Broadcaster March 2008

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March 2008

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C A N A D A ’ S

C O M M U N I C A T I O N S

M A G A Z I N E

Broader-Casting at NAB Time, Gentlemen, Time:

Publication Mail Agreement No. PM40069240

DTV Transition Brings Analog’s Last Call

Broadcaster速 January 2008

Volume 67 Number 2

Features

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What A Difference A Year Makes

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New Opportunities for Content Creation, Digital Acquisition, Post Production and Distribution Dominates NAB Exhibition

Broadcasters Gearing Up for DTV Transition

Departments 4 The View From Here TV Finances Rosy Red, But Program Content Heads South

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Canadian Achievers Broadcast A Barrel of ...Ink

March 2008

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The view from here

TV Finances Rosy Red, But Program Content Heads South {ews of a profitable, healthy broadcast sector should bring joy to any industry participant, media consumer or content creator.

But the gap between monies spent on foreign programming versus homegrown content is the widest it has ever been in Canada, according to figures released by the Canadian Radio-television and Telecommunications Commission (CRTC).

Statistical and financial summaries for private conventional television, including information about revenues, expenditures and profitability from 2003 to 2007, were released by the CRTC. Commercial networks include A-Channel, CITYTV, CTV, Global and French language networks TVA and TVQ. Canada’s private conventional television stations are solidly profitable performers, yet their investment in Canadian content is a small and declining portion of their expenditures.

The country’s private commercial broadcasters saw profits before interest and taxes (PBIT) increase from $90.9 million in 2006 to $112.9 million in 2007, a PBIT margin increase from 4.24 per cent to 5.2 per cent.

These totals remain below those reported between 2003 and 2005; nevertheless, in 2007, private broadcasters generated $2.2 billion in total revenue.

Operating expenses held steady at $2 billion, with the acquisition and production of programming cited as the bulk of the expenses. From 2006 to 2007, Canadian programming expenditures decreased by 1.2%, with $143.5 million paid to independent producers.

But private broadcasters also spent $721.9 million on foreign programming, an increase of 4.9 per cent.

They also managed to employ fewer people (in 2007, private conventional television stations had 7,873 employees, paying them $594.6 million in salaries) last year than the year before. In comparison, the sector employed 8,197 people,

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paid a total of $593.6 million in salaries in 2006.

In the coming months, the CRTC will publish similar reports on radio; specialty, pay and payper-view television and video-on-demand services; and broadcasting distribution.

These reports allow interested parties to stay informed of the Canada broadcasting industry’s financial situation.

But coupled with concerns about tightening finances & restrictive tax policies; copyright & IP (intellectual property) legislation (or the lack thereof); emerging distribution vehicles (both ‘legal’ & ‘illegal’) and continued labour disruption (directors, writers, now actors?), these reports of ‘good news’ seems yet another blow to our content creation and media distribution community.

Culturally, politically, financially, we need to re-prioritize the way this industry is perceived and treated. We should use our tax tools to reward Canadian investment and industrial development, and to discourage or mitigate the flow of funds away from our market. Financial incentives for successful program development should be strengthened; they should not be used to penalize or intimidate or pre-judge content development.

The continuing trend towards broadcast sector integration and consolidation should be reviewed, if not completely reined in, seen in the light of the clear trend exhibited by broadcast conglomerates to undercut the nation’s production industry.

Let’s add one more critical criteria to the ‘good news’ assessment: the Canadian broadcast sector should be profitable, healthy — and clearly Canadian.

The path we are following now delivers on but two of the three. Meatloaf aside, that ain’t good!

— Lee Rickwood Editor@broadcastermagazine.com

Editor Lee Rickwood editor@broadcastermagazine.com Contributing Editors David Bray; Dick Drew; Derrick Scott; Robert McKenzie Senior Publisher Advertising Sales James A. Cook (416) 510-6871 jcook@broadcastermagazine.com Art Director Anne Miron Print Production Manager Phyllis Wright (416) 510-5101 Production Manager Gary White (416) 510-6760 Vice-President Alex Papanou President Bruce Creighton Circulation Manager Cindi Holder (416) 442-5600 ext. 3544 Customer Service Malkit Chana (416) 442-5600 ext. 3539 News Service Broadcast News Limited Editorial Deadline: Five weeks before publication date.

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Visit us at NAB Booth # SU5220, as we unveil some exciting new technology.

What a Difference a Year Makes U.S. Broadcasters Expect To Meet Milestone for Digital Over-The-Air Transmission

By Lee Rickwood

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hen attendees gather for the next NAB Trade Show and Conference, in April 2009, they will be citizens of a new world, a digitally connected world in which program distribution will be unlike it has ever been before.

The transition will mark “a historic event for America” says National Association of Broadcasters President and CEO David K. Rehr.

A successful digital transition is the NAB’s “number one television priority” Rehr added, saying that the industry association and its members are committed to ensuring that “no viewer anywhere”- is left uninformed about the transition and its implications.

“After all, over-the-air viewers are our lifeblood,” Rehr noted.

Television programming has been transmitted over the air using analog signals since it was first commercially launched in 1947. The digital TV format was introduced in 1996 to increase the signal efficiency and provide enhanced capabilities, such as HDTV, which are impossible using analog technology. The U.S. Congress has mandated that all 1700-plus TV stations nationwide transition to digital television and discontinue broadcasting analog signals by February 17, 2009. (In Canada, the analog TV service will be shut down on August 31, 2011, as the Canadian Radio-television and Telecommunications Commission recently voted.)

As a result, broadcasters are to become more spectrum efficient, allowing the U.S. spectrum above channel 51 to be auctioned off for improved public safety communications, as well as to introduce a new era of advanced wireless services such as the widespread deployment of wireless broadband.

Today, less than a year before the nationwide mandatory sign-off of analog television transmission, scheduled for February 17, 2009, most U.S. broadcasters say they expect to meet this major milestone as part of their ongoing transition to the adoption of digital TV (DTV).

Interestingly, in the midst of the technical, operational and creative demands of digital television, and while meeting the deadline to convert over-the-air transmission from analog

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“A historic event for America” says National Association of Broadcasters President and CEO David K. Rehr, referring not to the NAB Show itself, but the entire DTV transition.

to digital, most broadcasters also plan to upgrade their facilities to provide consumers with local HD programming, as well as content for the Internet and mobile devices such as cell phones, PDAs and laptop computers (Please see sidebar story).

But the significance of DTV cannot be underestimated, according to NAB Executive Vice President Dennis Wharton: “At stake is the very future of broadcast television, and there should be no mistaking the commitment of local stations and our network partners as leaders in this unprecedented educational effort to conclude a successful DTV transition.”

Wharton was responding to an order from the U.S. regulatory agency Federal Communications Commission (the “Commission”) regarding digital television consumer education efforts

by TV broadcasters, cable and satellite operators, retailers, and manufacturers.

“We salute the FCC action, which provides broadcasters with the necessary flexibility to

ensure that no American loses access to television service due to lack of education,” said Wharton. “Through public service announcements, TV crawls, news programs and innovative marketing techniques, broadcasters are committed to presenting more than $1 billion in messaging that is educational, accurate and actionable.”

The Commission’s DTV Consumer Education Order requiring television broadcasters, Multi-Channel Video Programming Distributors (MVPDs), telecommunications carriers, retailers, and manufacturers to promote awareness of the nation’s transition to digital television. The educational efforts of these diverse groups are intended to provide consumers with clear and correct information about the DTV transition.

The Commission has been committed to working with representatives from industry, public interest groups, other governmental entities, and Congress to make the significant benefits of

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digital broadcasting available to the public and minimize the potential burdens the transition could impose. Today’s order takes numerous steps designed to facilitate a smooth transition, including: • Broadcasters must provide on-air information to their viewers about the DTV transition, and have the flexibility to comply with one of three alternative sets of rules to best serve their widely divergent communities. Broadcasters must report these efforts, on a quarterly basis, to the Commission and the public.

• Multichannel video programming distributors (“MVPDs”) must provide monthly notices about the DTV transition in their customer billing statements.

• Manufacturers of television receivers and related devices must provide notice to consumers of the transition’s impact on that equipment.

• DTV.gov partners and winners of the 700 MHz spectrum auction must provide the Commission with regular updates on their consumer education efforts.

• Telecommunications companies participating

in the Low Income Federal Universal Service Program must provide notice of the transition in their monthly customer billing statements to their low income customers and potential customers.

• FCC will assist the National Telecommunications and Information Agency (“NTIA”) in ensuring that retailers are fulfilling their commitment to the converter box program.

Rehr, who signed a multi-year deal with the NAB and assumed his current office in December of 2005, has nearly 25 years experience in regulatory and anti-trust issues.

Previous experience includes serving as a professional staff member of the House Small Business Subcommittee on Antitrust and Restraint of Trade, director of federal government relations for the National Federation of Independent Business, and President of the National Beer Wholesalers Association.

Rehr holds an M.A. and Ph.D. in economics from George Mason University, as well as a B.S. in Business Administration from Saint John’s University.

In recent statements before government

Broadcasters Gearing Up, Survey Says Findings from a survey released by Harris Corporation into the industry’s readiness for the upcoming digital transition indicate broadcasters are eager to offer expanded services and enhanced programming options as a result of the upcoming digital transition.

The survey showed 66 percent of broadcasters plan to provide consumers with more programming in HD, with its significantly superior picture and sound quality “The survey shows that U.S. broadcasters are fully embracing the conversion to digital and highdefinition TV (HDTV) and the additional revenue opportunities it will provide,” said Tim Thorsteinson, president of Harris Broadcast Communications.

“The transition to digital equipment and supporting software systems is not only allowing broadcasters to offer expanded services, but also to create a seamless workflow and reduce costs.”

The survey showed: 66 percent of broadcasters plan to provide consumers with more programming in HD, with its significantly superior picture and sound quality;

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55 percent said they will use the additional channels resulting from DTV’s superior spectrum efficiency to multicast more local news, sports, weather, traffic and other community interest programs; 50 percent expect to broadcast live programming over the Internet and derive additional revenue from their station’s Web site; and 28 percent of broadcasters expect to provide programming over mobile handheld devices including cellular phones, PDAs and laptop computers.

Harris Broadcast Communications provides products, systems, and services that deliver interoperable workflow solutions that span the entire broadcast delivery chain. Harris will be demonstrating how broadcasters can make the move to becoming multiservice providers for their markets in April at the 2008 National Association of Broadcasters conference.

The scientific survey of more than 100 television stations was conducted for Harris by In-Stat in December 2007 and January 2008. The survey has a margin of error of 9.3 percent.

commissions and industry hearings, Rehr said the NAB aggressively constructed a comprehensive and empirically based DTV education effort in response to industry and regulatory requirements “In constructing our campaign, we turned to

Greg Hansen Ian Schmidt, President of RVA Canada Limited is pleased to announce the appointment of Greg Hansen as Operations and Business Develpment Manager, effective February 1, 2008. Greg will assist in areas of Pro Audio, Intercom, Communications, as well as RVA Lighting & Mast.

“Greg’s enthusiasm and knowledge of the industry will be a tremendous asset to RVA’s future endeavours,” said Ian Schmidt, President of RVA. “He has been involved in many types of projects such as pro audio installations, major venues, houses of worship, and stadiums. His integrity, knowledge and hard work has earned him respect and trust in the industry. We are delighted he accepted the position of Operations and Business Development Manager.”

Hansen started his career in pro audio and lighting show services in 1991. Since the beginning Greg worked in many areas from concert sound, system design, sales, installations, and warehouse management.

In 1999 Greg accepted a position at Telex Communications at their growing facility in Toronto Canada. Soon after Greg became National Accounts Manager for Telex Intercom and RTS Intercom products, where his strong technical knowledge was a much appreciated asset. He later moved on to become Regional Sales Manager for all Telex, Electro-Voice, Dynacord, Midas and Klark-Teknik products for the Province of Ontario. After the closure of Telex Canada, Greg opened an independant rep firm, representing many products before being lured back to Telex Communications once again as the exclusive Ontario sales firm for the complete Telex EV product offering.

His business employed several reps and office staff. Now with over 17 years experience, Greg has returned to his roots in professional and broadcast sales.

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From Broadcasting to Broader-Casting NAB Show to Spotlight Content Community This year, the premiere event in the world of electronic media for more than 80 years will enhance its focus on the content community in the media marketplace.

