving requirements for multi-screen media consumption.

Avid’s MPD solution streamlines and enhances the process for journalists, producers and video editors who are creating and distributing content across multiple platforms. Leveraging Avid Interplay and iNEWS, this solution orchestrates the flow of assets and metadata through creation, transcode, and then delivery to web content management systems, online video platforms, and social media platforms.

“The market requires solutions that empower media companies to cast a wider net with their content, reaching viewers in an anytime, anywhere, any device and on-demand environment while providing agility to content creators such as journalists, to work seamlessly through the creation, management and publishing process. Such solutions are few and far between,” said Mukul Krishna from Frost & Sullivan.

Publishing effectively to a variety of outlets, from websites and social media to content aggregators, requires the ability to circumvent a number of errorprone manual steps across several disparate systems. This solution allows media producers to:

NEWS OPERATIONS

+ Reduce complexity required to publish content – Manages transcoders and uploads in the background so creators can focus on content

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Interplay Production environments + Add two-way connections with WebCMS – Lets television journalists create web content from within Interplay Central and repurpose existing stories in iNEWS for the web + Publish to online video platforms – Provides publishing to any online video platform from NewsCutter, Media Composer, or Interplay Central + Integrate with existing customer environments – Uses web services to provide integration with customer’s existing environment Visit www.avid.com

Autocue Introduces Master Series TELEPROMPTER, NEWSROOM AND VIDEO SERVER specialist, Autocue, has introduced a range of accessories to complement its Master Series teleprompter range.The range of accessories include a 22-inch talent feedback monitor with native HD-SDI; a new mounting system; a dimmable tally light that displays any camera number from 1-9 and goes green when live on air; an under-monitor talent clock; and new USB controls to ensure compatibility with the latest PC hardware.

+ Use the whole newsroom, not just the web team – Gives everyone desktop content creation capabilities (text and video); provides single interface for creation of TV, web, mobile, and social media

Autocue’s unique Master Series mounting system balances a camera while actually reducing the total weight. The mounting plate glides to accommodate any size of camera and allows camera maintenance without completely disassembling the prompter.

+ Write once and publish anywhere – Enables journalists to write stories, add video, and publish to multiple outlets simultaneously from iNEWS and

Visit www.autocue.com

NEWS OPERATIONS

Māori TV Migrates News Production to Grass Valley

TV Today India Improves Speed to Air With Harris HARRIS CORPORATION (NYSE:HRS) announced that India’s TV Today Network will improve its speed to air for live broadcast news with an integrated Harris NewsForce solution at its new production and playout facility in New Delhi.

The TV Today project will manage the production and play-to-air of many TV channels, including four 24-hour news and current affairs channels, including Aaj Tak, the leading Hindi news channel; and Headlines Today, India’s first English language news channel.

“Our new broadcast facility needed to meet the fast turnaround time for the delivery of our news channels. The modularity and flexibility of the integrated Harris NewsForce news editing and production solution will allow us to deliver programs to air more quickly and effectively,” said Prince Sharma, vice president of technology, TV Today.

The Harris NewsForce solution at TV Today includes Harris NEXIO AMP servers with Harris Velocity high- and low-resolution editors. The solution enables a standard definition and high definition workflow environment, and ensures high-density ingest, format independence, multi-channel support and fast turnaround and playback of news clips.

TV Today journalists will have instant and simultaneous access to lowresolution material to search, create and edit content on the fly. TV Today will also improve its program throughput and graphics capabilities for maximum on-air efficiency from a single integrated solution.

Visit www.broadcast.harris.com

MĀORI TELEVISION, New Zealand’s National Indigenous Broadcaster has upgraded its digital news production facilities to a new Grass Valley news production solution. The end-to-end file-based system will cater for both News and Program Production requirements.

The new solution includes the installation of the country’s first Grass Valley STRATUS media workflow application framework, a series of K2 Summit production clients, and multiple seats of EDIUS multiformat nonlinear editors – all connected to a K2 SAN. The station also uses two K2 Dyno Replay Systems, which will also be integrated into the advanced news production environment.

“We were faced with an older system that was starting to show its age with regard to today’s available technologies, so upgrading to the new Grass Valley production platform made a lot of sense,” said Barry Russ, General Manager of Operations at Māori Television. “The Grass Valley STRATUS system gives us the freedom to choose what we want to connect and control, and how content is handled.”

The modular design of the STRATUS architecture allows Grass Valley to easily and regularly add new software components to preserve customers’ investment and help them leverage and upgrade to the most advanced content creation tools quickly and easily. The K2 Summit production clients and K2 SAN form the infrastructure for collaborative editing, as well as the ingest of audio and video clips, and playout of finished programs.

Visit www.grassvalley.com

Ateme | APT | Audemat | AJA | Arctic Palm Blackmagic Design | Ecreso | LiveU | Logitek Meinberg | NewTek | Sencore | TransLanTech UBS | Volicon | ViewCast | Wisycom

with

!

4G ADDED

Australian LiveU users now have the benefit of adding one or more 4G Modems to their LiveU Video Backpack.

This added bandwidth further strengthens the industry leading connection resilience and maintains the high video quality required from demanding broadcasters.

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

Web-Streamed Content As the web is fast becoming a booming source for live video, LiveU helps you deliver on the potential by delivering professionalquality video from almost anywhere!

For more information please contact OnAir Solutions.

NEWS OPERATIONS

…now

International Event Flexibility: LiveU lets you connect to any available LiveU server in the world

Video & Audio Links | Television Production | Transmission Monitoring | Internet Streaming | OnAir Radio | much more…

Phone +61 2 8882 7766 Email sales@onair.com.au www.onair.com.au

37

NEWS OPERATIONS

Avid Takes News Global with Interplay Sphere AVID HAS ANNOUNCED Interplay Sphere, expected to be available in September 2012, a real-time access solution enabling broadcast news professionals to acquire, access, edit and finish stories from anywhere.

Leveraging a cloud-based architecture, Interplay Sphere allows users to work in a distributed environment that spans multiple locations and time zones.

Interplay Sphere, along with Avid’s NewsCutter and Media Composer video editing software, will provide distributed production capabilities allowing journalists to access and edit video footage captured at the scene of breaking news along with media files from any other Interplay Sphereconnected location. Features of Interplay Sphere include:

Chyron Integrates with MediaMaker CHYRON HAS RELEASED MEDIAMAKER, a turnkey solution that integrates Chyron graphics with file-based workflows. This new addition to Chyron’s CAMIO newsroom workflow product line uses Lyric file-based rendering to create graphics for use in editing applications.

By equipping the editing suite with the Chyron BlueNet workflow, including LUCI template fulfilment and Axis World Graphics content creation and order management system, MediaMaker gives access to the same graphics and animations that are being used live on the air. The system’s server/bladebased architecture is scalable to fit any size of operation and, as more users come online, MediaMaker blades can be added to improve cycle time to air.

Visit www.chyron.com

+ Easy, two-way access/connection - Enables journalists in the field to securely edit stories from any location, collaborate with distributed teams across complex workflows, and deliver content to production facilities

EPIC Prompting System

+ Simplified workflows - Automatically manages the transcode, upload and check-in to any connected Avid Interplay system and allows users to edit directly from any Interplay asset store

(EPIC), an all-in-one prompter display and on-air talent monitor that simplifies studio equipment and enables easier location prompting, while retaining the features and functions of the Autoscript LED prompter series.

+ Intelligent media transfers - Speeds the transfer of local media in the field by beginning uploading media as a story is being edited, intelligently prioritise media transfer, and deliver proxy files ahead of full-res files

AUTOSCRIPT HAS LAUNCHED the Enhanced Prompting Imaging Centre

+ Extends the newsroom to any location - Interplay Sphere, working with NewsCutter and Media Composer, enables the full spectrum of media creation, workflow management, and universal connectivity

The EPIC effectively allows a single piece of equipment to do the work of two, with an on-air talent screen built into the prompter display that flips down to offer multiple viewing angles. Cable management is also easier, requiring just one power cable for the prompter and on-air monitor, while ClockPlus and TallyPlus are powered via the 12 VDC from the prompter; the video signal also loops through the prompter.

Visit www.avid.com

Visit www.autoscript.tv

APPiness!

NEWS OPERATIONS

A Roundup of Phone and Tablet Applications for the Media Professional

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VIZ ANCHOR

TELEPROMPT+

A VizRT app for news, sports and weather presenters in the studio, Viz Anchor interacts with an existing VizRT infrastructure to control newsroom playlists. This includes video and graphics directly from the device, from anywhere in the studio without going through the control room. Access to Viz Media Sequencer Engine 1.21, Viz Engine 3.3 and Preview Server 1.0 are all required to utilise Viz Anchor.

Free of Charge

A professional teleprompter for the iPad which can be implemented into a range of situations, scripts can be written directly into the app or imported from dropbox and google docs. Teleprompt+ includes features such as: text mirroring and external display support, cue points, reading guides, audio and video recording, Bluetooth keyboard and AirTurn Bluetooth foot pedal support. $15.99 for iPad $8.49 for iPhone

SHOTBOX FOR LYRIC

This companion app to Teleprompter+ acts as a wireless remote connected over a wifi network or via Bluetooth.

The app synchronises across the two devices so both screens show the same text. The remote can also control speed, font size, scrolling and pausing of the teleprompter.

Free of Charge

Shotbox for Lyric is an iPad remote control application for Chyron broadcast graphics systems running Lyric software, such as HyperX. Shotbox allows production personnel to recall Chyron graphics live to air. Shotbox does not produce any graphics output as it is simply a control device and does not replace the hardware. Icons can be configured with your own images for quick visual recognition and positioned as required and shows can be saved and recalled for rapid switching between setups.

When using Lyric Enhanced Interface, additional options such as EVS control and Lyric Framebuffer selection become available.

Free of Charge

TELEPROMPT+ REMOTE

ORADCONTROL OradControl allows for control of graphics by anchors from the studio and is optimised for news, sports and weather forecast productions. The app lets users control the newsroom and manually create playlists from the iPad. MaestroController and RenderEngine are needed.

Free of Charge

POST PRODUCTION

Sponsored by

www.content-technology.com/postproduction

Engine Creates For TedxSydney 2012 TEDXSYDNEY 2012, the independently organised TED event, saw Engine invited to create the opening titles and two pieces of unique content for the event.

The TEDxSydney 2012 titles and Engine’s short interstitial film Monday Disappear were the brainchildren of Engine CD Simon Robson who said, “This was an excellent project to work on and we are very proud of the results. The titles Live. Real. Now. illustrate the possibility of live situations using dancers, body paint, projections, a split screen grid and a whole lot of fun. They are about typography, high energy and momentum.”

The titles not only opened TEDxSydney 2012 but were also shown as cut downs throughout the weekend event. Robson and the Engine team also created Monday Disappear, a Brett Easton Ellis novel-inspired ambient short film that uses colour, form and movement to take the viewer to another land.

The final Engine piece shown at TEDxSydney 2012 was a behind-the-scenes collaboration created during the production of their recent Mount Franklin Easy Crush Bottle 30-second TVC. Visit www.engine.net.au

Fuel VFX Delivers for ‘The Avengers’

SAE Institute Joins ALP AVID HAS CERTIFIED the SAE Institute at six locations around Australia as the latest addition to the Avid Learning Partner (ALP) program.

SYDNEY’S FUEL VFX has delivered 150 visual effects shots for The Avengers, the latest blockbuster from Marvel Studios in which Nick Fury from the international agency S.H.I.E.L.D. assembles a team of superheroes to defend the Earth against Loki, Thor’s brother, who wants to destroy it.

