The IBC Daily 2011 – 11/9/11 Issue by Intent Media (now Newbay Media Europe)

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theibcdaily

11.09.2011

Cameron Pace forms GV alliance for broadcast 3D

The Shadow alliance: Cameron and Pace announce deal with Grass Valley

Grass Valley By David Fox Cameron-Pace Group has formed an alliance with Grass Valley to accelerate the broadcast industry’s move to 3D stereoscopic production. “It’s a little bit daunting staying ahead of technology change, so we have to

have powerful alliances with people who are major players in broadcast in order to really be able to fulfill this future and supply the kind of quality 3D entertainment that people are going to demand. We’re on a relentless path to grow the 3D business,” said James Cameron, CPG’s co-chairman at IBC. “It’s very exciting what we’re

going to be able to do together, in term of creating new products and integrating them into the workflows. We’ve been working together for a long time and this just formalises the relationship,” Cameron added. The alliance will involve improving 3D broadcast workflows, product development and promoting more efficient and effective production for live 3D sports and entertainment. The big question for CPG’s other Co-Chairman and CEO, Vince Pace, is: “How are we going to get all the way through this challenge of making 3D more cost effective and making it more similar to the 2D approach?” One way is through alliances like this and its work with its 5D truck (which shoots 2D and 3D at the same time using a Shadow rig controlled by the 2D operator – “We all want to see the same story”, Pace observed), as used on the US Open Tennis, which finishes today. The production for CBS used 14 camera systems, nine of which were Shadow rigs. CPG will incorporate Grass Valley technologies, including the Kayenne switcher, K2 servers and K2 dyno replay controllers into its 3D production truck. OE301/1.D11/1.E02

Miranda Enterprise to boldly grow VoD Miranda By Michael Burns Miranda has launched a scalable, schedule-driven system that can streamline content preparation for broadcast playout and VoD publishing. Enterprise Suite allows playout operators to review, normalise and approve file-based content before it goes to air. Enterprise Suite simplifies the normalisation of programme and advertising content for iTX customers, using automated workflows for analysis, review and fixing of the most important file issues. The normalisation offers support for AFD tagging, high quality up/down video conversion, audio loudness correction, channel tagging and downmixing, and support for Closed Captions/OP47 subtitles. Michel Proulx, chief technology

Michel Proulx: It’s about turning shows into TV everywhere content

officer at Miranda, said a key component of the suite was its VoD publishing platform. “It’s about taking the shows that you are airing and turning them into TV everywhere content,” he said. “All of the components in the suite – the workflow, the

content normalisation – are driven by the schedule. The facility’s playout schedule becomes the orchestrator of everything that happens.” The same assets, tools and scheduling processes are shared across VoD and linear television operations. The VoD versioning offers all the tools required to create professional, on-demand content across multiple platforms, including support for dynamic ad insertion signalling and Nielsen watermarking. “All of our components are scaled by the number of outlets, how many channels they have and how many VoD platforms they serve. So the price point will scale in line with that. After the initial investment in storage, our solution is 100 percent software that runs on standard IT servers. iTX as a playout platform scales linearly because each channel is just one more box.” 8.D41

95x lens widest in its field Canon By David Fox Canon’s new Digisuper 95 (XJ95x8.6B) is claimed to be the world’s widest-angle long zoom HD field lens. “Normally when we make it wider, you get distortion, but here it is very minimal. It’s really fantastic,” said Ken Koyama, Canon’s European Broadcast products director. The new lens augments Canon’s 86x, which is the biggest-selling OB box lens, but while it is wider and zooms longer, it is fractionally smaller at 61cm in length and weighs about the same, 23.2kg.

The price is about f ive per cent more than the 86x, and Canon has already taken more than 30 orders, all from Europe, for shipping next February. Its Image Stabilisation System has an improved optical shift-type stabiliser that incorporates a sensor inside the lens to detect vibration. Compensating optics are then engaged at high speed to cancel out any effect on the image. To counteract breathing (which can occur when focusing causes a lens to change picture size/angle of view), the 95x includes a Constant Angle Focusing System. Through a 32-bit CPU, the zoom is calculated and con-

Ken Koyama: 95x lens is proving popular with more than 30 European orders

trolled to give an almost zero zooming effect when focusing. 11.E50

Peter Owen: “Should the show go on?” The message from the US Consulate in The Hague was very clear; it must be business as usual