From traditional broadcasting to new media podcasting, from high definition TV in the home theatre to digital signage in retail and public spaces, from emerging technical specifications to popular creative techniques, NAB will spotlight the creative content.

Scheduled speakers at this year’s show will include iconic author Alvin Toffler, whose book Future Shock has sold more than six million copies and accurately forecast the disruptive influence on global economics by transformative information and content delivery technologies.

Given that NAB Show attendees represent every stage of the content life cycle, including creation, management, commerce, distribution and consumption, this year’s show will feature a content theater, two pavilions dedicated

Futurist and author Alvin Toffler will address this year’s National Association of Broadcasters.

experts in advertising, marketing, and consumer research to develop a program designed to reach every corner of America - and, to determine the best way to educate consumers, particularly those most impacted such as senior citizens, and minority and rural populations. All told, the value of this campaign is estimated at more than $1 billion and will generate 132 billion audience impressions.”

Already, Rehr described, the “first phase” of consumer education has achieved success: “Launched last fall, the campaign drove home the fact that the transition was happening.

Results of our January survey show that consumer awareness has jumped dramatically - to 79 percent, up from 38 percent just one year

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to IPTV and mobile solutions, and a commerce area to facilitate content partnership opportunities. The content theater will feature high-level Q&A sessions, keynote speeches and panel discussions to be presented alongside segment screenings of recent, cuttingedge films.

NAB also unveiled a new logo and tagline — NAB Show: Where Content Comes to Life — demonstrating the show’s commitment to serving the entire content community.

“By spotlighting the content community, the NAB Show will remain the dominant event for the future of content creation, management and delivery,” said NAB Executive Vice President of Conventions and Business Operations Chris Brown. “Whether it is broadcast TV and radio, the Internet, satellite, IPTV or the next yet-invented handheld device, it is content that serves as the unifying driver of entertainment and innovation.”

Toffler, whose other best-selling books include The Third Wave and Revolutionary Wealth, will be speaking at an event open to all NAB Show attendees.

He and his spouse, Heidi — a co-author of many of his books — have been called

by Time magazine “the standard by which all subsequent would-be futurists have been measured.” Toffler has been a visiting professor at Cornell University, a faculty member at the New School for Social Research, and an editor at Fortune magazine.

ago. We anticipate continued forward momentum,” he described.

The second phase includes the controversial converter box coupon program, under which consumers can received a coupon or rebate to help finance the purchase of new DTV equipment required for over-the-air TV reception. A national speaker’s bureau and a fleet of customized trucks — called DTV Trekkers — that look like giant televisions on wheels are criss-crossing the country, providing information and education about DTV. Retail, community and private sector outreach programs are also in place, Rehr described.

“Clearly, this is not a project broadcasters can tackle alone. From the beginning, we

knew this effort would require everyone’s cooperation and involvement,” he explained.

We look forward to working with all of our partners, including cable, electronics manufacturers, retailers, community broadcasters, consumer advocates and the government as we go forward.”

Along those lines, the Consumer Electronics Association (CEA) and the NAB have put in place a new partnership to produce AntennaWeb.org, an online antenna mapping program designed to help consumers and electronics retailers determine the proper outdoor antenna to use in order to receive free local broadcast channels.

“Cable or satellite subscriptions are not required for consumers to enjoy the benefits of digital television,” Rehr noted. “With the proper antenna, consumers can receive free, over-theair digital broadcasts with higher picture and sound quality and access to multiple channels of free programming. Broadcast viewers can also access interactive video and data services that are not possible with traditional analog technology, including enhanced closed-captioning.”

AntennaWeb.org is an online interactive database that advises consumers on the usage of an outdoor antenna to receive over the air television signals. AntennaWeb users simply input their home address to determine what over the air broadcast signals are available and which outdoor antenna to use. The program’s database accounts for obstructions such as hills, trees and buildings between the transmitter and the receiving antenna that can interfere with a broadcast signal and affect picture quality. The CEA/NAB partnership includes infrastructure and site capacity upgrades, site design improvements, and database upgrades that will further improve the user experience.

“Since its inception, AntennaWeb.org has been CEA’s most popular consumer web resource,” said Gary Shapiro, CEA’s president and CEO. “We’re thrilled to partner with NAB to deliver a new site with even more capacity and educational content as well as a new look and feel, so consumers can easily find the information they need to learn how to receive free, over-the-air television.”

Finding and receiving over-the-air TV transmissions could be a whole new ballgame for Canadians — at least those now near enough the border to receiver analog OTA TV. Although U.S. stations near the border do not necessarily track Canadian audiences, nor do many U.S. advertisers have a specific goal of

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Hundreds of thousands of attendees, thousands of exhibitors, and miles of aisles are again part of the NAB Trade Show. However, this year should be its its last appearance in an analog TV world.

reaching Canadians. Rather than losing viewers, some station managers feel their viewership will rise based simply on the idea that people with new and sometimes pricey HDTVs will want to fill their screens with the best possible programming, such as digital transmission will deliver.

It seems unlikely any views will leak the other way: many Canadian networks get the biggest domestic ratings by airing American imports,

and of course, they do not provide much local U.S. news or sports. With some notable exceptions — hockey, Gas and Mosques, for example), not a whole lot of Canadian programming is popular enough with to get them to tune to Canadian stations, even if they could.

Industry Canada signed a Letter of Understanding (LOU) in 2000 when with the FCC, which devised a table of mutually acceptable DTV

allotments within 250 miles of either side of the shared border. It took four years to formulate the LOU, which includes procedures for notifying each other of proposed DTV licensing and transmissions. Interference is generally not an issue for stations on either side of the line, thanks to a longstanding tradition of cross-border cooperation, but of course, there is little precedent to draw on for an historic event.

B

World-Class Lens Technology.

Local Technical Support.

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Visit Canon at NAB 2008 at Booth #SU3020

1400 Courtney Park Drive | Mississauga, Ontario | L5T 1H1 (905) 795-2012 | www.canonbroadcast.com Canon is a registered trade-mark of Canon Inc. Canon imageANYWARE is a trade-mark of Canon Inc. Š 2008 Canon Canada Inc.

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New Opportunities for Content Creation,Digital Acquisition, Post Production and Distribution Dominates NAB Exhibition A New Way to Look at HD Abel Cine Tech and its development partners are introducing HD Scope, calling it the industry’s first Boroscope/Snorkel Lens System designed specifically for 2/3” B4 mount HD cameras.

HD Scope is manufactured in Munich, Germany and designed by the same team who developed the Cinec award-winning T-Rex lens system. Constructed from the finest optics available, the HD Scope offers cinematographers all the benefits of the 35mm T-Rex in a lens optimized for 2/3” CCD imagers.

The HD Scope offers a fast T4 stop with full 360° image rotation and panning for tabletop work, tight spaces, unusual angles and other effects shots. This unique lens is the first Boroscope / Snorkel system built and optimized for high-end HD cameras such as the Sony F23 and F900R, and the Panasonic VariCam and HPX3000.

Developed of the HD Scope was approached with two critical factors in mind, the manufacturer describes: image quality and operational efficiency. HD Scope employs the highest quality optical components in the design of the main snorkel unit and the accompanying lenses, which range from 4mm-13mm. This commitment to optical performance ensures that HD Scope images will intercut seamlessly with footage shot with any high quality 2/3” optics on the market, like Zeiss DigiPrimes and Canon HD-EC series primes.

HD Scope is able to navigate tight spaces thanks to a front head that pans 360° while maintaining the horizon. Additionally, the image itself can be internally rotated independently 360° within the frame. For complete remote control over the lens, the focus, image rotation, pan and iris functions all have .32 pitch gear rings for connecting lens motors. All of the HD Scope functions have large, easy to read scales.

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HD Scope is distributed in North America by Abel Cine Tech and is available for rent or purchase.

The new HDScope from Abel Cine

Advent Uplinks for Standard Definition and High Definition Advent Communications is to show its range of satellite uplinks at NAB, complete with its half rack size 5000 series electronic units. The individual units are: the DVE5000 High Definition/Standard Definition MPEG encoder, the ACU5000 antenna controller unit, the ADM5000 IP modem and the AUC5000 block up-converter.

The DVE 5000 includes an integrated HPA controller as well as a web browser interface to provide remote control. The ACU5000 and ADM5000 also include web browser control.

Advent will have both the 1.2m and the 1.5m FlyDrive antennas on show and will show visitors how these can operate either as a flyaway or as a driveaway.

Advent will also be showing its Mantis portable uplinks, the popular 1m Mantis flyaway, which can be taken on a plane as checked in luggage and the larger, 2.4m flyaway with a

release of new features. These will be shown with Advent’s EXOS electronic subsystem.

Avitech’s Multiviewers for Live Production Visual Monitoring Outside Broadcast, a leading European OB Van Production facility, has chosen Avitech Multiviewers for the monitoring of multiple HD and SD video and audio signals.

Outside Broadcast’s new HD Unit 14 OB van has been designed to specialize in a variety of Belgium and European productions including; sporting and gaming events — including the winter and summer Olympics, concerts, and much more. Built with quality in mind, the OB van has been outfitted with high-end SD/HD equipment including Avitech’s multiviewers driving Neovo X-W19 displays, Sony cameras, a Thomson Kayak HD 450 production switcher, an Nvision 3Gb matrix, EVS slo-mo servers, and a Lawo MC266 audio console.

Similar configurations are expected to be on display as part of the NAB trade show and exhibition.

Each Avitech MCC-8004U Multiviewer module handles up to 4 auto-detect HD-SDI, SD-SDI / composite video inputs, and provide a high quality output resolution up to 1920 x 1200.

Avitech Multiviewers, pictured in an OB van, monitor multiple HD and SD video and audio signals.

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built-in multi-view monitor, and fail-safe switching. While the Slate workstation is very reliable because the switching is done on the Slate boards inside, if the computer should ever stop all cameras can still be switched using a redundant control system between the panel and router, until the workstation comes back on line.

16x16 and 32x32 HD/SD and SD-only routers are offered, as well as remote control panels and tally boxes.

Broadcast Pix switchers include a Harris Inscriber CG, or a Harris Panacea router with the Slate 3000 model.

Cascading modules allow the display of the desired number of sources per monitor. The Avitech systems are designed to work efficiently in outside production environments, offering key features such as; accepting HD-SDI, SD-SDI and analog video sources with auto-detect capability, embedded audio monitoring, parallel and serial tally, exceptionally low power consumption, as well as on-screen alarm indicators for video and audio status, all while maintaining the correct aspect ratio whether it be 4:3 or 16:9.

Broadcast Pix Intros HD Live Video Production Systems Broadcast Pix will show the latest HD versions in an expanded Slate switcher family.

The new Slate HD switchers’ file-based architecture streamlines live production workflow by completely integrating their included switcher, CG, clip stores, still stores and monitoring, and seamlessly networking them with content from edit bays.

Each of the three new Slate HD models includes: a switcher with up to six keyers and DVEs, multi-view monitoring, a Harris Inscriber CG, and a clip store. The switchers’ hybrid I/O supports: 1080i, 720p, SD, DVI and VGA, plus analog output in composite, Y/C and component.

It can add: HD and SD analog inputs and 1080p output. Both 16:9 and 4:3 content can be mixed while preserving the native aspect ratio of each element.

Unlike conventional HD live control rooms in which many boxes are wired together and a team

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of operators is needed, the new Slate HD systems enable a single operator to create live HD television productions at a fraction of the cost. They streamline workflow by inputting and outputting all popular formats and aspect ratios, and adding files of graphics, animations and clips that are created within the switcher or imported. For example, QuickTime clips from edit bays can be sent over a gigabit network into the switcher’s up to one Terabyte of hard-drives, just minutes before air-time, and then self-cue when taken to air. For the ultimate “one-man band,” the system can control audio mixers, robotic cameras, and video servers. Slate switchers gracefully expand for team use when required.

Slate 1000 HD switcher shipments have begun. The first was sold by Snader and Associates to Hewlett-Packard for use at the Sundance Film Festival, where it will produce interviews and commentary in 1080i for broadcast on television and the Internet, as well local uses at the festival. Slate 100 and Slate 3000 models commence shipment this month.