Led by VFX Supervisor Simon Maddison, Fuel looked after three sequences that occur in and around Tony Stark’s New York penthouse, perched atop Stark Tower. Fuel designed and created the various holograms featured in a scene near the film’s opening, giving an insight into some of the other members of the Avengers team.

Fuel’s work can also be seen in the Loki-Thor fight sequence that takes place on the floating balcony outside of Stark’s apartment during the battle to protect New York. For this important and complex sequence, Fuel created a CG exterior of Stark Tower that could both replace the small set piece where required and also join up to it where some of the live action elements needed to be preserved. With Stark Tower having a large glass facade and glass panels along the balcony, there were many complex reflection and lighting issues that needed to be solved.

The New York cityscape of course needed to be added here, along with FX animation from Loki’s sceptre, and background CG chariots of the attacking aliens. Fuel worked closely with VFX Supervisor Janek Sirrs and the film’s other vendors to ensure that the look of Stark Tower and the New York background remained consistent.

Visit www.fuelvfx.com

“Choosing the right partners in any region is one of the most important decisions that we make at Avid and we’re very pleased to welcome SAE to the family of Avid Learning Partners,” says Andy Hagerman, Avid Training and Education Program Manager, Asia-Pacific.

SAE Institutes in Sydney, Byron Bay, Melbourne and Perth are certified for both Avid audio and video courses including Pro Tools and Media Composer products, with their Adelaide location certified for audio-only.

Visit www.avid.com

ZSPACE Plays with Randling ZAPRUDER’S NEW game show, Randling, hosted by Andrew Denton, has launched with a look created by creative studio, ZSPACE. ZSPACE won a competitive pitch and created the integrated branding of the show including opener, in-show graphics, set graphics, logo, ten team logos and App design.

“It is a ‘Randling World’, a mash up of randomness, expression and quirkiness -brought to life through the personality of language: letters and words.

Typographically driven, we injected plenty of character and fun as we visualised the weird, wonderful world of language,” said ZSPACE Creative Director Gavain Browne.

Visit www.zspace.com.au

+ Tip #1. Collaborative solutions now cost less but save you more.

Ask us how.

1300 061 007 stormfx.com.au

POST PRODUCTION

Sponsored by

NVIDIA Joins Forces with HP for Tower-Free Z1 HEWLETT-PACKARD HAS LAUNCHED the Z1 Workstation – which combines the world’s first all-in-one workstation with the high performance graphics and computing processing capabilities of NVIDIA Quadro professional graphics.

The HP Z1 features a 27-inch display that snaps open so users can swap out parts and make upgrades without any tools required. The spacesaving design doesn’t compromise the ability to run powerful 3D graphic applications.

Foundational to the HP Z1 is the introduction of a new custom line of NVIDIA Quadro GPUs. Developed through a multi-year collaboration between HP and NVIDIA, these GPUs utilise less power, generate less heat and require less cooling. Designed especially for all-in-one workstations, the NVIDIA Quadro GPUs offer professionals a full range of quiet, upgradeable graphics options.

“HP and NVIDIA have joined to rescue the workstation from its tower,” said Jeff Brown, general manager, Professional Solutions Group, NVIDIA. “The HP Z1 transforms the traditional workstation from its long familiar footprint into something truly spectacular—the industry’s first all-in-one workstation.”

“As more professionals demand increased muscle from graphic-intensive applications, they will realise the need for blazing fast rendering and 3-D graphics performance,” said Jim Zafarana, VP and GM, Commercial Solutions Business Unit, HP. “NVIDIA Quadro graphics will deliver increased visualisation capabilities for the creative professional with our category-defining HP Z1 All-in-One Workstation.”

of discrete GPUs enables the HP Z1 to unleash professional workstation graphics in what has been viewed solely as a consumer form factor.

The result of extensive collaboration between NVIDIA and HP, the new set

Visit www.hp.com/z1 and www.nvidia.com

Dalet Broadens Integration with NLE’s

UltraStudio Express and Videohub with Thunderbolt

DALET DIGITAL MEDIA SYSTEMS announced more flexible and comprehensive integration support with several non-linear editing platforms.

The Dalet Xtend module is being expanded to include media and metadata exchange capabilities with Avid Media Composer, Avid NewsCutter, Adobe Premiere, and other NLEs.

BLACKMAGIC DESIGN has announced UltraStudio Express, a new capture and playback solution with high-speed Thunderbolt technology. UltraStudio Express supports all common SD/HD formats for quality video up to 1080p60 and connects to virtually all consumer and professional equipment.

Dalet Xtend makes the production workflow much more seamless in every scenario, whether it is for news production, program prep or sports. Designed originally for integrating with Final Cut Pro, Dalet Xtend has gotten excellent feedback from customers and we are pleased to make similar functionality available with other industry standard NLEs,” says Raoul Cospen, Director of Marketing, Dalet. “It relies on open development technology and allows editors working on NLEs to be tightly integrated into the overall production workflow rather than functioning in operational silos. Dalet Xtend also gives customers the flexibility to assemble their preferences for best-of-breed choices for production tools with the assurance that they can change their preferences in the future.”

POST PRODUCTION

With Dalet Xtend editors have access to media and metadata that are stored in the Dalet content catalogue directly from their NLE workstations. From Dalet workstations, prep-editors can have access to incoming feeds while they are being recorded, and they have access to powerful search tools to find relevant material in the archive. They also have a rich set of prep-editing tools available from the same application that cover many pre-production tasks such as clip selection, storyboarding and even voice over recording.

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The new line of Quadro All-in-One GPUs provide up to 2GB of fast GDDR5 memory. Dynamic tessellation allows greater detailed geometry for cinematic quality environments and scenes. 10-bit colour provides a higher level of visual quality and fidelity in digital video workflows.

3 Gb/s SDI and HDMI inputs and outputs are built-in to the sleek aluminium design and UltraStudio Express is supplied with two breakout cables that can be interchanged in seconds for connecting to all types of video and audio equipment. One breakout cable includes RCA connections for consumer equipment and the other includes professional BNC and XLR connections, plus genlock and RS422 deck control for professional broadcast equipment.

With easy plug and play and transfer speeds of Thunderbolt technology, UltraStudio Express can be moved easily between computers and can capture from decks, cameras and live video sources, and output to monitors, projectors, media servers and more.

Blackmagic Design also announced a Thunderbolt enabled capture and playback interface for its Universal Videohub 3 Gb/s SDI and optical fibre routers. Thunderbolt-enabled devices can now connect to all router inputs and outputs using a Universal Videohub Editing Interface.

Now, plugging an editing interface into Universal Videohub avoids the need for separate capture and playback hardware. Any Thunderbolt-enabled computer can capture content from any input and playback to any output of Universal Videohub 72 and Videohub 288 models.

The finished work can then be exported back to Dalet as a new title, or saved against a placeholder – all with the appropriate metadata entries as the exchange process is not destructive to the metadata. Crucial information such as descriptive locators and usage rights flow back and forth and are tracked by the Dalet content catalogue, thanks to intelligent genealogy.

Thunderbolt-enabled computers can also output to connected monitors, projectors, decks, disk recorders, play out servers and more. With Thunderbolt video capture and playback built into the router itself, customers get full compatibility with Final Cut Pro X; Adobe Premiere Pro, After Effects and Photoshop CS6; Avid Media Composer 6; and more.

Visit www.dalet.com

Visit www.blackmagic-design.com

POST PRODUCTION

Sponsored by

Quantel Launches New Pablo

Matrox Support for Final Cut Pro X

QUANTEL HAS LAUNCHED the new Pablo, a high-end colour and

MATROX VIDEO PRODUCTS GROUP has released a software update for the entire range of MXO2 I/O devices, and the Mojito MAX card, that finalises broadcast monitoring support with Apple’s Final Cut Pro X 10.0.4 update. Final Cut Pro X 10.0.4 allows video and audio output using the SDI, HDMI, or analogue video outputs from Matrox products.

finishing system that runs on standard commercial off the shelf hardware.

New Pablo offers new freedom to customers in how they buy and specify their system, and is designed to integrate into modern Stereo3D and high frame-rate post pipelines.

All configurations of new Pablo include the high-end Pablo 2D and S3D colour and finishing toolset. It also supports ACES and RED HDRx alongside ARRI, Canon and F65 – and high frame-rates too. New Pablo uses the latest nVidia Maximus multi-GPU technology to deliver interactive performance

Other important features of Matrox I/O solutions for Final Cut Pro X editors include 10-bit hardware scaling, inexpensive HD monitoring with the Matrox HDMI Calibration Utility, and 5.1 and 7.1 surround sound monitoring using professional connections.

Also introduced with the new Pablo is the Neo Nano compact colour panel, ideal for applications outside the main suite. Neo Nano is also supported

by Quantel’s Qube broadcast craft editor.

“Matrox MXO2 I/O devices are unique on the market in giving FCP X editors the only solutions that connect to any Apple platform via Thunderbolt, PCIe, or ExpressCard/34 - with the same versatile unit,” said Wayne Andrews, product manager at Matrox. “And now, our customers can easily view their projects on professional monitors and have confidence that their final output meets broadcast specifications.”

“New Pablo is all about giving our customers real choice in specifying their system to exactly match their business needs today, with complete freedom to grow as their requirements change,” said Steve Owen, Quantel Marketing Director. “It takes advantage of the latest GPU technologies to deliver stunning performance and throughput.”

Visit www.matrox.com/video

Visit www.quantel.com

Virtual VTR Software From Bluefish444 BLUEFISH444 HAS MADE AVAILABLE the virtual Video Tape Recorder (VTR) module of its Fluid software, upgradeable for compatibility with its entire Epoch and Create video card range.

Key features of the VTR include: multiple formats on a single timeline;

The virtual VTR software enables the user of a Bluefish444 video card workstation to use the workstation as if it were a video tape recorder. The Bluefish444 virtual VTR has been developed as a separate module of its Fluid software platform, to compliment Symmetry as an I/O solution and other Fluid optional modules.

closed captions; and support for all Epoch & Create video modes.

remote machine control of QuickTime, AVI, DPX, Cineon & TGA; RS422 machine control; RP188, LTC & RS422 time code; metadata transfer including The virtual VTR module is available as a licensed software upgrade for Epoch and Create users.

Visit www.bluefish444.com

FOR ALL YOUR PRO VIDEO SOLUTIONS COME AND SEE US

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POST PRODUCTION

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POST PRODUCTION

Sponsored by

FORK Integration With Adobe CS6 PRIMESTREAM HAS UNVEILED an enhanced level of integration between its FORK software platform for managing and automating broadcast workflows and the upcoming release of Adobe Premiere Pro CS6. The integration will allow users to drag and drop clips directly from FORK into Adobe Premiere Pro CS6 and to browse FORK content without leaving the editing application, enabling editors and producers at all types of media organisations to get content to air more quickly and easily, whether they are using Windows or Mac. Through an intuitive new graphical user interface (GUI), users will be able to search the FORK media asset database quickly from within Adobe Premiere Pro; select clips, bins, or timelines created in the FORK Editor; and simply drag those items into an Adobe Premiere Pro project. When an edited sequence is complete, users can send the project - ready for air - to FORK for playout to air or to fulfil a newsroom system placeholder.

“Adobe pioneered nonlinear video editing for broadcasters and creative professionals with its Premiere Pro software, and it’s raising the bar again today with the release of Premiere Pro CS6,” said Claudio Lisman, Primestream|B4M president and CEO. “Primestream shares Adobe’s commitment to enable the world to produce and deliver more creative content, and we’re thrilled to introduce this solution to the industry.

FORK’s new integration with Adobe Premiere Pro brings editing to a level of functionality that surpasses anything we’ve had with other video editing solutions.”

Avid Motion Graphics Makes On-Air Imagery Faster AVID (NASDAQ: AVID) have showcased Avid Motion Graphics at NAB 2012. Avid Motion Graphics gives media producers a streamlined graphics workflow allowing them to deliver visual imagery to air and build strong brand recognition more cost-effectively.

Avid Motion Graphics offers broadcasters, sports organisations, post houses and other media production companies a full-featured on-air graphics solution with advanced design tools, production capabilities, and workflow integration – all designed to accelerate the delivery of graphics quickly and easily to air.

Key features include: + Advanced real-time 2D/3D rendering engine and accelerated by the latest GPU and I/O technology. + Integrated mix of Avid and thirdparty tools such as Photoshop and 3D Studio Max. + Intuitive UI with 3D views, built-in text effects, easy drag-and-drop functionality,

presets, playout control, and programmable keyboard. + Access and populate templates built by graphics designers for multiple purposes. + Incorporates a bridge to the Deko product family, making asset migration easier for existing users.

Visit www.avid.com

“Adobe is committed to providing broadcast professionals the tools they need to deliver high-quality productions efficiently,” said Al Mooney, product manager for professional video editing at Adobe. “With Adobe Premiere Pro CS6 and FORK, users can produce more substantive content more quickly — a clear advantage when it comes to getting good stories to air before the competition.”

Visit www.primestream.com

AJA Ki Pro Mini v4.0 Supporting DNxHD AJA HAS RELEASED the new v4.0 firmware for Ki Pro Mini, offering support for the Avid DNxHD video codec, is available as a free downloadable firmware upgrade.

“Customers have been requesting Avid DNxHD support since we first released Ki Pro Mini,” said Nick Rashby, President, AJA Video Systems.

“We always strive to offer AJA customers with the ultimate workflow flexibility, and support for Avid DNxHD as a free firmware upgrade for Ki Pro Mini is yet another way of doing that.”

“We’ve been working closely with AJA to build optimised Avid DNxHD support into Ki Pro Mini, allowing editors using Avid editing systems to simplify their workflows and improve image quality throughout the editorial process,” said Adam Green of Avid. “We’re very pleased that this support is now available to our customers and AJA’s existing Ki Pro Mini customers.”

Visit www.aja.com

Episode Enhanced with x264 TELESTREAM HAS ANNOUNCED product enhancements for Episode 6.3, including support for the x264 video codec and direct integration with Autodesk finishing systems. Direct export from Adobe Premiere Pro gives access to Episode’s range of formats and enables centralisation of encoding functions.

POST PRODUCTION

Telestream has improved Episode’s high-quality encoding by bringing the x264 codec, widely recognised as producing the best H.264 video quality, to all Episode users. Deep system integration with Autodesk makes Episode the only encoder in its class to enable browsing, monitoring and transcoding directly from the Autodesk Stone file system.

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Direct export from the Adobe Premiere Pro timeline will benefit users by providing easy access to Episode encoding functions.

For creative facilities, Episode provides an easy way to offload encoding tasks to other systems or to centralise functions on an encoding cluster.

Visit www.telestream.net

MEDIA IN THE CLOUD Storage & Digital Asset Management

Front Porch Eyes Singapore for Cloud Centre FRONT PORCH DIGITAL is looking at Singapore as the regional hub for its LYNX enterprise-level cloud service.

Speaking to C+T at NAB 2012, Front Porch Digital’s MD, Rino Petricola, said the first LYNX cloud offering will be LYNX DR for disaster recovery.

“It’s an offer that we are proposing to our existing customers who have a need for a good disaster recovery strategy. So, instead of them buying another system, with a huge investment, they have the possibility to use our Linx DR cloud offering which basically starts with a possibility to ship us their tapes, a copy of the content, and we will be loading that content into a data centre, into a DIVArchive system and then later on, if there is a disaster in their main site, they can recover that content from the data centre.

Or, we can ship them back the tape, or if there is connectivity they can restore the content from the DIVArchive system.

“For the time being, we’ve deployed two data centres. One in the US in Denver - this was deployed earlier this year - and in Europe we are launching our data centre implementation centre near London, in Slough which is by Heathrow.

“In fact, we will be using the facility from a company called Equinix. They do data centres around the world and they do rent space, so what you are doing, you are renting space, so it would be a closed space where we have installed DIVArchive system.

“Basically what we can do is connect this data centre to any broadcast facility or, as I said before, customers can ship tapes and we will load the system with the tapes and we’ll make sure that this content is protected and safe.”

Another safe area for keeping content, says Petricola, will be needed in Asia-Pacific and the company is considering Singapore as a location.

“The current plan is to deploy a data centre, probably in Singapore, later on this year. We want first to populate in London up to a certain level, and then we’ll start opening another data centre elsewhere. We do consider that the minimum threshold is to have roughly ten customers in the data centre and from there we can move to another one. So, we’ve been talking to some customers in Asia who are very much interested by disaster recovery, they are willing to put their content in London, and then later on once we’ll be opening a data centre in Singapore, we’ll be

Rino Petricola, MD, Front Porch Digital, “

able to transfer that content into Singapore, and maybe doing a second copy of that content.“ Complementing LYNX DR, the company has also announced LYNX Local, a small appliance for customers who do not have a DIVArchive system.

“It’s basically a small DIVArchive system that you are installing at the customer facility, and this system will connect to LYNX DR,” says Petricola. “But, the nice thing about it is that you are not selling it as a solution, we are renting it as a service."

Visit www.fpdigital.com

Showtime for Amberfin iCR THE PREMIUM MOVIE PARTNERSHIP has selected Quinto Communications to supply and commission the new Amberfin iCR File Player with its advanced QC option for video asset checking, at the Showtime movie channel content preparation facility, located at the Fox Studio entertainment quarter in Sydney.

Res in-house editing format and formats used for delivery to broadcast video servers. Quinto Communications were able to demonstrate that using the new advanced QC option, the Amberfin iCR could perform comprehensive QC analysis on the wrapper and essence structure of the filebased content and generate a compliance report.

Showtime required a single solution that could play back and perform QC analysis on a wide variety of file formats including their Apple Pro

The iCR presents QC results in Amberfin’s QC timeline view. Here, areas of concern are displayed on a video and audio timeline so that

Tape

Optical

the QC operator can instantly access and play back any section of the video and audio on which possible issues have been highlighted.

The system also provides video file essence support and can handle a wide variety of video file wrapper formats including MXF OP1a, MXF XDCAM, MXF P2, MXF OP-Atom, MXF AS02, GXF, Windows Media Video (ASF) and QuickTime MOV. Visit www.quinto.com.au and www.amberfin.com

Flash

The world’s most trusted brand in professional media.

MEDIA IN THE CLOUD

NETIA Unveils Enhanced CMS

Marquis Enhances Archive & Retrieval Solution

NETIA HAS ANNOUNCED an enhanced version of its Content Management System (CMS). The new release leverages all of the power of NETIA’s CMS and includes enriched features in its metadata management module, more robust indexing tools, and more flexible control over the entire system.

NETIA’s CMS is a powerful, integrated suite of media asset management solutions that together enable users to streamline all of their production processes, from editing through post production and distribution. Through a single customisable Web-based interface, the NETIA CMS facilitates a highly automated workflow across the production environment, simplifying and speeding the process of storing, managing, and distributing content to any service provider or multimedia platform.

Through refinements made to CMS, users can now personalise the system’s GUI to include more fields, as well as modify its metadata template. A multilingual thesaurus module allows users to enjoy endless possibilities in describing content precisely. Finally, CMS offers an enhanced administration application for system management.

Visit www.netia.com

MARQUIS BROADCAST HAS announced completion of work with Disk Archive Corporation to develop an enhancement to its archive and restore solution, Project Parking, in order to integrate with Disk Archive’s unique archive and content library, ALTO. “Tapeless workflows are already firmly established in media acquisition, production and distribution,” said Alan Hoggarth, managing director, Disk Archive Corporation. “ALTO provides the same benefits for archives and content libraries, offering a scalable, flexible and highly secure alternative to a data tape library for media storage, with the emphasis on low total cost of ownership and low environmental impact.”

“ALTO offers strategies for data storage that provide excellent performance and economic benefits while at the same time eliminating widely held concerns about the security and running costs of high capacity drives in data storage arrays. In combination with Project Parking, the complete offering now provides a powerful solution to archive and retrieval issues,” said Chris Steele, product manager, Marquis Broadcast.

Visit www.marquisbroadcast.com and www.diskarchive.com

Digital Rapids Unveils Kayak Workflow Platform DIGITAL RAPIDS HAS LAUNCHED the new Kayak workflow platform, a significant departure from other workflow technology approaches that enables customers to design, deploy and manage customised workflows with the operational efficiency, agility and insight they need.

“The exploding opportunity and ongoing, consumer-driven shifts in the media and entertainment market require content owners to radically change how they think about their media operations,” said Brick Eksten, President of Digital Rapids Corporation. “Kayak’s innovative workflow approach lets them harness technology, streamline their operations and quickly turn their ideas into execution, freeing them to focus on their real value proposition – their content.”

Kayak’s catalogue of components combines with its flexible architecture to make integrating new or custom-developed functionality easier.

Kayak’s component-based approach also provides granular control over

MEDIA IN THE CLOUD

Kayak Workflow Designer lets users graphically combine these catalogue components into workflows with intelligent automation. Inline analysis and rule-based decision branching automatically adapt workflows to eliminate unnecessary steps, maximising both processing and operational efficiency. Designs can be instantly tested within Kayak Workflow Designer before moving them directly into production.

Kayak workflows are dynamically provisioned on-the-fly on available system resources. This dynamic deployment model brings cloud-like elasticity to on-premises operations, minimises upgrade effort, and makes it significantly easier to expand capacity by minimising the overhead required to bring new systems online.

Visit www.digitalrapids.com

iTX MC Integrates Playout

VCMS Integration with Dalet

MIRANDA TECHNOLOGIES INC. (TSX: MT) has introduced iTX Master Control (iTX MC), which combines the best of traditional master control functionality with scalable, integrated playout technology.

SWITCH MEDIA HAS ANNOUNCED that their Video Content

ITX MC integrates Miranda’s iTX playout platform with its traditional master control technologies to provide a solution that combines playout automation with live event functionality, enhanced live multiinput switching and familiar manual control capabilities.

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technology costs and provisioning, as users deploy only the technologies they actually need for their specific workflows.

Key features of the iTX MC solution include an automation system with live event features such as roll-under and join-in-progress; integrated video server with HD/SD capability; input signal switching and processing; integrated rich branding; and a choice of hardware control panels or GUI interfaces for manual operator control.

Management System (VCMS) is now 100% API integrated with the Dalet Enterprise Edition and Dalet web services including News, Media Asset Management and Sport.

Switch Media’s Global Head of Sales Mark Johns explained, “This is a very big step forward for anyone wanting to publish content to multiple platforms, as the VCMS integration allows users to publish to any connected device directly from Dalet’s Enterprise Edition MAM system – with just one click.”

“The iTX MC system allows broadcasters that handle a large number of live events to take advantage of the simplicity and scalability of an integrated playout solution like iTX,” said Michel Proulx, Miranda’s CTO.