Every Broadcast Pix switcher sold includes a Harris Inscriber CG. Now, every Slate 3000 model will include a Harris Panacea router, with a Broadcast Pix brand and extensive integration software developed by Broadcast Pix. The software enables seamless expansion of the switcher’s inputs and outputs, display of inputs on the

BTX Intros ProBlox Multi-Connector System for Broadcast and A/V Applications BTX Technologies will introduce a new multiconnector system that provides a single connector for multiple signals. Ideal for broadcast and A/V applications, the new ProBlox system enables quick set-up and tear-down, saving installers both time and money in the field.

As a cost-effective solution for bundling numerous signals, the ProBlox system combines 16 coax and 26 audio/data/control contacts in one multi-connector — allowing fast and simple set-up and tear-down in applications such as remote broadcasting, rental, rack staging, corporate settings, podiums, and more.

ProBlox is field-terminatable and custom configurable for numerous combinations. It can be used anywhere HDTV, video, VGA, analog/digital audio, control signals, or DC power need to be fed to a single location. Built of rugged and durable components, and offering true 75-ohm video contacts for an HD signal, the ProBlox system reduces the number of individual connectors, eliminating clutter and offering a clean, professional finished look.

The ProBlox system will be available in June 2008.

Canon’s Canobeam Provides Two-Way Transmission of Embedded Digital Video, Audio, and Control Signals The Canobeam DT-150 HD video transceiver provides reliable bi-directional, uncompressed

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1.5 Gbps transmission of embedded digital HD video, audio, and camera-control signals on a single HD-SDI stream with no delay. Bexel Broadcast Services supplied and integrated the Canon Canobeam DT-150 HD video transceivers used in the telecast.

The Canobeam DT-150 HD video transceiver is the newest member of Canon’s acclaimed series of point-to-point free space optics transceivers that use infrared light to bridge gaps in high-bandwidth transmission situations. The Canobeam DT-150 HD video transceiver can relay embedded HD-SDI and SD-SDI video from multiple cameras or other HD/SD video sources, along with embedded return video and audio to the camera operator, camera-control signals, and even robotic camera-control data.

Clear-Com Intercom Solution Leverages IP -based Technology Clear-Com Communication Systems is bringing intercom solutions to the desktop PC with the introduction of its first software-based intercom system, Clear-Com Concert at NAB. Based on Voice-Over-Internet Protocol (VoIP) technology, Clear-Com Concert’s enhanced audio features deliver crystal-clear sound and non-blocking communications over a standard Local Area Network or Internet between local and remote users. This eliminates the need for picking up a phone or connecting to a conference bridge. An intuitive interface facilitates ad-hoc communications and makes the user the conductor of his or her own audio conference with easy drag-and-drop functionality and simple point-and-click con-

The Canobeam DT-150 HD video transceivers helped celebrate a high definition New Year’s Eve telecast.,

The DT-150 HD Canobeam has a range of up to one kilometer and — like all Canobeam DT-100 series products — features Canon’s exclusive Auto Tracking feature to maintain beam alignment despite vibration due to wind, rain, or unsteady platforms. All Canobeam transceivers are protocol-independent (like fiber), and feature Small Form Pluggable (SFP) fiber-interface connections as well as Canobeam’s DT-MNG-100 Management Board, which enables users to monitor the status of Canobeam transceivers via simple network management protocol (SNMP) or Telnet (for monitoring and setting). In addition, diagnostic logs can be stored in a PC via FTP (for log data transmission).

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trols. The ‘Presence Awareness’ feature monitors participants’ availability, allowing users to communicate more efficiently in highly demanding and collaborative settings.

The system, scalable to many hundreds of users, is designed with proprietary protocols and error recovery algorithms for mission-critical applications that include live broadcast productions. The system uses AES 128 bit encryption to provide “online banking” grade security for protecting privacy of transmissions. With texting and online chat capabilities that offer easy escalation to a voice session, users have increased control and flexibility.

Supporting a variety of CODECs including wideband and ultra wideband, Clear-Com Concert

provides realistic audio that captures more components of the human voice for speech quality enhancement than has been previously available in the market.

Crystal Vision Syncs SD, HD Crystal Vision will be launching a range of interface, keying and control products, and the company’s latest High Definition and Standard Definition chroma keyers — Safire HD 2 and Safire SD 2 are on the launching pad.

Safire HD 2 now includes processing to allow tolerance to difficult colours in the Foreground, as well as all the essential features required including fine adjustments for optimized edges, sophisticated shadow processing, key shrink, masks, linear keying, mix and wipes and also works with Standard Definition sources, making it ideal for any live chroma keying application and multi-standard environments.

Safire SD 2 is Crystal Vision’s new Standard Definition chroma keyer, which provides an easy upgrade path to HD. Aimed at broadcast engineers not currently operating in HD but planning to do so in the near future, Safire SD 2 uses the same hardware platform as Safire HD 2 complete with all the new processing features, but with its operation restricted to SD. A simple exchange of the module’s daughter board for a new one provided by Crystal Vision, completes the upgrade.

Released at the same price as the original Standard Definition versions, Crystal Vision’s first High Definition fibre optic transmitter (FTX HD) and receiver (FRX HD) provide a robust transport medium to transmit either HD or SD signals over large distances. Both boards are dual channel, saving the user both money and rack space and are designed to work primarily with the longer distance singlemode cable.

Crystal Vision has brought a new level of sophistication to colour correction and legalization with the launch of CoCo HD — the company’s first High Definition colour corrector and legalizer. With an excellent range of basic colour adjustments, CoCo HD’s ability to independently adjust the Red, Green and Blue gamma signals sets it apart from other products at its price level. Other important features include advanced correction for gamut errors in which the colour is legalized by desaturating it without changing its hue.

The provision of an auxiliary output, which

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Interoperable workflows. Integrated technologies. Innovative solutions.

At Harris, we’re investing to validate and certify the interoperability of our products and technologies. Why? Because moving content and information between and within workflows, seamlessly, creates efficiencies you need to stay competitive.

Compatible and complementary technologies provide additional benefits. By integrating technologies into common platforms, we help prevent expensive and time-consuming installation hassles, conserve your valuable rack space, and offer cost efficiencies that other broadcast manufacturers can’t match.

Interoperability and integration lead to unmatched innovation. Only from Harris.

For more information visit Harris at NAB 2008 booth N2502 or visit www.broadcast.harris.com/nab2008.

To contact a Harris representative call: North America +1 800 231 9673 • Caribbean and Latin America +1 786 437 1960.

ONE Company. ONE Direction. The Future.

Harris is the ONE company delivering interoperable workflow solutions across the entire broadcast delivery chain with a single, integrated approach.

CORE PROCESSING • CHANNEL RELEASE • TRANSMISSION • MEDIA TRANSPORT BUSINESS OPERATIONS • NEWSROOMS & EDITING • MEDIA MANAGEMENT

when connected to a monitor enables any illegal pixels to be seen as highlighted and the ability to view a wipe between the processed and unprocessed signals makes it even easier for the engineer to complete the necessary adjustments. Offering the user a choice of control method from either an easy to use control panel ideal for live applications or PC software, the numerous features of CoCo HD have been packed onto a compact, single height board, once again saving the engineer rack space.

DVEO Launches Low Latency H.264 High Definition Encoder/Decoder For IPTV and Videoconferencing DVEO, the broadcast division of CMI, is introducing a new low latency MPEG-4 HD or SD encoder/decoder system for post production professionals.

DVEO’s InstaView HD is a real time, 4:2:2, high resolution HD or SD encoder/decoder system. H.264, also called MPEG-4 Part 10, or MPEG-4 AVC, is a video compression standard.

It has the same video quality as MPEG-2, and uses less than 60% of the bandwidth.

DVEO’s new system delivers HD (up to 1080p) or SD video and super wideband audio across IP networks at bandwidths from 256 kbps to 10 Mbps. It achieves end-to-end latency of less than 70 milliseconds. This is significant because most broadcast encoders have latencies above 500 milliseconds. The system includes a built-in decoder for two-way video communication, making it particularly valuable for applications such as viewing and discussing movie “dailies” in a video conference. This new technology is considerably less expensive than sending and receiving video over satellite.

DVEO’s encoder/decoder supports full motion video at 720p/60, 720p/50, and 1080i, plus 1080p at 30 frames per second. It has two input ports — one for HD-SDI/SD-SDI with embedded digital audio, and one for analog video (RGBHV/YPbPr) and audio. The decoder has two output ports — HD-SDI/SD-SDI with embedded

digital audio, and analog video — RGBHV/YpbPr, or DVI. Both types of inputs and outputs can be compressed at the same time, at adjusted frame rates.

Audio and video are synchronized to within 20 milliseconds or less. The system also features web-based management, closed captioning support, video noise filtering and reduction, and text or logo insertion.

DVEO’s InstaView HD is available now. An optional version is available with up to five twoway HD channels, so it can send multiple unicast or multicast streams from a single system FOR-A Tackles Media Management FOR-A will introduce MediaConcierge, a comprehensive content management system for use by broadcast television stations and video production houses The company will show the first two MediaConcierge products being marketed in North America — the MBP-100SX baseband converter and MXF file conversion software.

The MBP-100SX converter converts XDCAM HD MXF files to baseband video and HD-SDI signals, and vice versa, in realtime for applications requiring baseband video. This converter uses a new MBP video card developed by FORA that supports XDCAM HD, DVCPRO HD and AVC-Intra tapeless media files. FOR-A will develop additional converters, including one for H.264 and another for AVC-Intra. Both will utilize an MBP board and will be part of the MediaConcierge product family, depending upon future market needs.

The MXF conversion software-which consists of three software plug-ins MCS-10PD (DVCPRO), MCS-10PA (AVC-Intra) and MCS10SX (XDCAM)—enables the conversion of MXF (Media Exchange Format) data files between the P2 HD and XDCAM HD formats.

Converting directly between P2 HD and XDCAM HD is more efficient than first converting them to baseband.

With MediaConcierge, once data has been managed, high-speed search based

DVEO’s new HD system delivers at bandwidths from 256 kbps to 10 Mbps.

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on metadata and proxy data can immediately locate stored scenes. The high compatibility of the MediaConcierge database structure means it can be linked with nearly all existing databases. Therefore, operators can create a unified management environment without replacing their existing system configuration.

The MBP-MXF baseband converter and P2XDCAM format converter will begin shipping this summer.

Fujinon Dives Deep For IMAX Film Cinematographer/producer, veteran diver, and founder of Liquid Pictures D.J. Roller, recently wrapped principal photography on a new IMAX 3-D film entitled “Wild Ocean.” It was shot over two summers along South Africa’s pristine wild coast, documenting the annual sardine run. During these “runs,” massive schools of sardines — sometimes measuring up to 15 kilometers long — swim up the coast in search of food every year. This draws many predators to the area including thousands of dolphins and sharks.

The environmental documentary is expected to be released to IMAX and Digital 3D theatres worldwide this March.

All underwater sequences were shot with two Fujinon HA10X5B-W50 HD Cine Style zoom lenses mounted on a Cameron/Pace Fusion Underwater HDTV 3D camera system. The lenses are encased in specially made lens barrels for the rig and affixed to custom-designed Sony HD-950 cameras. Roller used that system with two of the Fujinon lenses and one back-up.

Roller has lead film expeditions on all seven continents but found this particular location to be particularly challenging. According to Roller, it was the combination of Fujinon lenses and the Pace underwater camera system that made it possible to meet the numerous challenges presented by underwater filming. “The camera technology afforded us longer record times, and the lenses gave extremely sharp images,” he explained. “Since the camera and lens are encased in an underwater housing, switching out lenses is not possible. Without the lenses Fujinon developed for the Pace camera, we wouldn’t have had the flexibility cinematically to capture the amazing pictures we did.”

The untouched, wild coast provides the ideal conditions for the sardines but not necessarily for filmmakers. Sardine runs like the one captured in “Wild Ocean” previously occurred in areas with similar current pat-

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terns throughout the world’s oceans. Because of over fishing, the only place to see this natural phenomenon is now on the South African coast. This difficult to reach location was another reason the compact and lightweight Fujinon lenses were well suited for the shoot. “On other underwater projects, we’ve had the luxury of a research ship and a huge harbor to dive from” he said. “Given that our location was very unique and so wild, we took just two 25-foot Zodiac boats — one for support equipment and one for camera equipment — down river tributaries to get to the ocean.”