“The integration of Switch Media’s VCMS with the Enterprise Edition MAM system really is a step forward,” says Kevin Savina, Director of Product Management, Dalet. “Usually the link between the CMS and the MAM system is a simple push of data. What we have here with Switch Media is a much deeper and meaningful integration with bi-directional exchanges of information at a very granular level and with feedback.”

Visit www.miranda.com

Visit www.switch.tv

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MEDIA IN THE CLOUD

Bright Introduces BrightClip SA BRIGHT TECHNOLOGIES has unleashed BrightClip SA (Stand Alone), their core technology as a standalone solution.

The development presents the opportunity to incorporate Bright’s patent-pending advanced recording technology into every Meta Data Controller (MDC) ensuring that the underlying storage subsystem doesn’t lose performance due to scattered file layout.

BrightClip is engineered specifically to eliminate the most disruptive and productivity-damaging factors for a studio workflow process, including high latencies, dropped frames, and stuttering video.

“Releasing BrightClip as an independent technology is a big step for Bright Technologies as now every MDC can leverage the outstanding functionality of BrightClip. The impressive ROI of BrightClip shows that with a rather small investment customers can gain tremendous benefits – both in terms of workflow enhancement and even financially,” said Shawn Clark, Bright’s director of sales.

Visit www.4bright.com

Snell Adds Momentum to MAM SNELL HAS ANNOUNCED the launch of Momentum, a solution for media asset management (MAM), workflow automation, and resource planning.

Momentum employs thin-client service oriented architecture (SOA) to control a suite of proprietary and third-party applications running on various hardware platforms. Through a single unified interface, operations staff can access the system’s MAM, workflow automation, and resource management tools to perform complex production tasks involving different departments and personnel.

Users can define workflows and allocate available resources to orchestrate content processes from ingest to delivery, and they can instantly find media assets, catalogue them, and configure their metadata. Momentum’s business analytics tools provide a complete and transparent picture of all operations with access to real-time information and simulated scenarios.

The system automatically extracts and captures industry-standard metadata and adds manually customised metadata or template-based metadata schemas. Production staff can edit, consolidate, and process the content through quality control and transcoding for final delivery.

Visit www.snellgroup.com

Quantel Unveils RevolutionQ Broadcast Production Platform QUANTEL HAS UNVEILED REVOLUTIONQ, a new software architecture it says heralds a real revolution in broadcast production.

Using low cost COTS (Commercial Off The Shelf) storage allows customers to choose their hardware platform. RevolutionQ architecture also integrates fully with Quantel’s current Enterprise sQ systems.

RevolutionQ architecture is modular, utilises open standards and leverages SOA, with everything loosely coupled in a highly resilient, modern infrastructure that enables multiple components from different manufacturers to work together seamlessly.

The system allows users to take full advantage of low cost COTS storage to enable years of content to be stored online. Total storage can scale to many Petabytes; and the possibility of having decades of content online and instantly accessible is now a reality.

RevolutionQ delivers more flexibility in terms of media formats and interoperability. With years of content online, finding the right clips becomes even more crucial. RevolutionQ stores schema-free metadata

Dalet Unveils Galaxy DALET DIGITAL MEDIA SYSTEMS has unveiled plans for Dalet Galaxy, the latest and most advanced version of the company’s enterprise Media Asset Management (MAM) platform. Dalet Galaxy includes a BPMN 2.0-compliant workflow engine that boosts productivity and agility while also improving operational and business visibility across the media enterprise.

MEDIA IN THE CLOUD

The release will offer many additional features including a graphical user interface; Dalet One Cut, a built-in, multitrack video editing framework; more customisable data models; advanced tools for searching and indexing; increased interoperability with NLEs; and support for upcoming industry standards such as AS-02 and FIMS.

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Dalet Galaxy will also become the foundation for the company’s enterprise MAM solutions, which include the purpose-built workgroup packages Dalet Media Life, Dalet News Suite, Dalet Sports Factory, and Dalet Radio Suite.

The new BPM workflow engine in Dalet Galaxy includes tools for designing and modelling workflows, and for orchestrating human tasks as well as automated processes. Managers can prioritise and re-assign tasks and make sure deadlines are met.

Visit www.dalet.com

and provides web-like search tools, giving it the flexibility to handle today’s metadata schemas and to meet future demands.

RevolutionQ supports realtime ingest of hundreds of live streams simultaneously, with hundreds of users able to access all media within seconds of it beginning to arrive on the storage. Editors have instant access to the vast online store, without needing to navigate via a separate archive system.

Key to delivering the agility that large scale, fast-turnaround operations require, is the Quantel Virtual File System (QVFS). Incoming streams are analysed in realtime and identity is asserted on every frame. This allows users to start working with material close to live rather than waiting for the entire file to be ingested. RevolutionQ uses industry-standard AS-02 bundles as the storage structure, enabling multiple native media formats and metadata schemas to be flexibly stored.

Visit www.quantel.com

Harris Introduces Magellan NMS HARRIS CORPORATION (NYSE:HRS) has introduced the Magellan Network Management System (NMS), a powerful and complete network monitoring and control solution giving customers a centralised, comprehensive view of every component for system-wide flexibility.

Based on technology from Skyline Communications, Magellan NMS offers one consolidated user interface for the monitoring and control of multiple channels or facilities, and the flexibility to interface with Harris equipment and any third-party device. The uncomplicated design simplifies systems integration and troubleshooting, enabling swift response that minimises performance issues.

Magellan NMS offers a distributed architecture, eliminating the central server required in most control and monitoring systems. This design ensures no single point of failure for mission-critical broadcast environments. Its open design enables users to quickly create and modify applications, with web-based access to any networked device.

Visit www.harris.com

RADIO The original broadcast media

www.content-technology.com/radio

Videocraft Builds New Studio for SCA

RSN Up and Running with Tascam

WITH THE MERGER BETWEEN Southern Cross and Austereo (SCA), the joint broadcaster realised that television production and broadcast of their radio shows was now a distinct possibility. The only thing missing was an in-house broadcast production facility and that’s where Videocraft came in.

MELBOURNE-BASED RADIO broadcaster, RSN Racing & Sport, recently upgraded its playout capabilities with the purchase of Tascam HD-R1 Solid State Recorders from CMI Music & Audio, replacing their ageing Denon DN-M991R Mini Discs.

Videocraft NSW State Manager Andy Liell explained, “Southern Cross Austereo do a significant amount of in-house production, website content creation and live streaming.

Craig Borg, SCA’s Technical Production Manager, came to us with the request for our help in broadcasting all of their productions.

Craig wanted us to build the company a fully featured 4-camera broadcast quality television studio. They had very specific requirements, a modest budget and a limited amount of space. The challenge was accepted.”

Liell set about designing the studio with all of SCA’s requirements in mind. The emphasis was placed on building an expandable, high quality, flexible studio that would fit comfortably within the client’s budget.

Liell continued, “This is the kind of project Videocraft revels in. It’s a straightforward customisation of our proven system design and architecture – something we’ve successfully done many times before. Craig was more than happy with our track record in small to medium-sized studio installations so we were very much ahead of the game.”

Videocraft integrated Austereo’s existing Sony EX3 cameras and Blackmagic Design ATEM 2ME vision switcher with some new equipment including Sony PMWF3 Super 35mm and PMWEX3 cameras for the studio, all under camera control. The PMWF3 was chosen as it has similar characteristics to the

The Tascam HD-R1 is a compact, 1RU solid state device which utilises a Compact Flash card, and can be controlled remotely via RS-232, Parallel, and RJ45 100Mbit Ethernet.

EX3 and would also enable Austereo to do EFP production work harnessing the popular short depth of field look.

Videocraft also integrated RCP1000 remote controls and a Blackmagic compact video hub with three control panels. The final studio design also included Sony PVM2451 OLED monitors, Ross open gear distribution, a Yamaha 01V96 audio mixer and full integration with Austereo’s Avid Isis 5000, Avid Composer Media Suites and Air Speed server.

Southern Cross Austereo’s Technical Production Manager Craig Borg said, “Videocraft designed and installed a complete turnkey studio build from scratch, including cabling. The cabling alone was a work of art, as it had to match the cabling to our master control room, which we regard as the best in the business. Space was a real challenge, as was creating a broadcast quality studio with a very modest budget.

The ability to transfer files through USB was a major draw for RSN Chief Engineer, Kelvin Brown, saying that it was how the majority of their data movement was being completed.

Moving from the tape-based format of the Denon Mini Discs to a file-based workflow with the HDR1 units required adjustment, but Brown believes that the operators have adapted quickly to the change. The HD-R1s are also compatible with the current recorders being used by RSN, leading to a very straightforward changeover.

Space was another important consideration, as real estate is at a premium in the studio. With seven consoles and 16 OB lines just for racing, any replacement units needed to be as compact as possible, making the 1RU HD-R1 even more attractive.

Visit www.cmi.com.au

“I must say we are all delighted with the result.

Videocraft have done an excellent job and I must say a special thanks to Andy Liell and his entire team of professionals. We have already broadcast several live gigs including Bush and Taio Cruz all of which were a great success.

Quite honestly, we couldn’t have asked for and received a more perfect studio for the money.”

Visit www.videocraft.com.au

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RADIO

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RAVENNA Makes Connections for IP-Based Audio at NAB 2012 THE RAVENNA IP-BASED MEDIA NETWORKING STANDARD reached a tipping point at this year’s NAB show with a partnership announced by RAVENNA developer ALC NetworX and the Telos Alliance, the IP-audio organisation whose members include Telos, Omnia, Axia, and Linear Acoustic.

RAVENNA is a technology for real-time distribution of audio and other media content in IP-based network environments. Using standardised network protocols and technologies, RAVENNA can operate on existing network infrastructures. It is designed to meet the strict requirements of the pro audio market, featuring low latency, full signal transparency and high reliability. RAVENNA is an open technology standard without a proprietary licensing policy.

Promoted by the Telos Alliance, Livewire is a broadcast IP-Audio networking protocol developed by Axia Audio. Livewire uses Ethernet to provide an easy way to route and share audio and logic throughout the broadcast plant.

The Telos Alliance’s Axia Audio division, developers of Livewire, and ALC NetworX, the RAVENNA developers, have worked together closely to establish interoperability between Livewire and RAVENNA.

Sealing the interoperability deal on audio-over-IP, [L-R] Philipp Lawo, CEO of ALC NetworX with Telos Alliance CEO Frank Foti and President Michael Dosch.

Axia’s new xNode IP-Audio Interfaces support all fundamental operation principles of RAVENNA, and are capable of interacting with RAVENNAenabled devices. Specifically, IEEE 1588-2008 has been chosen as the primary synchronisation standard for the new xNodes, allowing fully synchronised stream operation as defined within RAVENNA.

synchronisation can even be reached across WAN connections, when GPS is used as a common time domain.

By implementing the newly defined RAVENNA Interoperability Profile, RAVENNA nodes can interchange streams with Livewire legacy nodes, based on their current capabilities. As a result, new RAVENNA-enabled products can be added to a large number of existing Livewire installations.

These installations can continue to operate in Livewire legacy mode, but also connect with fully operational RAVENNA islands with selected stream interchange between legacy Livewire and RAVENNA nodes. This offers a smooth migration path from existing legacy Livewire installations to fullblown RAVENNA setups.

As an IP-based solution, RAVENNA is based on protocol levels on or above layer 3 of the OSI reference model. IP can be transported by virtually any LAN and is used as the base layer for communication across WAN connections. Although Ethernet will be deployed in most cases as underlying data link layer, IP is in general infrastructure-agnostic and can be used on virtually any network technology and topology.

As IP has been chosen as a basis for RAVENNA, it uses Real-time Transport Protocol (RTP) for streaming of media content. RTP defines a standardised packet format for delivering audio and video over IP networks, is widely used and supported by numerous applications, and comes with a large number of standardised payload formats. This would even allow standard media player applications to potentially subscribe to RAVENNA streams.

Streaming is supported both in unicast and multicast mode.

A receiver can subscribe to any existing RAVENNA stream via RTSP/SDP (Real Time Streaming Protocol/Session Description Protocol), which is also supported by most common media players.

While simple streaming across a network can be achieved without any synchronisation at all, in pro audio applications a tight synchronisation between all devices and streams is absolutely mandatory.

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While playback synchronisation in most applications requires sample accuracy, it has been the goal for RAVENNA to optionally provide superior performance by providing phase accurate synchronisation; this would render the separate distribution of a reference word clock throughout a facility or venue obsolete.

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In RAVENNA, synchronisation across all nodes is achieved through IEEE1588-2008 (PTPv2 Precision Time Protocol), another standard protocol which can be operated on IP. PTPv2 provides means for synchronising local clocks to a precision required by AES-11. Accurate

As different services can co-exist with RAVENNA on the same network, it has to be ensured that RAVENNA streams will be expedited with priority.

For IP-based traffic, several QoS schemes have been defined as standards over time. For RAVENNA, DiffServ has been selected as QoS mechanism as it is widely supported by most modern managed switches.

Each RAVENNA device may exhibit two independent network interfaces which can be connected to independent physical networks. By duplicating any outgoing stream to both network links, any destination device will receive the full stream data on both network interfaces independently. If data from one link is corrupted or one network link fails completely, the uncorrupted data is still present on the other link. An internal mechanism ensures uninterrupted continuation of play-out.

RAVENNA features include: + Precise media clock distribution — no requirement for a separate house clock distribution; + Sample-accurate play-out alignment across all nodes on the network; + Concurrent support of multiple media clocks — streams with different sample rates may travel across the network without sample rate conversion; + Support of different data formats — 16/24 and 32 bit data formats may be used anywhere in the network; + Suitable for audio, video and other media data as well as for control protocols; + Full bit transparency — signals are not changed by the transport mechanism (e.g. Dolby E signals stay intact); + Low latency — depending on network infrastructure, traffic patterns and stream configuration, sub-millisecond latency is achievable; + QoS support based on widely supported DiffServ scheme allows resource sharing with other traffic; + Full redundancy optionally supported through integrated support of dual network interfaces; + Flexible configuration — streams may be individually configured in terms of data format, number of channels and bandwidth utilisation; + Unicast and multicast mode supported on a per-stream basis; and + Operation on existing networks and in shared traffic environments is possible Visit www.ravenna.alcnetworx.com

RADIO

Lawo Shows Audio Broadcast Developments LAWO HAS SHOWCASED the company’s new SDI-Dock, JADE and Multitrack Editor software products, the new Version 4.16 software running on the mc²66 MKII broadcast console, Visual Extension for sapphire, Nova29, the crystal console, and has demoed practical applications of using the Virtual Studio Manager for the deviceindependent control of audio and video equipment.

Lawo has put RAVENNA Audio over IP technology implementations in its latest products, releasing the RAVENNA HD Core Card, RAVENNA DALLIS Master Card, and the 8-channel RAVENNA I/O modules.

Lawo has launched SDI-Dock, a bridging tool between the worlds of audio and video. SDI-Dock incorporates 8 high quality embedders and de-embedders plus 128 audio channels connected through MADI. The product is completed with powerful video processing functions, including colour correction, frame sync, and thumbnailing.

Lawo also introduced two software solutions: JADE and Lawo’s Multitrack Editor for simplified and more efficient workflow at the editor’s workplace. Equally notable, the mc²66 MKII broadcast console will be presented with the new V4.16 software. A prominent feature of this release is the doubling of the channel count so that a full mc² system can offer up to 888 DSP channels.

The sapphire, presented by Lawo with Visual Extension, is the newest member of the on-air radio and TV broadcast console family.

This system offers a range of desirable functions, e.g. graphical visualisation of system functions, advanced user management in combination with Lawo technology in a new design.

The Nova29 delivers transparent signal routing for 1024 x 1024 signals, an integral intercom function, as well as many easy-tomaintain features.

Visit www.lawo.de

Harris Introduces IP Link 100 HARRIS CORPORATION (NYSE:HRS) has introduced the IP Link 100, the first in a new range of low-cost, high-performance audio codecs that help customers deliver program audio affordably and reliably.

The IP Link 100 is a compact solution for program audio transport between two or more points, whether in an STL configuration, from studio-to-studio, or from a remote broadcast location to a studio for sports and live events.

The IP Link 100 brings “always on” Intraplex technology to an affordable price level, and incorporates distinct high-end features.

“The reliability of sending program audio over IP networks continues to increase, giving broadcasters reasons to migrate beyond lower prices,” said Harris Morris, president, Harris Broadcast Communications. “The IP Link 100 translates the reliable professional-grade quality of top-shelf Intraplex IP solutions to a condensed design that gives our customers a lower price, along with confidence that their program audio will dependably arrive at its destination.”

Harris brings several features to the IP Link 100: + Dynamic Stream Splicing, a redundant delivery platform that merges two audio streams over the same or separate networks; + Multicoding, an industry first that enables simultaneous delivery of audio in two different formats;

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+ Automatic Backup to a plug-in USB drive or a local audio source in the event of IP connectivity loss.

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The IP Link 100 begins shipping in September, with related product introductions on the horizon.

Visit www.harris.com

Radio-Assist 8 Gets New Features NETIA HAS ANNOUNCED significant enhancements to its Radio-Assist 8 range of digital audio automation software. The newly released RadioAssist 8.1 offers the same array of tools for streamlined end-to-end multimedia production, broadcast, and publication workflows, as well as additions including two significant features: a new integrated music scheduling application and new video editing capability from within a single user interface.

“As the radio broadcast industry has evolved, we have refined our RadioAssist software suite to continue providing the functionality our clients need,” said Daniel Dedisse, Product Director at NETIA. “With the release of Radio-Assist 8.1, we’ve built valuable editing and scheduling tools right into the same user interface that supports the overall workflow.

By making a more robust toolset readily available within NETIA software, we give users more flexibility in delivering quality audio and video to audiences.”

The Radio-Assist 8.1 builds on existing capabilities by allowing users to leverage built-in music scheduling functionality. With music management tools integrated into Radio-Assist 8.1’s FederAll playlist preparation module, users can automate playlist generation according to preset criteria, business policies, and a wide range of intelligent options for sequencing music.

The video editing tool, now available within the Radio-Assist 8.1 interface, complements the software’s Snippet and Snippet+ audio editing tools. This enhancement addresses the growing demand for radio broadcasters to provide video via their online portals. This simple and easy-to-use editing tool is available through the same GUI as the Snippet tool, providing familiar utility that allows staff to produce video clips with very little training.

NETIA is also making Snippet LE (Light Edition) 8, a streamlined version of the Snippet tool within the Radio-Assist 8 digital audio automation software, available for free download. Designed specifically for journalistic editing work, this free software offers a user-friendly way to complete simple audio editing work.

Visit www.netia.com

Harris to Support ZoneCasting HARRIS BROADCAST COMMUNICATIONS announced its support of the GBS ZoneCasting System from Geo-Broadcast Solutions to support over-the-air transmission of broadcast content with the targeted flexibility previously reserved for internet and mobile broadband delivery.

Geo-Broadcast Solutions has designated Harris as its supplier of choice for signal transmission. The combined solution would allow FM booster stations to originate programming content unique from the main signal using GBS ZoneCasting Systems - and transmit that content to specific areas of a broadcast market using single-frequency networks with multiple Harris transmitters. The solution provides the dual advantage of delivering localised content to listeners and opening new revenue streams through targeted advertising.

“Harris’ long-standing leadership in transmission, including its rich product portfolio and expertise in single-frequency networks, makes them the ideal supplier to work with as we prepare to launch the GBS ZoneCaster System,” said Peter Handy, chief executive, GeoBroadcast Solutions.

“Broadcast radio has always been considered one of the most effective ways to reach your target audience, and geo-targeting takes localisation to a whole new level — not only for advertisers, but also for the purposes of public safety and general information related to news, weather and traffic,” said Richard Redmond, Harris Broadcast.

Visit www.harris.com

AUDIO Digital soundwaves

www.content-technology.com/audio

Impact Of “Digital Switchover” & 4G On Professional Wireless Microphone Systems Massimo Polo – Wisycom Paul Dengate – Onair Solutions

good range of available channels to choose from.

Wireless microphones and communications systems are an essential part of modern live production. Performers and presenters can move about freely, with reliable high-quality audio and return communications in both everyday and even extreme situations. A 2010 report commissioned by the Australian Wireless Audio Group estimated the number of wireless systems in use in Australia at 133,000.

LICENSING FOR SUCH LOW POWER RADIO TRANSMITTERS varies around the world, but is generally free from too much regulation, provided they operate within specified channel bands and don’t cause interference. Australia provides the “Low Interference Potential Device” class license, which permits radio mics and other devices provided the user resolves any interference to licensed radio communication services.

Typically these systems operate at power levels around 50mW with a range of 100 metres. The class license specifies certain protection bands that must be observed around operating TV channels in an area.

Before the advent of digital television, wireless microphone systems had a

The digital television transition, also called the digital switchover or analogue switch-off, is the process in which analogue television broadcasting is converted to, and replaced by, digital television. Digital television allows better usage of the spectrum, since a channel multiplex can contain several TV services (usually 4 or 5 depending on quality and compression). However, analogue services need to be maintained during the transition period, allowing users time to update their equipment without losing access to broadcasts.

Following a deployment of digital services and an adequate transition period, analogue services can be switched off. This has already happened in some parts of the world, and is currently in progress in Australia.

The switchover frees part of the spectrum while keeping the same TV services, and allowing more TV channels to be added. In Australia, digital TV commenced in 2001 and the switchover began in 2010 in regional Victoria. By the end of 2013, all analogue TV will be switched off, with remote areas and capital cities the last to go.

Usually it is the upper part of the spectrum that is released once analogue is switched off, allowing a range of new data services. Internationally, it has been decided to use this frequency resource to deploy innovative services based on LTE technology (long term evolution), also called 4G. This process has been conducted in many countries, identifying potential 4G bands for each area in which ITU (International Telecommunication Unions) divides the world: + 790-862 MHz in region 1 (Europe, Middle East, Africa, Russia & CIS) + 698-862 MHz in region 2 (Americas) + 790-960 MHz in region 3 (Asia Pacific)

Figure 1 - Analogue TV services with free channels for radio microphones

Figure 2 - Analogue and digital TV services during transition

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This was first defined during the ITU World Radio-communication Conference 2007 (WRC07) and today 4G services and Digital Television have already been deployed in many countries.

THE RESTACK Once the analogue services have been switched off, the remaining digital channels can be relocated for other uses. In Australia, the UHF television band that is currently 520-820 MHz will reduce to 520-694 MHz, and the upper end

will be auctioned.

The migration process is completed once all analogue services are switched off and the digital TV channels have been relocated to the lower part of the band. The Australian government has targeted the end of 2014 for the final parts of the restack to be completed.

However, some areas may have the restack completed earlier, due to the analogue switch off having already occurred.