Roller’s crew had to be extremely nimble, moving quickly to capture the numerous feeding frenzies that take place below the ocean’s surface. “The ‘Holy Grail’ of natural history filmmaking is capturing something that no one has ever seen before. The underwater team rode on the camera boat and deployed the equipment in a matter of seconds. Capitalizing quickly on an opportunity can make or break a nature film.

Timing is everything, because wild animals don’t give you a second take.”

firmware updates.

The OmniTouch 5.7 is compatible with all HAI controllers, including the Omni LT, Omni IIe, OmniPro II, Lumina and Lumina Pro. It comes in White, with color change kits available in Almond, Light Almond, Black, Ivory, and Silver.

This HAI LCD monitor features a touchscreen interface

and spa temperatures, ventilation, decorative lighting, Whole Home Audio Systems, surveillance video, and other items linked to an HAI Home Control system. It features a 5.7 inch LCD display using TFT technology for rich colors and enhanced viewing angles, displays video full screen (Touchscreen Hub and Encoder necessary for video), has a built-in speaker, and built-in USB drive connector to allow easy

Hardigg Intro Compact Case with Removable Rack Hardigg Cases has recently introduced SuperMAC, a compact container with a removable rack option.

The optional removable rack slides open easily, allowing full access to equipment. Sensitive electronic equipment mounted in a SuperMAC case can survive the day-to-day falls, vibrations and other stressors that cause competitors’ rack cases to fail.

The SuperMAC is available in both fixed and removable rack options. The removable rack allows complete frame accessibility and makes bench integration possible. Equipment can slide

PHOTO BY DALE STOKES

Smart Thinking.

Fujinon provides clear view for underwater IMAX and HD production

HDTouchscreen from HAI Home Automation, Inc. (HAI), has introduced its newest Touchscreen, the OmniTouch 5.7.

The OmniTouch 5.7 is a colorful “plug and play” Touchscreen interface for HAI’s awardwinning Omni and Lumina home control systems. It allows control of lights and small appliances, security and temperature settings, pool

Broadcaster

March 2008

With Sundance Digital, good broadcasting and good business go hand in hand. Using our automation software, you can improve the efficiency, accuracy, productivity and profitability of your broadcast and news operations. By integrating digital television and information technologies, we give you the capability to manage your entire broadcast workflow.

As a result, you’ll get greater control, more flexibility and unprecedented speed. That’s what we mean when we say we’ll improve your on-air product — and your bottom line.

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And speaking of great ideas, we’ve combined everything you expect from Sundance Digital — exceptional service, open technology, reliable products — and added the power of an industry leader. Now, as part of Avid, we have even more resources to serve your business.

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BROADCAST AUTOMATION SOLUTIONS

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New Hardigg equipment cases come with optional removable racks.

out for field use or for connection to other equipment as needed.

Equipment typically will have 50-80 G fragility, and can include control consoles and panels, radar and microwave antennas, solid-state circuit electronics, and radio, TV and other communications equipment.

Hardigg is also introducing the BlackBox, a more lightweight case for field-deployed and sheltered applications up to 100 pounds.

BlackBox cases are fully airtight and watertight and provide significantly better light duty shock performance.

BlackBox is designed to meet ANSI/EIA 310-C standards for universal rack mounting and exceeds the Air Transport Association’s Specification 300, Category 1 requirements.

Carbon Coder Supports New HD Compression Technology Harmonic’s new Rhozet Carbon Coder video transcoding solution will support Panasonic’s high-performance AVC-Intra high definition (HD) compression technology. Rhozet Carbon Coder will provide real-time transcoding of HD material using the AVC-Intra codec as a standard feature. Developed to provide greater image quality and flexibility in broadcast HD production, this intra-frame compression technology enables highly efficient compression without compromising HD quality.

The Carbon Coder with AVC-Intra support will be available in April, following NAB. The AVC-Intra compression scheme complies with the MPEG-4 AVC (H.264) open standard,

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and provides 10bit 4:2:2 full-raster compression at the same bit-rate as DVCPRO HD and achieves DVCPRO HD quality at half the bit-rate, effectively creating a new level of HD production while lowering storage and distribution costs. The intra-frame approach captures and preserves the greatest amount of information while offering greater flexibility. Unlike long GOP approaches, AVC-Intra was explicitly designed and optimized for broadcast and production use rather than low bandwidth distribution.

Harmonic’s Rhozet Carbon Coder is a universal transcoding application that facilitates the transfer of media between a variety of platforms, including acquisition, editing, playout, archive, the Internet and mobile devices. Carbon Coder can run as a stand-alone application or as part of a multi-node, fully-automated rendering farm.

Carbon Coder provides high-performance, scalable and cost-effective transcoding for a broad range of business environments, from specialized studios to enterprise-scale installations.

Harris Delivers 3 Gb/s HD Harris is shipping its first fully functional 3 Gb/s routing systems. The capability to pass 3 Gb/s signals is now standard on all highdefinition (HD) routing systems purchased from the company’s industry-leading Platinum and Platinum MX lines.

The high-capacity, small-footprint Platinum and Platinum MX routing switchers provide highquality signal routing up to 128x128 in 9RU, 256x256 in 15RU and 512x512 in 28RU. Platinum routers offer unprecedented flexibility, now supporting a mix of any signal — video and audio, from analog to 3 Gb/s HD-SDI — all in the same frame.

Because Platinum routers were designed with all internal paths 3 Gb/s-capable from their inception, input, output and cross-point cards capable of passing 3 Gb/s signals are available separately for shipment to existing Platinum HDSDI router customers.

Built for maximum reliability in even the most harsh, 24/7 operation, Platinum is ideal for network, local broadcaster, mobile production, cable, telco, military, government and corporate applications — any environment that requires routing of a large number of signals.

Its innovative, future-proof architecture is designed to incorporate feature additions that are unavailable in any traditional core router on the market today.

Harris offers a full range of interoperable, 3 Gb/s-capable products that span its signal processing and distribution portfolio, including routing, conversion, fiber optics, signal monitoring, channel branding and test and measurement solutions. Harris 3 Gb/s-capable products ensure that infrastructure built today can be upgraded to support 1080p seamlessly and economically when the need arises.

Hitachi Intros HDTV Studio Field Production Camera Series Hitachi is upping the performance and features of its SK-HD1000 HDTV studio and field production camera.

Squeezing the most from its world-renowned digital processing expertise, the camera has been upgraded to a 60dB HDTV signal to noise ratio at F10.0 and a resolution of 1100 horizontal TV lines.

New Two-piece camera from Hitachi at NAB

Starting with a new generation of high dynamic range RGB 2/3-inch progressive CCDs each with 2.2 million pixels, the camera implements 14-bit A to D converters and a digital signal processor to transparently and efficiently convey the captured image. A 12-vector masking system allows control of hue and saturation of colors to precisely tailor color reproduction to EBU, SMPTE or any other color standard for HDTV and SDTV separately. The two memory Flesh-tone detail adjustment has automatic hue and saturation adjustment that make implementing the function a “snap”, On-air or off. Optical and electronic color correction filters work in conjunction with 8 scene files that store all functions’ status and video adjustments. Thus, the camera has white balance memories for 16 different shooting situations.

The new CCU design model CU-HD1000 equally offers exceptional flexibility by providing users not only choice of fiber or digital triax/ coax transmission but also an optional crossconverter to make 720p out of 1080i and embedded professional quality digital audio in the HD-

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SDI outputs. The CCU can accept a front-mounted control panel and uses a full 4 RU high EIA 19inch rackmount and blank panel since the unit is only 1/2-rack wide. For customers having SD and HD control rooms, the CCU accepts dual controls, provides both SD & HD formats and its control system is network-ready via the provided RJ45 port. User serial data as when used with a robotic pan/ tilt head can also be transported to and from the camera head via the RS-232C port on the CCU. The two-piece camera platform offers maximum configuration flexibility similar to its popular Z-series cameras. It provides userbenefits that one-piece cameras systems cannot. For wired configurations, the camera system is offered with a traditional digital fiberoptic cable transmission system and the world’s first patented all digital triaxial cable transmission system.

The SK-HD1000 camera head features dual HD-SDI, MON, dedicated prompter, Aux return, serial data outputs. Its fiber and digital triax adapters include controls for return signal switching (1 out of 4) for 2 channels, intercom and program audio controls for two independent channels, and a very useful 100W of power to feed to a teleprompter and on-air color monitors that typically are mounted together and in front of the camera in studio production applications.

New Hybrid MC Products for the 2008 NAB Show New Hybrid MC products on view at the 2008 NAB Show include camera robotics and multipurpose 3-D graphics solutions in addition to products showcasing Hybrid MC’s core capabilities in virtual studio technology.

The new Silver head supports cameras of up to 12 kilos in weight for multiple applications such as parliamentary and conference coverage, industrial use, virtual studio, and regular broadcast productions. Suitable for use with tripods, cranes, or wall-mounts, it can be positioned for high-level views to increase the perceived volume of a virtual set. Available in a range of configurations suitable for anything from simple robotic camera applications to high-end virtual set broadcasting, Silver sets a new industry benchmark with an unprecedented degree of precision at a very competitive price point.

New for the 2008 NAB Show, Mercury is Hybrid MC’s control software for simultaneous control of up to six robotic cameras. Running on

Broadcaster

March 2008

Krypton is Hybrid MC’s powerful real-time 3-D graphics solution.

Linux PCs, Mercury provides a convenient, easyto-use control solution for multiple cameras in any application.

Krypton is Hybrid MC’s powerful real-time 3D graphics solution for use in virtual studio broadcasting and other 3-D applications, including augmented reality and virtual reality.

New for the 2008 NAB Show, version 1.2 adds new multilayer scene capabilities, allowing the addition of 3-D overlays to create more complex and realistic virtual scenery. Compatible with the Titanium and new Silver robotic heads from Hybrid MC, Krypton also integrates easily with third-party motion tracking devices and software.

New for the 2008 NAB Show, Krypton provides the ability to render two entire 3-D scenes at once, allowing users to display one as a texture appearing on virtual plasma screens within the main scene.

LYNX Technik AG Unveils Multi-Format Test Generator LYNX Technik AG is introducing a brand new version of their award-winning Testor multiformat test generator.

The latest version of the Testor is being The Cross Border Shopping… Terminator

released in card format, which allows it to fit neatly in LYNX Series 5000 racks and provides all the features and functions of the hand held Testor, launched in 2005 with hundreds sold worldwide.

Among the included features are: multi format SD/HD operation with two independent SDI outputs; a large library of internal static and dynamic test patterns with the ability to load custom patterns via compact flash card;. fully programmable eight channel audio generator with 16 embedded audio channels and four external AES audio outputs; and genlock capability with cross lock and timing adjustments with bi-level or tri-level analog sync output and 48KHz reference out.

The new card version of the LYNX Testor is set for release at NAB2008

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Miranda Ups HD Switching and GFX Processing Miranda Technologies will be launching new HD audio capabilities for its Imagestore 750 master control switching and branding graphics processor at NAB, including Dolby E/AC-3 encoding/decoding.

The Imagestore 750’s integral audio mixer provides advanced audio processing with 16 audio channels, de-embedded from each of four video inputs, together with up to 32 channels of AES. The audio channels can be mixed, shuffled and modified before being embedded into the video output, or being made available as discrete AES. The Imagestore 750 is designed for the playout of sophisticated channel branding graphics, and can offer dual DVEs, automated character generation, EAS support, clock insertion, and four independent keyers for insertion of internally stored graphics or external signals.

An optional co-processor, the Intuition XG, extends the Imagestore 750’s HD/SD graphics capabilities to allow the playout of highly complex multi-level, data-driven character generation, along with multi-level animation and clip playback.

The Imagestore 750 integrates with Miranda’s Xmedia Suite template-based graphics workflow tools to provide highly productive graphics authoring, media management, data-interfacing

and automated playout.

Imagestore 750 can be controlled by the multi-channel PresStation remote control panel, or by the Xpanel ‘soft’ control panel. Xpanel provides highly intuitive operation and precision control over on-air graphics across multiple devices and channels. Operators are able to control the output on multiple HD/SD channels simultaneously, while sending live data updates to each channel in real-time.