Figure 3 - UHF band before and after the restack (Source: ACMA)

THE IMPACT ON PROFESSIONAL WIRELESS MICROPHONE SYSTEMS On the surface, the obvious problem for users of wireless mics is the reduction in free channel space to operate in. But in fact, a range of challenges are presented.

First of all, digital channels are transmitted differently from analogue modulation, having a much denser usage of spectrum. A digital channel has no empty room inside since all of the spectrum is occupied by its COFDM modulation. If two digital channels are adjacent it is still possible to use the guard band between digital channels (but that may only allow only one microphone per inter-gap).

Although it is not possible to work on top of existing terrestrial digital (DTT) channels, there are still areas of the spectrum available where channels are vacant to protect against interference in neighbouring areas. These unused channels vary from area to area and are called white spaces (USA) or interleaved spectrum (Europe).

Unfortunately these bands will not always be used easily for wireless microphone because there will be also other services deployed – so called “white space devices” (WSDs).

THE USA CASE AND WSDs In the USA, devices to transmit data under the FCC “TV Band Device” rules were heavily tested and now the first approved devices are coming on the market. The first such WSD approved by the FCC was released on January 26, 2012 – the AWR Agility White-Space Radio manufactured

by KTS Wireless.

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As these new devices begin sharing the same TV channels used by wireless microphones, personal monitors, and production intercoms,

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Figure 4 - Post Digital Dividend

interference will become a real possibility.

Fortunately, the FCC has set aside a minimum of two TV channels in each market that are available exclusively for wireless audio systems.

These channels change from area to area in the USA and are registered to a central database.

The WSD are required to have a GPS for location identification and must check into an FCC approved database before transmitting.

Additional channels are also able to be reserved for managing big events.

Whilst providing a relatively structured but straight-forward system, the impact is still a dramatic reduction in the frequencies easily used by wireless microphone systems. To always be able to get to the right spot within the two available channels, an extreme frequency agility is needed (200 MHz). In addition, a great frequency efficiency (number of microphones usable within a TV channel) is required if trying to operate many microphones in such an environment.

Early testing of WSDs showed many were unable to accurately identify frequencies in use, meaning the potential for interference for wireless microphones is raised. However, despite opposition from broadcasters, the FCC is satisfied the performance of WSDs is now sufficient and has verified this with further testing.

THE 4G “INTERGAP” The exact availability of “white space” channels in Australia within the smaller future broadcast spectrum is yet to be confirmed, and may not match what is currently available. This leaves some doubt as to exactly where wireless microphones may need to operate in the future.

In the upper section of the existing broadcast band, the Australian Communication and Media

Authority (ACMA) has proposed the “digital dividend” of two 45 MHz bands for 4G services, with some small guard bands between.

Between the 4G UPLINK and DOWNLINK, a 10 MHz guard band (Mid-band) is needed. In many countries this slot is released for professional wireless microphone applications. It represents a very nice spot since it will not change from area to area like white spaces do in the USA. It is quite likely this band will be harmonised across the Asia-Pacific region, simplifying roaming in the area and allowing economies of scale in the manufacture of suitable equipment.

Final arrangements for the “digital dividend” section of the band are still yet to be finalised, so there is no guarantee of availability at this stage. The Australian Wireless Audio Group believes the Mid-band would provide a suitable band for community users of wireless systems, but doesn’t see the small amount of bandwidth alone would satisfy the requirement for broadcast and professional users.

Of particular concern in Australia currently is the lack of clarity on exactly what will be available – making it difficult for users to make purchasing decisions and be sure their 5-10 year investment is protected.

“WISYCOM OFFER” Wisycom offers “DTT & 4G ready” receivers, that are able to work in 370 MHz of bandwidth. This wide frequency agility provides a great amount of flexibility for working in any white space available in the lower sections of the TV band, but also within the various 4G intergaps that are proposed. This is particularly beneficial while the future available channels is still undergoing submissions, review and final government approvals. Wisycom users can have confidence their investment will not need to be scrapped when the digital dividend starts in a couple of years.

Wisycom is introducing an “intermodulation free” technology on its transmitters as well, able to achieve very high density of microphones.

Up to 50 mic channels could be provided in the space of two TV channels or even more using the “narrowband” option. With the very real possibility of channel space being much more contended in the future, this efficiency gives users further confidence of trouble-free operation.

CONCLUSION Users of professional wireless microphone systems should be considering the impact of changes to the spectrum when assessing future purchases. With the final plans for spectrum use not yet set in stone, a system that offers are great degree of flexibility as well as the ability to operate reliably in a more constrained environment will provide the best protection of the investment.

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AUDIO

PHABRIX Enhances Dolby Support PHABRIX HAS ANNOUNCED that it will be delivering a new Dolby feature set available for its hand held test and measurement instruments, providing both Dolby E bitstream generation and Dolby E bitstream analysis.

The new Dolby generator provides a full range of program configurations at both 16 and 20 bit.

Metadata can be altered with adjustable starting frame rate and output as AES or embedded if required. The accompanying Dolby E analyser can be set to check the metadata using colour identified fields. 8 channel audio metering and guard band analysis with comprehensive logging make up the toolset. Closed loop testing with support for Dolby D and D plus will be added in the near future.

Paul Nicholls, Director of sales and marketing at PHABRIX commented, “This is a significant new development and in combination with the Dolby E analyser option offers the industry considerable functionality to test the Dolby format.”

Visit www.phabrix.com

TSL Introduces PAM2 MK2 TSL PROFESSIONAL PRODUCTS LTD. has launched its new PAM2 MK2 Multichannel Audio Monitoring Unit (PAM2 3G16 MK2) with an option for the latest in Dolby decoding technologies.

The MK2 delivers a new set of features for precision audio monitoring, including an SDI output connection to export display information to an external video monitor, a front-panel USB port for preset save/recall management and an Ethernet port providing network connectivity to Web browsers and system management software applications.

The new platform is built upon TSL’s existing PAM2 features, including loudnesscompliance monitoring and audio delay to match video latency.

As a member of the Dolby OEM Partner Program, the PAM2 MK2 is one of the first audio monitoring solutions to feature Dolby’s CAT1100 module, a new platform for comprehensive decoding and monitoring of

Dolby audio formats that are used throughout the HD broadcast chain. The new module will enable the PAM2 MK2 to perform Dolby E decoding and external speaker monitoring, as well as Dolby Digital Plus with surround descriptive audio and stream mixing, which will evolve to 7.1 as broadcasters adopt the full cinematic experience.

TSL also plans to incorporate an array of new features into the PAM2 MK2 over the course of 2012 to address the future of audio in the broadcast environment, including Dialogue Intelligence Loudness Measurement, simultaneous multichannel and stereo outputs and selectable error concealment. Configurable loudness information, in full compliance with EBU R128 and ATSC A85, is one of the resident metering sets available both on-board the PAM2 MK2 and exportable to an external display from the SDI port.

Visit www.tsl.co.uk

Miranda Launches End-to-End Solutions MIRANDA TECHNOLOGIES INC. (TSX: MT) has announced the launch of its end-to-end loudness monitoring, logging and correction solutions for both automatic, real-time processing during playout and file-based pre-processing prior to air.

“With over 7000 channels of real-time automatic loudness correction deployed worldwide, Miranda is a recognised industry leader in providing unique integration of the leading loudness algorithms,” says Marco Lopez, Miranda’s senior vice president of Infrastructure, Routers and Monitoring. “This allows a broadcaster to perfectly match the loudness correction to its type of content.”

Marquis’ X2Pro Audio Convert Now Available MARQUIS BROADCAST HAS released the X2Pro Audio Convert, its new conversion application for delivering Final Cut Pro X projects to Avid Pro Tools for audio finishing.

X2Pro uses Marquis’ Media Highway to integrate Final Cut Pro X into professional audio workflows, delivering integration between the two applications.

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In this way, X2Pro provides a smooth workflow between Final Cut Pro X and Avid Pro Tools, allowing users to take full advantage of the functionality of these products.

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Using the enhanced metadata in XML 1.1 from Final Cut Pro X, X2Pro provides a high fidelity conversion to a Pro Tools session, with planned support for audio gain, transitions, and key frames.

Visit www.marquisbroadcast.com

Three new loudness-related advancements have been unveiled. First, is the introduction of segment-aware loudness monitoring and logging to the Kaleido series multiviewers and the real-time loudness correction processors. Using Miranda’s iControl system, broadcasters can now log the average loudness per segment, enabling easy creation of detailed reports at a later date.

Secondly, because the abundance of content, including most commercials, is now file-based, broadcasters can now monitor and correct content prior to playout, using Miranda’s Enterprise Suite.

This file-based processing provides effective

loudness correction while maintaining the full dynamic range of the original content.

Finally, Miranda is introducing Intelligent Automatic Loudness Correction, which enables broadcasters to avoid audio quality problems associated with the unnecessary processing of content that has already been through loudness correction. Through tight integration between Miranda’s file-based and real-time loudness correction solutions, customers can automatically turn on and off loudness correction.

Visit www.miranda.com

Clear-Com Launches HelixNet Partyline CLEAR-COM HAS ANNOUNCED the release of the HelixNet Partyline Intercom System, the industry’s first networked partyline intercom system with a set of unique capabilities from set up to operation and maintenance.

HelixNet Partyline is the first set of products to demonstrate a platform with the audio clarity of the digitised sound, central administration of the entire system from the Main Station with a single cable and flexible cable options with the ability to leverage an existing cable infrastructure.

The 1RU HMS-4X HelixNet Main Station can provide power and four channels of audio to support up to 20 digital beltpacks. The alldigital HelixNet system is immune to electromagnetic interference and ground loops.

Firmware maintenance and upgrades can be

achieved via USB ports.

The expansion bay in the Main Station allows optional HLI-2W2 two-wire and HLI-4W2 four-wire interface modules to connect easily with existing analogue intercom systems and audio devices, while preserving the high audio quality that is free of hum and noise.

The HBP-2X HelixNet Beltpack is a two-channel beltpack that can access two of any four system channels and program audio over a single cable, along with individual level control.

Networked audio is distributed over a single, shielded twisted pair. Beltpacks can be set up in daisy chain or star configurations with no need for active split boxes. The system begins shipping in June of 2012.

Visit www.clearcom.com

AUDIO

Committee Examines Multichannel Audio Using AES3 stereo audio signals between studio equipment.

It originated in parallel with the SPDIF format during the 1980s and has evolved to allow sampling frequencies to 192 KHz stereo, and to transport multichannel compressed audio at the 48 KHz sampling frequency.

An AES standards committee now has an active project that would allow more audio signals to be carried with similar hardware to AES3. The project title is AES-X196, ‘Multichannel Audio in AES3’.

AES-X196 is based upon the idea that eight 48 KHz signals could be carried across a 192 KHz link, and four 48 KHz signals across a 96 KHz link.

According to Mike Law, CEO of UK manufacturer BCD Audio and member of the AES-x196 Project, “This idea is attractive, as broadcast audio has standardised on 48 KHz sample rate, but most AES3 compatible hardware is capable already of operating at the higher sample rates.

“Currently in a Broadcast environment, the transport of surround sound and multichannel audio requires either encoded compressed audio, or multiple linear stereo links, and the new idea would simplify this.

“Compressed audio requires expensive hardware and introduces considerable signal time delay.

The distribution of multichannel audio across

multiple stereo links is also unattractive, as many links are required and great care is needed to ensure that the correct audio signals are distributed and routed as a group. AES-X196 would solve both of these problems.

Law says another advantage of AES-X196 is in point-to-point links.

“If a single link is available between two locations that currently carries stereo, the new standard would allow that same link to carry more audio signals. This is important in existing installations, as it is often impossible to add more cable without lifting floors, digging up roads etc. Existing point-point transports (such as ATM) might be able to pass the new signal.

“An AES-X196 transmitter would be capable of operating with 2, 4 or 8 audio signals, and would be fully compatible with AES3 in 2 channel mode. Channel status information is carried with the audio, to identify the new modes. An AES-X196 receiver would detect the correct mode, and extract 2, 4 or 8 signals accordingly, that would be fully compatible with existing AES3 2 channel signals.

“Completely asynchronous routers, bypass switches, would be directly compatible. Existing AES3 distribution amplifiers might be compatible, provided they can carry the higher rates, and sample rate converters if present are disabled.

“Large audio routers would need to be adapted to handle the new signal. If only a few inputs and outputs were required to conform to AES-X196, this could be easy to implement.

New designs could be capable of all modes on all ports, including AES3.”

Law says there might be resistance to change from the existing AES3 standard, as some of the currently installed hardware would not be directly compatible.

“Initially it can be imagined that AES-X196 signals would only be used where the equipment was compatible,” he says. “And this in itself is useful, as in point-to-point links. Units that combine AES3 signals into AES-X196 feeds and split out AES-X196 into AES3 signals would be available that would make the migration easy to implement anyway.”

Law says his company intends to develop units to implement the standard that will arise from project AES-X196. These units will be based on FPGA technology, to allow for a degree of experimentation. Other parties are expected to implement practical designs too.

The standard is in early draft form, as it is a new concept, and interested parties are welcome to visit: http://www.aes.org/standards/meetings/initprojects/aes-x196-init.cfm

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AES3 IS THE STANDARD for interconnection of

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TRANSMISSION Signal distribution, test & measurement

www.content-technology.com/transmission

NINE Masters Control with National Playout Centre

By Keith Ford BASED IN SYDNEY, the Nine Network’s new National Playout Centre (NPC) is a central hub for all programming put to air by the Nine Network.

This encompasses the main channel, HD channel GEM, Go! and the recently launched infomercial channel eXtra. Not only does the NPC handle all these channels in Sydney, but also in the Darwin, Gold Coast, Brisbane and Melbourne markets, totalling an impressive 480 hours of television going to air everyday from a single facility.

Simply merging the locations from which the channels go to air is not the only change brought about by the NPC. There has been a move to a filebased workflow, an increase in flexibility allowed by the system including the ability to switch programming between channels, and a centralised master control.

The move from tape-based to file-based is one that brings with it a number of changes to the way operators interact with the system. This will inevitably cause a number of teething problems as the operators adjust to the change, but the benefits of switching outweigh the minor problems.

“The advantages of having content stored at low resolution so we can do all our previewing, all our segmentation, timing etc. at low resolution, it gives us great ability to quickly look at things, check things,” said Michael Greenwood, General Manager, NPC. “It also means that we can scale up in our ability to add new channels quite simply in terms of previewing, segmenting, you’re not required to have a whole bunch of new hardware.”

Using Harris Invenio as the asset management tool, the system automatically updates the changes done in low res to the scheduling and automation systems. There is also a whole host of other automated features that make life easier in a busy facility.

TRANSMISSION

Nine’s broadcast of the NRL is another example of this, with one game going live in Sydney while another goes live in Brisbane, then they switch.

At the same time, Melbourne is getting one of those games, but on GEM, not the main channel. Not only is this an example of the facilities flexibility, but also part of the reason everything that comes through the NPC is either maintained at HD quality or upscaled to it, despite GEM being the only channel broadcasting in HD. Upgrading all content to the best quality possible is part of the NPC’s focus on preparing for any eventuality. The program feed can go through either of two fibre channels, easily swapping if one is damaged, or it can swap to a satellite uplink if necessary. The facility also has two 500kW generators that can power the NPC for up to a month, and to be sure the channels never go off air, engineers are encouraged to engage the generators pre-emptively during heavy storms.

“The focus of this operation is very much on that 24 hour operation, we have generator backup, all the different things that make up, all the infrastructure to support a world class data centre if you like,” said Greenwood. “It gives the other stations the opportunity to focus on other parts of the business.”

The file-based system, along with having a centralised facility for all the networks channels, allows for a much greater degree of flexibility regarding what can be achieved in terms of scheduling and across channels.

The final major change to the playout process comes from having a centralised master control. Having a single system run from a central point helps to enable the flexibility that is such a major asset of the NPC, and the ease of monitoring across markets is another benefit of a system that is highly integrated.

“Programs are now stored in servers so we have an output of the server for every market and we can move our schedules. We’ve got the ability that Brisbane can be five minutes behind Sydney if required, or it can be in sync, or it can be in any combination. Which is a great improvement from where we were before,” explained Greenwood.

“That’s become a huge asset in the sense that we’re monitoring transmission across every market in one place, we have common equipment, common encoding for every channel,” said Greenwood. “If we want to change something it’s very simple to change it across all of our channels rather than having to deploy equipment around the country. So all the encoding is done here.”

Breaking news happening in Brisbane, for example, no longer needs to be pre-fed so they can run locally and local content can be inserted at any point. This flexibility is also extended to switching content between different channels, with live sport running over time being the most obvious example.

Not everything is different though, with many of the processes involved in producing local news programs staying much the same. The way that general programming is distributed has also not changed a great deal. The process has essentially just been moved out of Nine’s Willoughby facility and into the NPC.

“We can have cricket running with an operator across all the Nine channels

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and then at six-o-clock we can move cricket to the GEM channels for example, but keep it going for Nine Brisbane during daylight saving,” said Greenwood. “Really the flexibilities that the operator can acquire groups of channels rather than looking at each of them as being a separate entity, we can look at more the workload than the operation has on a day-by-day basis.”

Michael Greenwood, GM, Nine Network_National Playout Centre.

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Harris Connects the Dots with NINE SERVING AS THE PRIME INTEGRATOR for Nine National Playout Centre, Harris Broadcast Communications’ fit-out of the NPC was the culmination of a three-year process of technology upgrades across the network.

in the roll out, that enabled us to agree a high level design, before we got to detailed design.

According to Joe Khodeir, Harris’ Vice President of Marketing and Solutions, Asia-Pacific, “We got engaged at multiple levels. Initially, it was their first HD channel. It was broadcast out of TCN in Willoughby. From there, we installed the news system, a pilot news system into TCN in Sydney and that went from a pilot to a fully-fledged system.

“Over the next couple of years, we expanded the system from just being Sydney to Canberra, Brisbane and Melbourne. That programme was really an evolution of their existing infrastructure for news to be a fully HD filebased delivering platform for news across the country.

“That included integration into NineMSN for availability of content for the online platform, so it’s fairly comprehensive and one of the larger deployments we’ve made in the news area.

“The playout centre was one that was always on the radar, and was on the radar early on because of the investments that they’d already made with HD. We did work for the Go channel and the Gem channel, all leading up to a strategy which was to centralise playout across the network.”

Working with Nine and its building contractors from the early stages of the project, Harris formulated the design elements of the broadcast architecture in conjunction with power and air-conditioning for the building.

“There was a high involvement from us up front in the design element,” says Khodeir. “We ran the project over multiple phases. Obviously, with an engagement that size you don’t want to pre-suppose that you’ll get everything right at the initial design phase, so we had multiple step-points

“Then, as we went through the commissioning phase, there were multiple check points and approvals that we went through to make sure that we were on track. One of the more interesting elements of the engagement was integrating our asset management system into the in-house Nine scheduling system.

Harris’ Joe Khodeir.

“Essentially, that involved giving control of the workflow of the Nine playout centre to the traffic system, so that you could have an early view of content, the business rules were driven from the traffic system into the scheduling system. It then fed the movement of content, the preparation of ingest lists and the control of the actual playlist, and the content was synchronised between their scheduling system and Invenio.

“It was fully end-to-end Harris. We integrated with Ericsson on the compression side. We actually ran the programme to engage the systems integration resources that were working under our direction, and that whole process worked quite well.

“The transition phase was carefully thought out. We took the non-reactive channels to air first. Go was the first channel to transition across and then GEM. Once we were comfortable with that transition, we quickly moved on to the main channel and transitioned that across earlier this year.

“So, that’s worked out quite well, and we’ve been engaged to upgrade their TCN facility to act as a disaster recovery site. “

EVERYTHING AND MORE K2 EDGE IIntegrated ntteg playout systems are THE next big evolution broadcast. By bringing together asset management, iinn bbr playout plaay management, and advanced graphics all into one package, K2 Edge™ based systems give you a complete solution with premium performance, and maximum efficiency. more info at: www.grassvalley.com/products/k2_edge

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YOUR WORLD CONNECTED

TRANSMISSION

K2 Edge is a robust and proven software-centric playout node that delivers video, audio, secondary media, and graphics in a single purpose-built device.

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TRANSMISSION

Riedel Shows Smart Rack Modular Accessories Suite RIEDEL COMMUNICATIONS HAS presented its new Smart Rack Modular Accessories Suite. In addition to its fibre-based real-time network solution MediorNet, Riedel offers a range of accessories solving everyday issues in fibre installations. The Smart Rack Suite consists of WDM and CWDM Multiplexers and De-Multiplexers, as well as RF-over-fibre converters and patch modules for Neutrik OpticalCon cables.

Foundation of the Smart Rack solution is the SR-1 Smart Rack Module Carrier System. The SR-1 is a 19”/1RU universal housing offering space for four 4.75” sized modules, two 9.5” sized modules or any combination thereof. Riedel’s Smart Rack system features a locking mechanism for the modules, providing a solution to rack mount a wide range of accessories from all Riedel lines.

The Riedel SR-RF modules are 4.75” wide and are the ideal tool for remoting antennas over long distances. The units convert analogue RF signals into optical modulated signals, which are then transmitted via fibre. At the remote location the optical signal is re-converted into an analogue RF signal. RFover-fibre links can be used for RF receivers and transmitters.

The Riedel MC-WDM interface is 4.75” wide and provides two multiplexer/ de-multiplexers to multiplex/de-multiplex up to three LC duplex singlemode fibre links, each onto one LC connector (MC-WDM-L) or onto the two fibre pairs of one Neutrik OpticalCon Quad fibre connector (MC-WDM-Q).

Harmonic Introduces ProView 7100 HARMONIC INC. (NASDAQ: HLIT) has announced the introduction of the ProView 7100. The next-generation, multifunction ProView 7100 provides transcoding, transport stream descrambling, and MPEG stream processing in a single rack unit.

Leveraging a flexible and modular design, the integrated receiverdecoder’s (IRD) SD and HD MPEG-2 and MPEG-4 AVC video decoders and transcoders allow content providers, broadcasters, cable MSOs, and telcos to address a wide range of full transport stream distribution and contribution applications, including DVB descrambling and digital turnaround processing.

The ProView 7100 performs multiformat video decoding with up to four stereo pairs of audio decoding, descrambles up to four transport streams, and transcodes up to eight channels.

The ProView 7100 supports a rich set of input options that range from multiple DVB-S/S2 to IP and DVB-ASI as well as four common interfaces.

It is remotely controlled by Harmonic’s DMS distribution management system and can be integrated with any headend architecture.

TRANSMISSION

Visit www.harmonicinc.com

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Supported wavelengths include 1310nm, 1490nm and 1550nm.