The Imagestore 750 offers easy selection between SD and HD at 1080i or 720p, at 50Hz or 59.94Hz. The processor also features independent preview, clean feed and auxiliary outputs. Automation control is provided by Serial and Ethernet interfaces, using the widely supported Oxtel protocol.

Nucomm Unveils HD and HD ready 7 Series Nucomm’s entire ENG/OB product line is now capable of HD operation using built in encoding/decoding technology. Presenting today’s broadcast arena with the convenience of field upgradeability, all 7 Series products can be

Miranda is unveiling new HD capabilities for its Imagestore

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Nucomm announced its new 7 Series HD and HD ready product.

delivered with HD capability or delivered as SD and can be easily field upgraded to HD via a software key. Prior to this announcement Nucomm’s HD product line consisted of the CamPac 2 HD/SD wireless camera transmitter and Newscaster DR HD/SD diversity receiver that have been well received as the premier wireless camera system in the industry. The 7 Series will displace the current SD product line as Nucomm’s standard product.

All 7 Series products still contain the features and capabilities that have made Nucomm products the first choice of broadcasters worldwide, including multiple modulation modes (VSB,COFDM,DVB-S,FM), dual / tri band RF outputs and ease of operation to name a few.

Prior to this launch, with the exception of the CamPac2 and Newscaster DR, Nucomm products were not capable of HD operation unless using a third-party HD encoder and decoder product.

Among the several products making up the series include Channel Master TX7 Portable Transmitter, the Channel Master RX7 Portable Receiver, the Newscaster VT7 ENG/OB Van Transmitter and the Newscaster CR7 Central Receiver.

A limited number of 7 Series products are shipping in January/February with full production slated for March 2008.

Integrated Newsroom Solutions from Orad and Dalet Orad Hi-Tec and Dalet Digital Media Systems have announced an integrated solution combining Orad’s Maestro HD/SD 3D on air graphics systems and Dalet NewsWire newsroom computer system. This new integrated solution is a product of numerous successful joint projects and the

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User interface screens show a new integrated solution for comprehensive newsroom workflows.

increased demand for a comprehensive newsroom solution.

The Orad and Dalet integrated solution provides journalists with access to published graphic templates from within the newsroom system itself, allowing them to continue working within a familiar work environment.

Newsroom users can browse the catalogue of templates and call up one of them, enter relevant data for the story, preview it on a local machine, and once satisfied with the outcome, the story can be sent either for authorization or directly to the newsroom rundown. Once the newsroom rundown is updated, a mirrored rundown within Maestro Controller is automatically updated as well.

Panasonic Goes with P2, AVCHD Panasonic is upping the capacity of its P2 solidstate memory cards for P2 HD and P2 solid-state camcorders and decks.

With the arrival of the 64GB card in the fall, Panasonic will again have doubled the storage capacity of its P2 card from the current 32GB capacity, providing HD recording time dramatically greater than any tape or disc-based system.

The 64GB P2 card, model AJ-P2C064, is scheduled for initial deliveries in fall of 2008 at a price to be announced. The new 64GB P2 card will be offered in addition to the current 32GB and 16GB P2 card.

A 64GB P2 card is capable of storing over four hours of DVCPRO footage (64 GB X 4 minutes per GB), or more than two hour of DVCPRO50, AVC-Intra 50 (64 GB X 2 minutes per GB) or 64 minutes of AVC-Intra 100 or DVCPRO HD. With five 64GB P2 cards installed, an AJ-HPX3000 P2 HD camcorder can record for 320 minutes in AVC-Intra 100 or DVCPRO HD (400 minutes in 1080/24pN) and 640 minutes (800 minutes in 24pN) in AVC-Intra 50 or

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March 2008

DVCPRO 50.

P2 cards are designed for professional users to offer fast, easy IT-based operations and ultra high reliability. They are reusable so that P2 acquisition requires no media consumption, resulting in tremendous savings in media costs.

A P2 card is comprised of its own processor, firmware, a RAID controller, and gigabytes of the highest-quality nonvolatile solid-state memory chips. They manage data intelligently including a write-verification step for every byte of memory that is written to the card for fault-free operation.

The P2 card can be connected instantly with laptop PCs and major non-linear editing systems.

Packaged in a rugged, die-cast frame, the P2 card is resistant to impact, vibration, shock, dust and environmental extremes including temperature changes.

The 64GB P2 card will work immediately with all P2 HD camcorders purchased from May 2007 forward. P2 and P2 HD products purchased prior to that date will need a free, downloadable software upgrade available on the Panasonic website. Customers wanting to connect the card to an ExpressCard slot of a laptop can utilize a low cost PC card-toExpressCard adapter.

The ultra-reliable AJ-HPM110 solid-state recorder is ideal for use in the field, in mobile vehicles or in the studio, because it offers master quality recording and playback in a wide range of high-definition formats, including 1080p (native), 1080i and 720p, and in standard definition. The rugged unit records in independent-frame DVCPRO HD/50/25 and DV formats as well as master-quality, fullraster 1920 x 1080 AVC-Intra* (with the optional AJ-YBX200G codec board). It also offers the flexibility of up/down/cross and aspect conversion.

The HPM110’s six P2 card slots allow users

to record continuous, extended clips in sequence onto high capacity P2 cards or output an extended play-list from five mounted cards to the sixth card slot. Using six 32GB P2 cards, the P2 Mobile records for four hours in 1080p/24 in AVC-Intra 100 and eight hours in 720p/24 in AVC-Intra 100 or DVCPRO HD. The most versatile full production-quality HD field recorder at any price, the HPM110 is designed to work with virtually any professional camera system, from tape-based digital cameras to high-end cinema cameras with 1080/24PsF output (in full-raster 1920 x 1080 or 1280 x 720). In addition to native 1080/24p recording and support of 1080/24PsF, the new P2 Mobile offers recording in multiple frame rates, 24p pull-down removal as well as real-time playback of 720p variable frame rates for work with speed effects like over- and under-cranking.

Equipped with an array of AV/IT connections, including HD-SDI input/output, IEEE 1394 and USB 2.0 host mode, the P2 Mobile ensures flexible operation in a wide variety of production environments including high-end, 1080/24p

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movies and commercials. Whether connected to a Panasonic P2 HD camera or a tapebased camera, professionals can use manageable clip thumbnails to rapidly access and view content on the unit’s built-in 9-inch LCD monitor for previewing, shotmarking and insert editing.

Workflow has been further enhanced with a RS-422A remote, which allows the HPM110 to be used as a play source in

New entries from Panasonic at NAB will expand its P2 and AVCHD family of products

an edit session, as well as an edit/copy function for writing data to multiple P2 cards. In addition, a newly-added loop record function allows the user to continuously record onto non-recorded areas of a P2 card for a predetermined time period.

The HPM110 offers eight 16-bit digital audio channels including 5.1-channel surround sound with audio split/dubbing features, broadcast-level editing controls including a jog/shuttle dial with 100X speed in forward/reverse and audio faders, standard analog component/composite and audio input/outputs, an SD card slot and assignable user files. The new 14.4-pound P2 Mobile also features a durable, compact design, with a magnesium die-cast frame that folds like a laptop PC for easy transport, and operates on either AC or DC power.

The HPM110 is available at a suggested list price of $12,000.

Panasonic’s AG-HMC70, an AVCHD shouldermount camcorder, will be available in April at a suggested list price of $2,495.

Joining the AG-HSC1U handheld in Panasonic’s professional AVCHD line-up, the HMC70 provides institutional customers, event videographers, and web content producers full high definition quality, professional audio and video connectivity, and the fast production workflow offered by tapeless SD card recording. Used to capture important events or send live widescreen

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video to a projector or flat screen display, the HMC70 is as easy to use as a digital still camera.

The HMC70 utilizes the AVCHD High Profile video codec, which offers similar image quality to HDV 1080i but uses about half the bandwidth. This means longer recording times and half the storage requirement. Since the HMC70 uses standard SD cards, unlike tape, recording capacity will increase with higher capacity reusable cards, offers random access without fast forward or rewinding, and content is immediately available to editing systems without the ingest delay and additional cost of a playback deck.

The HMC70’s 3-CCD 1/4” progressive image system captures 1080i HD, 16:9 images with excellent sensitivity, superb color reproduction and resolution. The camera is equipped with a 12X 38.5mm to 462mm (35mm equivalent) Leica Dicomar wide-angle zoom lens, one-push Auto Focus, and integrated Optical Image Stabilization (O.I.S.) that ensures stable images, critical to high definition video display. Professionals can also capture 2.1 Megapixel still images with the camcorder, even during video recording.

With the release of higher-capacity SD cards, professionals have the ability to continuously record for hours. Users can record in one of the camera’s three recording modes — 6Mbps, 9Mbps or 13Mbps. The HMC70 can record over 2.6 hours at 13Mbps, the HMC70’s highest quality mode, or up to 6 hours at 6Mbps, the camera’s extended recording mode — all on just one 16GB SDHC memory card. In addition, solidstate SD card recording eliminates mechanical wear associated with tape, optical disc, or hard drive based systems.

The HMC70 has a professional, yet lightweight, shoulder mount design that enables exceptionally stable shooting during long recording sessions. The HMC70 is equipped with Y/Pb/Pr BNC connections for playback or live feeds to video projectors or large displays for

presenter magnification use in auditoriums and other large venues. It also has high quality audio features such as two locking XLR inputs with switches for mic/line, +48V Phantom Power, Auto/Manual level, mic attenuation, and front/rear assignment. It also features a headphone volume control to match the camera’s output to the shooters’ stereo headphones.

AVCHD editing is currently supported by numerous leading NLE companies on both PC and Mac platforms. In addition, AVCHD can be easily converted to P2 DVCPRO HD for editing on existing systems using a free AVCHD transcoder available on the Panasonic Broadcast web site, or transferred as uncompressed HD video utilizing a simple HDMI to HD-SDI converter.

The HMC70 comes standard with HD Writer software and a 2GB SD card. Optional accessories include a VW-VBG260 battery pack (7.2V 2,640mAh), VW-VBG6 battery pack (7.2V 5,800mAh), VW-AD20 AC adaptor, VW-LDC102 Light, VW-LF43N Filter Kit, VW-W4307H Wide Conversion Lens and a VW-T4314H Tele Conversion Lens.

Pharos Enhances Workflows, Mediates Integrated Approvals Pharos will be exhibiting the latest additions to its fully integrated media management, automation and control systems at the 2008 NAB Show in Las Vegas.

Pharos Mediator now offers improved management of the transmission approval process.

Mediator will inform producers and channel managers of new material such as edits and promos awaiting their approval. They can view, review and approve the new clips using Mediator browse or in high resolution. The workflow history of any new material is available during approval. Mediator offers an audit trail of approvals just like any other step in the workflow so that any errors or mistakes can be identified and rectified. A more efficient and secure desktop approvals process using Mediator helps scale up operations for channel expansion and handles the additional workload for IPTV and mobile services. Managing approvals within Mediator reduces errors or mistakes which can result in delays and penalties for broadcasters and service providers.

A new option for Mediator provides streamlined workflows to manage editorial and technical compliance. Content can be assessed frameaccurately for technical QC and problem content can be passed for technical correction or

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cies required in international and multi language operations for multi channel broadcasters and service providers.

Pharos Mediator Compliance Spot Check using Quick Markers.

referred to a media supervisor. Content likely to offend target audiences can be flagged with frame-accurate markers and comments using Mediator Browse, then passed directly for editing.

Using Pharos Mediator Browse and metadata at the desktop for compliance operations offers significant time-saving over stand alone NLE, tape or DVD based operations. Mediator can manage compliance in parallel with promotions and multi language operations to provide a very efficient workflow. Managing compliance within Mediator workflows reduces errors or mistakes which can result in delays and penalties for broadcasters and service providers. Mediator also provides a complete audit trail for all compliance editing on a clip by clip basis so that recurring problems can be reviewed and changes to compliance procedures can be implemented in a controlled manner.

Pharos Mediator now integrates a wider range of post production and graphics systems to provide a more efficient workflow for promotions creation. Systems including Apple Final Cut Pro, Quantel and Avid can be combined using Mediator workflow, transcoding and transfer management. Mediator browse is used for shot selection from anywhere in the system including library, online and archive. This can be passed directly to post production for editing.

This enables more promotions to be produced within existing post production infrastructures. Additional programming can be delivered more efficiently for new multi-language, HD, IPTV, VoD, interactive and mobile services.

Mediator can manage promotions in parallel

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with compliance and multi language operations to provide a very efficient approvals process.

Mediator compliance and promotions workflows based around Final Cut Pro will used throughout the show.

Mediator is now integrated with a wider range of scheduling, traffic and channel management systems including MediaGenix What’s On?, Harris and also Pilat Mediamachine/IBMS. Mediator extends its integrated browse encoding and streaming to any third-party desktop to provide content and relevant metadata across the enterprise to scheduling, traffic and channel management systems.

Direct integration enables more information to be passed between channel managers and the Mediator database to drive the workflow. Repetitive high volume tasks such as ingest, QC, compliance, promos and approvals can now be managed in advance, based on transmission schedule priority. This further enhances the efficien-

HD Capture Systems from Polecam Polecam will introduce three major additions to its range of high-precision mobile camera equipment at NAB. A complete HD capture system comprising a miniature HD zoom camera, a solid-state HD field recorder and Polecam’s unique singleoperator broadcast-quality camera crane will be shown and demonstrated. A production version of Polecam’s Fishface submersible camera head will also be introduced.

The latest-generation HD MiniZoom camera from Camera Corps is a miniature broadcastquality 720p/1080i 50/59.94 Hz HD camera with integral remotely controllable zoom lens. Measuring just 96 x 49 x 45 mm, the camera incorporates a 1/3 inch 2 megapixel CMOS sensor with 10 x zoom lens (5.1 to 51 mm) in a weatherproofed aluminium housing. Total weight is just 285 g. The HD MiniZoom has very low power consumption (3.8 W at 6 to 12 V DC) and can be used in full auto mode with the lens at wide angle. An auxiliary interface provides all the necessary data decoding to allow full manual control of iris, zoom and focus via a small LANC controller.

Making its first US market appearance, the combination of Toshiba’s IK-HD1E three-CCD camera fixed-focal-length camera and a Polecam rig allows outstandingly high quality 1080i 50/60 Hz coverage of live events while retaining full versatility of camera movement and shooting angle.

The IK-HD1E incorporates 1/3 inch interlaced sensors and accepts standard C-mount lenses.

Sensitivity is 2,000 lux at F7.4 (>54 dB SNR) increasing to 13 lux at F2.2 with +18 dB gain.

“From the microphone to the Antenna”

1067 St-Lambert, St-Sauveur, Quebec tel: 1-800-732-1828 or 450-227-1828 • fax: 450-227-8394 marc@vallee.com www.vallee.com

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The Polecam was used wirelessly on an FOX NFL broadcast, using an Iconix camera shooting 720p and a wireless RCP (remote control panel).

The world’s first CompactFlash-based ultraportable high-definition recorder, the Flash XDR adds full high-definition digital video and audio storage facilities to the Polecam system.

Measuring just 178 x 127 x 44 mm and weighing only 500 g, the recorder requires no internal fan and is completely silent in operation, rugged and extremely power-efficient. It is housed in a rugged aluminium chassis with a rubberised protective jacket and can easily be mounted to Polecam in tripod-based or harness-based configuration.

The Flash XDR recorder stores up to 164 minutes of 50 Mbit/s MPEG 4:2:2 1920 x 1080 pixel HD video, embedded or external audio plus timecode in MXF file format, on four hot-swappable CompactFlash cards. The recorder also supports MPEG2 4:2:2 at 100 and 160 Mbit/s as well has HDV over IEEE 1394. Operating features include a pre-record buffer, audio/video adjustment, 1080i 60 to 1080p 24 conversion, userselectable RAID 1 redundancy, XML-based metadata handling and six programmable function keys. Being solid-state, the recorder is far more robust than disc-based and tape-based mechanisms. It can also be switch to I-frame-based timelapse mode for wild-life applications.

Quantel Demos 3-D Solutions Quantel will be out in force at NAB 2008 with a full range of digital post, broadcast, newsroom

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and digital video production tools. Genetic Engineering is the phrase Quantel has given to its new approach to teamworking in post & digital intermediate (DI) environments.

New at NAB is Pablo Neo, an interactive, hands-on color correction tool. Fresh from its recent cross-Canada tour, Quantel is also showing off its Stereoscopic 3D post production technology, now being used in popular feature film and broadcast television titles.

Further major developments for Post and DI will be unveiled by Quantel at NAB. As well, the company says, major new developments that

change the way broadcasters work will be shown, including interactive delivery to multiple platforms.

New options for Newsbox HD will be on show at NAB, further increasing the range of applications for Quantel’s complete news production system in a box. Enterprise sQ, a new integrated news/sports production tool, will be shown, and the company’s Professional Service group will be out in force.

Commenting on Quantel’s continued commitment to engaging with its customers via NAB, Quantel CEO Ray Cross reflected, “We’ve always had a different approach to the market from some of the other players who have dipped their toes in over the last few years.

“We have a strong, direct relationship with our customers. Because of this, we understand their real needs, concerns and plans for the future,” Cross continued. “NAB is a truly international event for OUR industry that provides a unique opportunity for customers from around the world to come and meet and discuss their individual business requirements and see all our great new stuff first hand. Quite simply, every time we ask, our customers tell us that they want us to be there.

“Great partnerships drive great ideas forward. That’s why all our senior staff attend NAB. Sure, there are other routes to market that we can and do use — our stereoscopic 3D world tour is a current example. But there is no substitute for the face-to-face meetings at NAB that cement the relationships so vital to driving our customers’ success,” Cross concluded.

Pablo Neo is one of many Quantel products for broadcast, post and DI workflows on show at NAB.

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John Denenfeld, Ross Video Regional Sales Manager, Northwest USA and Western Canada

Ross Ships New Switchers, Names New Sales Manager Ross Video is shipping new production switcher control panels introduced before NAB 2008 — the Vision 1M, the Vision 2M, and the Vision 2X. The Vision 1M and 2M panels offer 24 crosspoint buttons and the Vision 2X offers 32 crosspoint buttons. This extends the award winning Ross Vision series to a total of 7 control panels including the V1, V1M, V2, V2M, V2X, V3, and V4. All of the control panels can control up to 4 MEs of video processing and connect to the Ross MD and MD-X Live Production Engine chassis.

The 3 RU MD chassis can have up to 2.5 MEs and 8 RU MD-X chassis can have up to 4 MEs. Both chassis are now available in SD-only and full Multi-Definition formats. Any configuration of either chassis can be connected to any of the Vision control panels.

The modular Vision control panels incorporate a large number of new concepts. The use of RGB buttons results in a stunning new look and allows personalization of the Vision control panel. Vision offers a new DualDisplay color touch screen allowing the operator to view and control two menus simultaneously. A long list of other enhancements including built-in manuals, Linux based OS, and integration with the OverDrive control system makes the Vision control panel the most advanced on the market.

Existing Synergy users will feel at ease using Vision while enjoying the supercharged new capabilities.

Ross also announced the appointment of John Denenfeld, as Regional Sales Manager for the Northwest USA and Western Canada.

Denenfeld will be based in Surrey, British Columbia and will report to Kyle Luther, Nation-

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March 2008

al Sales Manager for USA and Steve Romain, National Sales Manager for Canada, the company described. He will be managing the sales territories for the provinces of British Columbia, Alberta and Yukon, and the states of Washington and Idaho.

“We’re thrilled to have John as part of the Ross Sales team,” said Kyle Luther and Steve Romain. “John’s seasoned background in our industry will allow him to offer a superior customer experience. His knowledge will have an immediate impact in the region.” “I look forward to sharing my expertise with Ross customers in the territory,” said Denenfeld. “Ross Video provides cutting edge live production solutions.”

He brings over 20 years experience in sales, account management, audio/video, and multimedia system design in various sectors of the broadcast industry.

Camera Transmitters Capture New Broadcast Signals at NAB RF Central, a leading digital micro– wave technology provider, is unveiling its RFX-CMT-II camera-mounted transmitters in both 2 GHz and 5.8 GHz at NAB 2008.

While the 2 GHz unit is designed for live ENG news and sports broadcast applications and the 5.8 GHz unit is geared for live sports stadium, arena coverage and license free applications, both offer complete HD upgradeNew RFX-RMR-II 2 GHz and 5.8 GHz rack-mounted Receivers at NAB

ability with the latest in high-quality, low-latency, HD encoding technology.

Each featuring inputs of HD, SDI, ASI or Composite video signals, these new products are perfect for live and real time image transmissions. The units excel in live broadcasts, live stadium displays, surveillance, monitoring and situational awareness. The compact units offer a variable 6/7/8 MHz modulator, 100mw power output, and full MPEG menu control by the customer. They are built for live transmissions requiring the ultimate in quality and performance from a wireless camera transmitter. The 2 GHz and 5.8 GHz CMT-II’s linear RF amplification technology limits spectral regrowth at full power to less than -35dBc, offering robust RF performance. Other frequencies are available upon request.

While the RFX-CMT-II 2 GHz and 5.8 GHz units are available in Standard Definition, they are software upgradeable to full High Definition (HD) via software key and will interface with all standard broadcast portable power systems.

SpectSoft Announces RaveHD 3.0 SpectSoft LLC announced that the release of RaveHD 3.0 will happen prior to NAB. “With the completion of the RaveHD 2.5 series this past month, RaveHD will now make its move to 3.0”, states Ramona Howard, President of SpectSoft. “ The RaveHD 2.5 series brought the rest of the added infrastructure that makes RaveHD the choice of many studios to use as a true deck replacement. The release of RaveHD 3.0 is focused on features and our customer base are eager to begin putting it to work so we will begin shipping this month”.

“RaveHD isn’t an easy one to explain as it can’t be put into a neat little shrink

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wrapped package, it’s many things to many studios with each of them using it slightly different”, comments Jason Howard, Lead Programmer for the project. “This product is a living thing, constantly growing to the needs of the industry and keeping us very busy. Taking a complex product and keeping it so simple while maintaining flexibility is not an easy thing to do.....and it is high on the priority list when adding anything to RaveHD,” adds Howard. “Customer input has been crucial in this success”.

Recent additions to RaveHD include a variety of settings for offsets and delay controls, additional burn-in support, extended 2K support, Split Screen, additional EDL and conforming tools, RGB12bit, format conversion tools, additional audio support, extended LUT and routing support, improved print to tape functionality, system tests and monitoring and additional metadata embedding. RaveHD 3.0 features include SAN support, Scaling and a Render Engine.

There is a list of 12 major features being added to the RaveHD 3.0 series, with many of them not being officially publicized until they roll into a releasing version.

will be integrated into a variety of Consumer Electronics devices, as well as work on Windows PCs, Macs and Linux PCs. SyncTV has an open-standards approach which facilitates third-party hardware manufacturers developing compatible devices www.synctv.com/standards.

Other devices that SyncTV could be integrated into include television sets, in-car video systems and other portable players.

SyncTV is an unlimited TV download service that launched in private beta in November 2007. The service allows users to download entire seasons of home theater-quality TV shows at a low monthly subscription fee. As well as subscriptions, SyncTV also supports purchase and rental models for TV content.

The video and audio quality of SyncTV programming will be the highestavailable through Internet download. The minimum video quality of all the content is comparable to the same content on DVD, and where different channels.

SyncTV will also have programming available in discrete 5.1 Dolby Digital Plus surround sound. SyncTV has a flexible usage model, allowing playback on up to five home devices, such as PCs, set-top boxes or TVs as well as up to ten portable devices.

SyncTV Demonstrates Proof-ofconcept for HD Downloads SyncTV is demonstrating a proof-of-concept device that will play downloads, including 1080p HD video content on a home television set.

The device is one example of how SyncTV

Steadicam Ultra2 Recognized by SOC with Technical Achievement Award The Tiffen Company, represented by Steven Tiffen, Garrett Brown, Jerry Holway, Robert Orf and Frank Rush, was honored by the Society of

Steadicam Takes Flight with Prestigious SOC Award. From left to right: Garrett Brown, Frank Rush, Robert Orf, Steven Tiffen, Jerry Holway.

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Camera Operators with its 2008 Technical Achievement Award for the “design and development of the Steadicam Ultra2 system”.