The Riedel MC-CWDM interface is 9.5” wide and offers multiplexing and de-multiplexing capabilities over one duplex fibre link for up to 18 LC duplex single-mode connections of different standards, data rates or protocols, such as MediorNet high speed links. The multiplexed signal is available on either an LC connector (MC-CWDM-L) or on a Neutrik OpticalCon Quad connector (MC-CWDM-Q).

The Riedel MC-QP is a 4.75” wide module and provides easy patching of Neutrik OpticalCon Quad fibre cables with LC Duplex fibre cables and vice versa.

Visit www.riedel.net

Compact TV Analyser From Rohde & Schwarz THE ROHDE & SCHWARZ ETC mid-range, multistandard TV analyser supports the ISDB-T, DVB-T and DVB-T2 standards, and provides a solution for testing their transmitters. The R&S ETC offers a wide range of functions including spectrum analysis, TV analysis, scalar network analysis and power measurement in a single instrument.

The compact TV analyser fully supports the DVB-T2 single and multiple PLP transmission modes. It provides a detailed display of constellation diagrams, channel impulse response, shoulder distance of the OFDM spectrum and MER(k). The R&S ETC has an integrated preselection and preamplifier, which increases both dynamic range and sensitivity.

The core component of the R&S ETC is an FPGA-based demodulator, which demodulates the received signal in real-time and helps to achieve high measurement accuracy. The analyser detects even shortterm interfering signals that occur at irregular intervals. Real-time demodulation allows continuous measurement of the bit error ratio (BER) of the received signal.

Visit www.rohde-schwarz.com

Ross Debuts BlackStorm

Kahuna 360 Gets Compact

ROSS VIDEO HAS INTRODUCED the two-channel BlackStorm playout server with four hours of internal HD storage. Using DVCProHD codec, Ross Video’s new Solid State Model is suitable for playing content in a live mobile video production offering less power usage, faster data access and higher reliability.

SNELL HAS SHOWN the Kahuna 360 Compact, a smaller-frame version of the company’s Kahuna 360 video switcher. Offering 1080p switching in a 6RU chassis, the new switcher enables a migration from SD to HD and then 1080p, and makes Snell’s technology accessible to a wider audience.

“The BlackStorm Playout Server makes an excellent addition to any mobile environment,” said Todd Robinson, Marketing Product Manager, Servers – Ross Video. “The new solid state drive offers reliability, quick response time and lower power requirements. The functionality of BlackStorm is the perfect fit for the playout of ‘EverGreen’ content such as stills, animations, wipes and transitions.”

Equipped with the Kahuna interface, the Kahuna 360 Compact delivers all of the functionality of the full-sized Kahuna 360, with up to three full mix/effects and seven keyers per M/E, as well as Snell’s Make M/E technology, which enables multiple independent sub-level switchers. The FormatFusion3 technology provides the ability to mix HD, SD, and even single-link 1080p sources into a single production and provide multiple outputs of SD, HD, and 1080p.

Visit www.rossvideo.com

Visit www.snellgroup.com

NTT Announces SARADEC2

TVN Releasing ViBE CP6000

NTT ELECTRONICS CORPORATION has announced the release of its new professional video decoder SARADEC2, a single chip LSI 10bit H.264/AVC solution decoding MPEG-2 TS stream for 422/420, MPEG-2 and H.264/AVC, 1080/60i and 1080/60p (H.264/AVC) with 8bit/10bit(H.264/AVC) formats.

THOMSON VIDEO NETWORKS has launched the ViBE CP6000, a dedicated multiformat high-performance platform for contribution of live video. With its modular implementation of the optimal MPEG contribution codecs, an eight HD channels per 1RU chassis, and industry-leading compression performance, the CP6000 is a substantial advance for contribution applications.

By optimising memory bandwidth, SARADEC2 achieved 3w typical operation with 4x800MHz DDR for H.264/AVC-422/10bit operation.

Developed as a multiformat system for broadcasters, video carriers, network operators, and telecoms, the ViBE CP6000 provides high-quality transport of live HD and SD content over IP or satellite contribution networks. Offering a far greater density than comparable products, the CP6000’s capacity of up to eight HD channels in a single chassis is a key advantage for live broadcasters, saving space and lowering energy consumption.

SARADEC2 functions include the ability to cover universal formats, receiving and decoding any variation of the stream, at any place and at any given time regardless of the situation.

Visit www.ntt-electronics.com/en/

Wohler Extends DVM Line WOHLER TECHNOLOGIES has expanded the company’s DVM line with three new MPEG video monitors. Wohler will now offer the new DVM-5210, a 5-RU system with two 10-inch screens; the DVM-4290, a 4-RU unit with two, 9-inch screens; and the DVM-3270, a 3-RU system with two, 7-inch screens.

All of the DVM MPEG monitors provide advanced test and measurement features for convenient at-a-glance monitoring of program content from 3G/HD/SD-SDI inputs and MPEG-2/4 ASI streams. the monitors decode and display MPEG-2 and MPEG-4 signals via BNC input while giving users the ability to browse the PAT, PMT, and PID tables for each selected stream.

Based on the ATCA telecom standard with high backplane throughput to address future applications, the ViBE CP6000 architecture is a futureproof contribution platform designed to optimise customer investment and minimise the cost of ownership. It is ready for 3Gbps SDI applications (1080p50/59.97), and its dual-channels-per-module architecture easily addresses 3D applications. Hot-swappable modules allow for instant exchange without disturbing channels in use, a feature that is key to the system’s easy setup, expansion, and maintenance.

The ViBE CP6000’s flexible modular design also means that MPEG-4 and MPEG-2 codecs ranging from 8-bit 4:2:0 up to 10-bit 4:2:2 can be easily added, as required, by software license. When configured for large deployments, the CP6000 can be monitored or controlled by Thomson’s XMS Management System.

“Our growing DVM line offers best-in-class performance and functionality that previously were available to broadcasters only in more expensive solutions,” said Don Bird, chief marketing officer at Wohler.

“The ViBE CP6000 is a breakthrough in convenience, performance, and energy efficiency for sport events, news, studio interconnection, and backhaul from the broadcast centre to playout,” said Christophe Delahousse, president of Thomson Video Networks.

Visit www.wohler.com

Visit www.thomson-networks.com

19th – 22nd June 2012 Suntec Singapore

See Digital Rapids at the Gencom Technology Ltd Stand: 4L3-12

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

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! what’s on JUNE

JULY

CASBAA SATELLITE INDUSTRY FORUM 18 June, 2012 Shangri-La, Singapore www.casbaa.com

DIGITALE CINEMATOGRAPHIE 2012 5-6 July, 2012 Alte Kongresshalle Munich, Germany www.digitale-cinematographie.de

COMMUNICASIA2012/ ENTERPRISEIT2012 19-22 June, 2012 Marina Bay Sands, Singapore www.communicasia.com

CINECAST ASIA EXPO 2012 9-13 July, 2012 MECC, Kuala Lumpur, Malaysia www.cinecastexpo.com

BROADCASTASIA2012 19-22 June, 2012 Suntec Convention Centre, Singapore www.broadcast-asia.com MUNICH LOUDNESS SUMMIT 2012 20 June, 2012 Westing Grand Hotel Munich, Germany www.loudnesssummitmunich.com

CLASSIFIEDS

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

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ASIA DIGITAL CONTENT PROTECTION SUMMIT 26-28 June, 2012 Shenzen, China asiadigitalcontentprotectionsummit.com

BROADCAST TODAY 27-29 July, 2012 Chennai Trade Centre, India www.broadcasttoday.biz

AUGUST ABE - AUSTRALIAN BROADCAST EXHIBITION 7-9 August, 2012 Novotel Manly Pacific Hotel, Sydney www.abeshow.tv BIRTV 22-24 August, 2012 Beijing, China www.birtv.com

SEPTEMBER IBC 7-11 September, 2012 RAI Amsterdam, Netherlands www.ibc.org

ABE2012 Australian Broadcast Exhibition

exhibition

featuring the latest in digital broadcast & production technology

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

Advertiser Index ABE 2012 ......................................17 Adimex ...........................................23 Amber Technology ......................11 ARRI Australia ............................ IBC Atomise .........................................60 AVC Australia Pty Ltd ..........IFC, 49 Avid Technology ..........................33 Blackmagic Design ........................ 5 CMI Music & Audio .....................47 Connected Entertainment ........19 Digital Rapids ...............................59 Eureka Pacific................................45 FujiFilm/Fujinon.............. 61,62,63 Gencom Technology Pty Ltd ....13 Grass Valley Group ......................57 Harmonic Inc. .................................. 3 Harris Communications ........ OBC

IBC Conference ............................21 Jands ...............................................53 Junger Audio ................................51 Lumina Broadcast Systems......... 6 Magna Systems ....................15, 27 OB Group........................................60 On Air Solutions .....................34,37 Powermedia ..................................41 Professional Audio Technology ...................................55 Quinto Communications ............. 9 Riedel ..............................................31 Ross Video ....................................36 Sony Australia.........................28,43 Storm FX .........................................39 Techtel .............................................. 7 Videocraft ......................................25

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TIME shifter The Eternal Flame Every Summer Olympics is preceded by a Torch Relay, and the Sydney 2000 Games were no different.

On the road with DVCPRO50

The Sydney 2000 Olympic Flame

LIT FROM THE SUN’S RAYS atop Mount Olympus, Greece, the torch was flown directly to Guam for a two-week tour through the Oceania region and New Zealand. From Auckland it was flown directly to Uluru for a three-month tour around Australia in the lead up to the Opening Ceremony for the Sydney 2000 Olympic Games on September 15th.

Sydney-based production company, Black Magic Media, was awarded the tender to provide broadcast footage for the Torch Relay.

A decision to use Panasonic DVCPRO was cemented after consideration for Channel 7’s own news use of the format, as well as DVCPRO50 being used by the Sydney Olympic Broadcasting Organisation (SOBO).

TIME SHIFTER

Black Magic principal, Paul Mullan said at the time that the “new” format would bring with it added benefits for on-the-road events.

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“We’ve been looking at which way we should go for ‘on the road’ events. We’re looking forward to the added benefits of smaller, lighter equipment, and stock.”

Footage was captured on three DVCPRO50 AJD910WA cameras, with editing on an AJ-LT85 Laptop Editor, before transmission back to ATN-7 in Sydney, which used the same small tape format.

Black Magic Media’s Justin Glancy [Left] and Paul Mullan

A specially designed mobile edit suite was built, which became home to the crew during the trip around Australia.

Two crews on fortnightly rotations, made up of three people who could produce/write/shoot and edit, travelled with the torch, sending back footage on a daily basis via portable satellite up-link for national and international television distribution.

As to the small crew, Paul Mullan said, “there’s no room for excess on this event, so everyone has to be able to do everything, back each other up and work together in a confined space for a long time.”

As a postscript, Paul tells C+T that his DVCPRO50 kit has only recently entered retirement.

Visit www.blackmagic.com.au

Justin Glancy with the DVCPRO50

WORK SOME MAGIC INTO YOUR WORKFLOW Content comes in from an assortment of inputs. You have to deliver it to a wide range of outputs.

What happens in between can set you apart. Selenio integrates all processing, compression and IP networking into one unified platform. It’s so brilliantly simple, you’ll think it’s magic.

Check out Selenio™ at the Broadcast Asia show 2012 — Booth 4R2-01.

broadcast.harris.com/selenio

Sydney +612 9479 4900

harris.com

Singapore +65 6595 4600

Hong Kong +852 2776 0628

China +86 10 5795 1300

Japan +813 3526 8500