Present at the black tie event were Tiffen Company President Steven Tiffen, Steadicam inventor and visionary Garrett Brown, codeveloper of the Ultra2 Jerry Holway (also an award winning camera operator), Tiffen Head Engineer Rob Orf and Steadicam Manager Frank Rush.

Tiffen received a standing ovation when honoree Tilman Buttner came through the theatre up onto the stage wearing the Ultra2 Steadicam carrying the Panavision Genesis High Definition Camera. The Ultra2 remained prominently displayed alongside the podium for the rest of the evening.

The SOC is a non-profit charitable organization that has since its inception in 1978, advanced the creative endeavors of its members.

The Technical Achievement Award to Tiffen and Brown was presented for the design and development of the Steadicam Ultra2, the world’s most advanced Steadicam to date.

The Ultra2 is described as the culmination of years of development; it would not have been possible without camera operators world-wide sharing their input and practical requirements for an ultimate camera stabilizing system with members the Steadicam.

During the award ceremony Steven Tiffen took the opportunity to announce that Tiffen has acquired new, advanced stabilizer technology, developed and patented by Lyn Nicholson, Steadicam Operator, and that Tiffen will further develop this technology for many exciting, new applications. The Ultra2 and new camera stabilization systems from Steadicam, along with other Tiffen products, will be on display at NAB 2008.

Sony Expands Line of High-End Digital Cinematography Systems The expanding XDCAM HD Professional Disc system from Sony now includes new models that add the benefits of 50 Mbps 4:2:2 optical disc recording to a high-definition optical disc workflow.

The new models include the PDW-700 2/3inch CCD camcorder and the PDW-HD1500 recording deck, as well as the dual-layer 50GB version of Sony’s optical Professional Disc media, model PFD50DLA. The new HD products deliver recording

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SONY PDW-700 and PDW HD1500 New high end acquisition and production equipment from Sony will be on display at NAB.

capabilities at data rates of up to 50 Mbps using MPEG-2 4:2:2P@HL compression technology.

They also provide multi-format (1080i/720P) recording flexibility, as well as HD/SD conversion and cross-conversion during playback between 1080i and 720P. The PDW-700 camcorder has three of Sony’s new 2/3-inch Power HAD(tm)FX progressive CCDs that can produce a resolution of 1920 by 1080 effective pixels. A 14-bit A/D converter and advanced digital signal processing are also incorporated in the camcorder.

It features dual HD/SD-SDI outputs and composite/HD-Y output, as well as a pool-feed input (HD/SD-SDI and composite) option. The camera’s ruggedness and durability has also been enhanced with new dust and water resistant mechanisms, as well as new features to cool the camera and reduce fan noise.

The camcorder maintains the XDCAM system’s file-based architecture and use of proxy video and metadata. It also features a digital extender, picture cache, interval recording, slow shutter, focus magnification, clean switching between the “live and playback” function, and a large, easy-to-view 3.5 inch (viewable area, measured diagonally) color LCD screen.

The PDW-HD1500 is a half-rack recording deck with a tilt-up front panel that supports a range of interfaces, including HD-SDI, SD-SDI, i.LINK (IEEE-1394), and Ethernet. It delivers high-quality eight-channel, 24-bit audio recording, and has a dual optical pick-up for higherspeed file transfer.

Its user interface is designed with a “VTRlike” jog/shuttle operation, with video control either through the front panel or a Remote Commander unit. A 4.3-inch (viewable area measured diagonally) color LCD display is also incorporated.

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Users can record more HD content with the dual-layer disc — approximately 95 minutes at 50 Mbps, 150 minutes at 35Mbps, and 200 minutes at 25Mbps HD. The camcorder and deck are expected to be available in April at suggested list prices to be announced.

Sony is also introducing the F35 camera system, which features a 35mm CCD image sensor, 10-bit, 4:4:4 recording and a PL mount, among other features designed for cinematographers.

The new camera will join the F23 model at the high-end of the company’s CineAlta line of acquisition products for digital television and motion picture content creation.

“The F35 complements the F23, with both addressing very distinct production environments and applications,” said Rob Willox, director of Sony Electronics’ content creation group.

“We realize that many customers prefer a 35mm large-format sensor, while others want the 2/3inch sensor size of the F23. As with all our camera technologies, we want to give end users their

choice of production tools.”

The new camera incorporates many of the F23’s ergonomics and “film-style” design elements. For example, Sony’s SRW-1 digital recorder will dock directly to the top or to the tail of the new system, eliminating the need for cumbersome cable handling between the camera and recorder. The camera body will also be compatible with a variety of film camera accessories, including bridge plates, matte boxes and follow focus units.

The new camera adds several new features, many the direct result of feedback from production professionals.

The F35 camera will be available late 2008, with suggested list pricing to be announced.

Sony is further expanding the industry with the introduction of a wide line-up of HD models.

The HDR-SR12, HDR-SR11 and HDR-SR10 hard drive camcorders, along with the HDR-UX20, are all based on AVCHD technology and feature full 1920 x 1080 high-definition recording for outstanding clarity and detail.

W E S T E R N A S S O C I AT I O N O F BROADCAST ENGINEERS Watch our website www.wabe.ca for more details on our upcoming SAIT/WABE training event.

Mark your calendar for this year’s Convention in Victoria on

November 30 -December 2, 2008 For information please contact:

Kathy Watson, WABE Office Manager, info@wabe.ca Or call 403-630-4907

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These camcorders deliver the highest HD resolution available without sacrificing recording times and all of them feature a new highprofile encoding system to optimize encoding efficiency. They are also compatible with many third-party editing suites, due to the incorporated industry-standard MPEG-4 AVC/H.264 video codec.

Sharing advanced imaging technologies from Sony’s digital camera line, these AVCHD camcorders incorporate face detection technology for both video and photos — up to eight faces can be identified in the camcorder’s LCD frame. Focus, exposure and color control are automatically adjusted and flash control is applied when photos are taken, resulting in breathtaking snapshots and natural-looking skin tones. These camcorders also allocate more pixels to the detected face during the AVCHD encoding process for the best possible picture when people are the subjects.

The HDR-HC9 camcorder will ship in February, 2008 for an MSRP of approximately $1,199 .The HDR-SR12, SR11 and SR10 will also ship in February, 2008 for an MSRP of approximately $1,499, $1,299 and $999 respectively.

The HDR-UX20 will ship in March, 2008 for an MSRP of approximately $1,099.

Quality Assurance Solutions For Broadcast and Web Streaming

mance for portable links and is designed for easy and quick set-up for ENG and field applications. In addition, it is weather resistant for broadcasts during adverse climate conditions.

Accommodating FCC channel plans in conjunction with the BAS Relocation Project, the PMR-II offers manual or pre-set channels with tuning in 0.25MHz steps. The unit is capable of receiving frequencies between 1.990 and 2.500GHz. When configured for HD, the PMR-

New portable digital receiver offers both SD and full HD configurations.

RF Central Portable Digital Receiver RF Central, the digital microwave technology provider, is offering its new RFX-PMR-II portable digital receiver, available in both SD and full HD configuration.

The rugged unit offers exceptional perfor-

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II supports 1080i and 720p formats in addition to SD modes. Demodulation modes include QPSK, 16 QAM and 64 QAM with auto detection.

The PMR-II’s MSRP is $29,650 and is upgradeable to HD for an additional charge of $6,000.

Triveni Digital at the 2008 NAB Show At the 2008 NAB Show, Triveni Digital will debut its new StreamScope Enterprise Monitor enterprise-wide service quality assurance solution.

The StreamScope EM-40 proactively detects, localizes, analyzes, isolates, and remedies faults impacting video services based on predefined rules, allowing broadcasters, service providers, and IPTV networks to reduce customer down-time and complaint response costs by providing the user full remote analysis capabilities of any monitored streams.

Alarms are generated when a transport stream has fallen outside a specified configuration. Integrated trend analysis enables engineering staff to analyze past issues.

Triveni Digital adds the RM-40SE lowcost RF monitoring probe to its StreamScope test and measurement product line.

The RM-40SE is a fullfeatured, in-depth, 24/7 unattended remote monitoring instrument that performs comprehensive MPEG video monitoring for real-time RF streams. The small form factor design is a powerful, user-friendly, low-cost monitoring solution that verifies DTV transport streams carried by service providers including broadcasters, cable, telcos, satellite, mobile TV and IPTV operators.

In addition to the well established standards supported by the StreamScope line, including ATSC, ATSC A/78, and ETR 101 290, Triveni Digital’s RM-40SE now also represents the first implementation of the new SCTE-142 (formerly HMS-158) standard.

Triveni Digital’s Ensignia digital signage

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systems provide key advantages in reliability and scalability, reducing the deployment cost per site for large deployments. The company’s expertise and experience in the broadcast market enables digital signage providers to distribute live broadcasts utilizing the same infrastructure. As part of the overall solution, LG Electronics display screens with integrated controllers simplify installations and maintenance while reducing footprint requirements.

New Frames for UTAH-400 Routers at NAB At the 2008 NAB Show, Utah Scientific will showcase the latest additions to its UTAH-400 family of digital routing switchers. The introductions include a new frame for large routers up to 528x528 with fully automatic internal crosspoint redundancy, and a second new frame that extends the UTAH-400 family’s functionality to even larger matrix sizes.

The new UTAH-400/528R frame gives customers the ability to install a full 528x528 router in just 20 RU — the smallest physical footprint in the industry — using standard 75 ohm BNC coaxial connectors. In addition, this frame offers the option of a redundant crosspoint module for the ultimate in service reliability in mission-critical applications for large routing systems. The crosspoint redundancy of the UTAH-400, when combined with the Utah Scientific SC-4 control system’s unique monitoring and control facilities, provides the industry’s best solution for the most demanding operational requirements.

In addition to these exciting new routers, Utah Scientific will unveil dramatic new products in its router control and master control switcher product lines, adding even more depth to what is already the industry’s most complete offering of products for all applications.

New XStreamHD Solution Delivers HD to the Home XStreamHD’s recently-announced strategic partnership with pioneers of high-definition technology, DTS, Inc. and Seagate Technology, will provide the first-ever transport network to deliver high-definition movies and music directly to the home, the company’s describe.

Offering up to 7.1 channels of DTS-HD Master Audio, and featuring Seagate’s purpose-built DB35 Series hard drives with up to an incredible one terabyte (TB) of storage, allowing consumers to use up to 2 TB of storage in one solution, XStreamHD will provide access to HD

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tures include three safe-area cursor generators with full user control of cursor colour, transparency and type as well as specialized functions for text height and aspect ratio measurement.

The SA-2U can also be used as a blanking generator. A Microsoft .NET platform application enables custom cursor configuration.

Up to six SA-2U cards can be housed in a 1U Eyeheight geNETics rackmount chassis.

Designed to operate in 10 bit YCbCr, 12 bit YCbCr, 10 bit RGB, 12 bit RGB colour spaces and depths, the SA-2U supports SMPTE 259M (270Mbit/s single-link), SMPTE 292M ( 1.5Gbit/s single link) and SMPTE 372M (2.97Gbit/s dual link) data formats. Supported resolutions comprise 720 x 576(PAL), 720 x 480(NTSC) 1280 x 720 (SMPTE 296M), 1920 x 1080 (SMPTE 274M) and 2048 x 1080 (2K) at 25, 30, 30/1.001, 24, 50, 60, 60/1.001 frame/field rates.

Digital Routers from UTAH On Display in Nevada

movies, music, broadcast TV, electronic games, and more with unmatched quality and convenience — without the limitations of program schedules or physical media.

Safe Area Generator At EyeHeight Eyeheight’s new SA-2U is a 4:4:4 dual-linkable graticule/safe-area and blanking generator will debut at NAB 2008.

The SA-2U is designed for SD, HD-SDI multidefinition (single-link) and SD, HD-SDI and 2K ultraDef (dual-link) post-production applications. It generates safe action graticules, safe title and centre markers (short and full screen) for all common TV and film formats. Additional fea-

Eyeheight’s new SA-2U 4:4:4 dual-linkable graticule/safe-area and blanking generator.

September 18th to 21st, 2008

CCBE 2008 FOR THE 2008 CONFERENCE ROOMS WILL BE GOING FAST.

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Petrol Introduces Mini Camera Accessory Bag Cinematographers, videographers and camera operators alike can easily find essential accessories like batteries, chargers, and spare connectors in the new Petrol Mini Camera Accessory Bag, one of several acquisition products and related accessories shown by Petrol and parent company Vitec at NAB. The new Accessory Bag features a top lid with dual directional run-around “upside down” zippers for easy access. Inside, layers of bright orange padded fabric cradle and safeguard sensitive equipment.

Two removable dividers can be custom configured to provide extra security and protection.

Underneath the main chamber, a second basement compartment offers additional cushioned space. Exterior zippered pockets on all four sides offer even more options for storage. Features include Petrol’s U-Grip ergonomic carrying handle and padded adjustable shoulder strap. The bag’s exterior is constructed of heavy duty waterproof blue and black Cordura.

Petrol’s New Camera Accessory Bag

iKan Cradles Cameras and Rack Mount Gear The new iKan Camera Cradle is designed as a wearable camera stabilizing system for those who shoot multi-hour events.

The Camera Cradle bag is made from soft yet resilient material and is filled with high quality Micro-Beads that easily mold to the shape of your camera. It has a padded shoulder strap and an adjustable waist belt so the weight of your gear is transferred to your shoulders and hips. Two horizontal side pockets are available, and four top loops with adjustable straps can be used to secure cameras and other gear.

The Camera Cradle holds and stabilizes small form professional video cameras with two adjustable camera straps, a shoulder strap, and a waist belt with a sewn-in loop and carabineer

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New equipment racks, mounts and supports are available from iKan

for holding extra cables.

Meanwhile, ikan’s new Uni-Racks are designed for rack-mountable audio/video equipment on the desktop. The Uni-Racks (available in 2 RU and 5 RU configurations) tilt back at a 54 degree angle for comfortable viewing and are extremely stable. Both come complete with cage nuts and rack screws (a set of four for the Uni-Rack 2 and a set of eight for the Uni-Rack 5).

The new ikan RM 4-25 rack mount is for control room envire4onments. The all metal enclosed RM 4-25 contains four 2.5 inch high resolution LCD panels with front controls, a single captive power input, and BNC composite inputs with full BNC loop thru. The RM 4-25 also swivels so the operator can easily adjust the panels for the perfect viewing angle.

Streambox Mobile Software Encoder The Streambox Mobile Software Encoder is a new software solution for video streaming of breaking news and events via broadband.

The Mobile Software Encoder features the same Streambox ACT-L3 advanced proprietary compression technologies widely used by news organizations, government agencies, and other organizations and individuals. ACT-L3 solutions provide unrivaled video Handheld streaming media solutions from Streambox Displayed

quality at low data rates, with innovative error correction and bandwidth shaping technologies that enable users to correct the irregularities common to video delivery over satellite and IP/T1/E1 networks.

The Mobile Software Encoder extends the news gathering capabilities of broadcasters, first responders, and citizen reporters, and it helps deliver live breaking news and events to the newsroom faster, smarter, and at a lower cost while at the same time powering video portals and social networking sites.

A software-based solution ported to a variety of Windows mobile devices, the Streambox Mobile Software Encoder transports broadcast video over Wi-Fi and 3G networks for real-time and store-and-forward news coverage. The solution provides the ultimate in mobility without sacrificing performance, reliability, or quality.

Also being displayed by the manufacturer is the Streambox SBT3-5100, a plug-and-connect real-time video transport device that delivers stunning full-motion, full-frame interlaced broadcast video and audio over satellite and IP-based networks.

Wohler Extends HDMon Family PANORAMAdtv, the video products division of Wohler Technologies, has added to its family of HD colour video monitor displays.

The 9-inch HDMon-90WS is a productiongrade monitor that accepts dual HD/SD-SDI inputs, as well as analog component and composite signals, DVI signals, RGBHV video, and CGI images, serving as an ideal solution for users requiring high-quality viewing of both HD and SD images.

Though the HDMon product family is designed primarily for 1080-line HD applications, each monitor provides exceptional noise reduction, motion interpolation for interlaced images, and motion-adaptive processing to ensure a crisp, clear display of images, regardless of their native resolution. The HDMon90WS monitor employs an 800x480 TFT/LCD screen, reaching a perfect medium in the scaling and interpolation process and thus providing superb imaging regardless of video format or resolution.

www.broadcastermagazine.com

Widescreen monitors for fixed and portable applications

A sleek, lightweight design allows the HDMon-90WS to convert from a portable device to a tabletop solution without requiring additional hardware. Operating either as a desktop monitor or installed in a 19-inch-wide rack, this LCD display offers HD resolution, a choice of 4:3 or 16:9 aspect ratios, useradjustable scaling, and 36 square inches of active viewing, the widest view angle in the industry. Standard CRT functions include channel isolate, overscan, underscan, and power-saving auto off, as well as automatic and manual colour temperature adjustment.

Built-in 100Base-T Ethernet and RS-232 connections allow the monitor to be configured and controlled remotely via a Windows-based GUI or by third-party control systems. The HDMon-90WS may be paired with one of Wohler’s audio monitors, such as the AMP2-E8MDA, for comprehensive A/V monitoring.

Wegener Pumps Out the Media Wegener is showing video over IP streaming

and serving solutions at NAB, and will host related IPTV seminars and workshops at NAB 2008. Gary Pelkey, System Architect for WEGENER, addresses distance learning, MPEG-4 technology and IPTV topics.

The Wegener iPump Media Server is an integrated receiver decoder (IRD) with advanced media server functionality.

It includes all the standard features of Wegener’s world-class IRD product line.

In addition, the iPump media server is used to record live MPEG streams and encapsulated IP MPEG files. It stores and serves the files, will acknowledging receipt is file-based broadcast channels. The iPump series also offers local area network routing, IP multicasting and Web browser-based LAN control.

Wegener iPump 615 Streaming Media Decoder is the peripheral IP settop unit for the iPump Media Server. It is designed for high volume deployments and dynamic environments, such as retail POP digital signage and corporate communications. Integrating easily into existing IP infrastructure, units are addressed to playout highly differentiated video within a given location. Updated content can be quickly introduced — with no end-user intervention required.

The iPump 615 is the world’s first advanced coding IP decoder offering high-definition decoding for beautiful, crystal clear pictures. Matching the video quality is the advanced digital audio, available on the S/PDIF optical output.

Different iPump 615 decoders can be scheduled to display different channels, commercials, and high impact digital signage when

Wegener’s media encoding, storage, serving and streaming solutions

Broadcaster

March 2008

used in conjunction with the iPump Media Server. The iPump Media Server can hold over 200 hours of media content, seamlessly blending content and simultaneously outputing multiple program channels.

Digital signage and broadcast display tools from X20

X2O Launches Next Gen Xpresenter Platform X2O Media is launching Version 2.1 of its powerful Xpresenter platform, adding a number of powerful new features to the full range of applications in the suite, covering all of the steps in the digital signage workflow from content authoring, scheduling and management, and distribution to remote management and playout.

Xpresenter 2.1 builds on the success of Version 2.0 by adding a number of key enhancements. Xpresenter Template Maker, which features the recently-patented and unique PowerPoint-based approach to content creation, now supports PowerPoint 2007. Xpresenter includes an enhanced style gallery of graphics templates, video clip previewing, and tools for quickly resizing presentations to fit the varying dimensions of output displays.

Additional new features in Version 2.1 include: a new Xpresenter Multi-Channel configuration allows multiple instances of the Xpresenter Player on a single PC, enabling multiple, simultaneous channel playback from the same PC hardware. Users can now create several playlists that can be nested for improved playout capabilities of Xpresenter Player.

Xpresenter can be used in a variety of interactive configurations, including touch screens, and it can interface with or be driven by a number of different technologies including RFID, Bluetooth, magnetic stripe readers, and credit card readers.

29

Canadian Achievers

Broadcaster a Barrel of ...Ink Dick Lewis 1902-1975

by Dick Drew

Ed’s Note: This column continues our series of profiles of “Canadian Achievers” in the Canadian broadcast TV and radio industry, written exclusively for Broadcaster Magazine by Dick Drew, a wellknown achiever himself.

W

hen I enter the pearly gates, many many years from now I hope, one of the first things I plan to do is organise a Thank You reception for Dick Lewis, the crusty old guy who fought like hell on earth so that we broadcasters could have a more heavenly industry on earth.

I am one of the very many people he called “d.p’s...” or damned protégés, young guys and gals who for some strange reason wanted to break into broadcasting.

In 1958 I was a happily married jewellery salesman in Montréal, but I nevertheless wanted to break into radio. By happy coincidence, the CAB was holding its annual convention in town, at the Queen Elizabeth Hotel. (For trivia buffs, this was the first major convention held in that hotel.)

I was told to look up Dick Lewis for advice, but when I finally found him, he was already holding court with several broadcasters in the bar. He brushed the cigarette ashes off of his vest, coughed as only he knew how, and told me to, “Call Hal Burnside at CJQC Quebec City, he’s always looking for people.” I called and started there within a month!

It’s unknown how many “d.p’s” he helped break in. Over the years, I likely sent more than 100 or more people to him. If he liked the cut of your jib, as they say, he would bust his suspenders helping you.

However, the great benefit Dick Lewis brought to this industry was his absolute refusal to take any crap from the bureaucrats in Ottawa who controlled broadcasting. He was a relentless fighter.

Born in England, son of a barrister, he learned to fight discrimination at his father’s knee. Arriving in Canada in 1923 at age twenty he had a series of jobs leading to writing radio drama scripts for CHML and CKOC Hamilton. He always wrote in a part, or parts, for a male char30

Broadcaster

March 2008

acter with an English accent - which he of course played and for which he of course collected extra fees.

Ian Grant worked for Dick for many years and perhaps knew him better than anyone. Ian is now living in happy retirement with his wife in Ladysmith, Vancouver Island. He has written a very complete tribute to Dick Lewis, it is posted on the Canadian Communications Foundation website, www.broadcasting-History.ca He kindly granted me permission to include some of his material in this tribute: “In 1936 when the CBC was formed, it was also given regulatory power over all broadcasting, which annoyed Dick no end. That situation started him on a 30 year relentless crusade.

Sometime in 1941, a friend said, ‘Dick, why don’t you start a trade paper for the broadcasting industry?’ And he did, reportedly with 75 cents in his pocket! The first issue of Canadian Broadcaster, all eight pages of it, appeared on January 8, 1943.

[Yes, that the same magazine you are reading now. In Dick’s eyes, and those of many other industry leaders, it became and remains the bible of our industry.]

“Dick started a column which he called “Over the Desk” which along with the editorial page of Canadian Broadcaster was the platform from which he championed the cause of private broadcasting in Canada. He was vociferous in his attacks against government control and regulation, as well as confronting various pressure groups who for one reason or another wanted to muzzle or in someway restrict the use of the airwaves. The balance of the magazine carried news about people, places, and events concerning broadcasting across Canada, and of course, some advertising.

With the advent of television, the regulation of broadcasting passed from the CBC to the Board of broadcast Governors BBG, which was set up in 1958 as an independent regulatory body that held sway over both private and public broadcasting, a long sought after goal of the CAB...... Dick continued his relentless attack against government control of media, particularly radio and TV.”

The BBG was succeeded by the CRTC and a series of Chairmen. Dick’s columns never let up; they were classics. I recall reading the Broadcaster religiously every month to find out who he was raising hell with and why.

“Buzz me if you hear anything” was his famous sign off at the end of his column. No doubt his phone was buzzing when the folks in Ottawa read the Canadian Broadcaster each month. They learned never to fight a guy who controls a barrel of printer’s ink.

Dick Lewis was our defender, our knight in shining armour, but with lots of black printer’s ink. He would write things in his column that many broadcasters felt privately but were prevented from saying for fear of retribution. Yes, dear reader I did say “retribution.”

During my 50 years in this wonderful industry, I have met many people who I have admired and respected — but none more so than Richard Guildford “Dick” Lewis. Another Canadian Achiever “Dick, I’ll buzz you when I get up there.” B

Dick Drew is a Canadian broadcaster and writer. His “Canadian Achievers” series ran in radio syndication from 1984 to 1999, and now appears as a weekly syndicated newspaper column.This column is exclusive to Broadcaster Magazine, and there is more about all the Achievers profiled at www.canadianachievers.com

Dick Drew www.broadcastermagazine.com

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Try it. It will make your job easier.