9/11 and IBC: 10 years today By Peter Owen, chairman, IBC Council Where were you exactly 10 years ago? At 14:46 on Tuesday 11 September 2001 many thousands were in the RAI exhibition halls preparing for the opening day of IBC three days later. At the same time in New York City at 08.46 the first of the Twin Towers was attacked. The US networks’ broadcast coverage soon reached Amsterdam and was routed live to the video screens in the RAI halls and lobbies. Work stopped as we watched the evolving horrific outcome of the attacks. For US-based visitors it was especially tragic and personal. From an IBC point of view the question was asked: “Should the show go on?” Taking advice from the United States Consulate in The Hague, the message was clear, it must be busi-

ness as usual; such acts of terrorism must not stop commerce. It did not stop but there was sometimes a pause as many North American companies had personnel and equipment stranded by the cancellation of commercial flights. Conference speakers and visitors were similarly affected. By the time the show opened there were very few empty stands. Occasionally engineers became salesmen, salesmen became engineers, and local agents replaced North American headquarters staff. With the help of all, it was as suggested, business as usual. The tenth anniversary of 9/11 is today. No doubt you can remember where you were 10 years ago and today, with the many, direct your personal thoughts and remembrances to the many thousands who suffered in New York City.

IBC on the red carpet Tonight sees the IBC Awards Ceremony. Presented by Rob Curling, this fun and fast-moving show takes place in the Auditorium and is always popular. Each year the producers include something unique to finish the programme. This year’s treat is a look at the challenges and joys of creating wildlife television in stereoscopic 3D. Anthony Geffen of Atlantic Productions is working with Sir David Attenborough on a series of three landmark programmes. The first, Flying Monsters 3D, is already wowing audiences and collecting awards. The two currently in production could not be more different: one is set at Kew Gardens and includes stunning timelapse and macro photography; the other follows the life of a penguin on South Georgia. There will be plenty of clips from all three, as well as stories and insights on how they were made, as Geffen reveals some of his trade secrets for the first time. The main business of the evening, of course, is the presentation of the awards. The IBC Innovation Awards are unique in honouring not the latest

technology but the application of the technology, with the awards themselves going to the end user. So winners in the past have included Walt Disney, Arabsat and CNN. This year the f inalist for the three categories – for the most innovative application of technology in content creation, management and delivery – are equally varied, covering everything from motorcycle racing to transmission, from helping journalists in the f ield to get the story back to helping journalists in the studio illustrate stories with interactive graphics. The award for Best Conference Paper goes to Yukihiro Nishida of NHK for his work on the parameters of Super Hi-Vision, and there are prizes for the best exhibition stands. Sir David Attenborough makes another appearance as he is the recipient of the IBC International Honour for Excellence, and there is a surprise special award at the end of the programme. All are welcome at the IBC Awards Ceremony. Admission is free, but seats are limited so be in plenty of time for the start at 18:30.

theibcdaily

11.09.2011

Huge demand for framework and common service definitions right now

‘Lego blocks’ to save the industry Conference Analysis By George Jarrett One of the most important introductions at IBC has been version 1.0 of FIMS, the SOA known in full as Framework for Interoperable Media Services. The work of a joint EBU and AMWA task force, FIMS 1.0 will be reviewed by both partner organisations and put before the SMPTE committee looking at softwareoriented media workflows. Brad Gilmer, executive director of AMWA said: “The industry will not wait in this area for some huge standard that takes three years to write. People are building stuff right now, and there is a huge demand for a framework and some common service definitions right now. “The approach we are taking here is to put a stake in the ground, establish some fundamentals, and release a request for technology,” he added. “We are now looking at what we are going to do in phase two –

Brad Gilmer: “The industry won’t wait for a standard that takes three years”

more detail to the specs and additional service definitions.” Version 1.0 offers ingest, transform and transfer, and one possible new common ser vice might be graphics overlay. “It might be the next one, or the industry might tell us here at IBC about some other really hot things they need our guys to specify. We are going to turn the

crank and continually add richness,” Gilmer said. “I don’t think anyone in the industry would object if this effort also found its way into more traditional Web or IT type bodies as well because if we can increase the adoption of FIMS across the board we are going to get more vendors providing equipment and more users with system familiarity.” Representing a growing pack of companies who desperately want FIMS to succeed, Avid strategist Al Kovalick said: “FIMS is totally essential for our industry to succeed in terms of creating flexible, agile workflows. “The f act that it is vendorneutral is great for the whole industry,” he added. “Right now it is kind of in the beta phase, but we will be introducing it into our products as i t b e c o m e s m o r e m a t u r e ,” h e added. “I can see FIMS growing to hundreds of services because it is a framework of plumbing to get things started. It is Lego blocks for media workflow.”

Stands that deliver The judges have toured the halls, opinions have been shared, and deliberations have been completed. The winners of the IBC Exhibition Awards have been declared. Because IBC is home to exhibitors large and small, there are three categories. From the shell scheme stands, the judges highly commended Trivis (3.A50) – who won the same honour last year – and Marquis (2.A58). They gave the award to Phabrix, stand 8.E25. “We were impressed by the stand’s excellent layout and the quality of the graphics,” said Robin Lince, chairman of the judging panel. “This stand shows powerful messaging and strong branding.” For smaller free design stands, Thales Angenieux (11.F30) and

PayWizard (13.185) were highly commended, with Tangent Wave (7.B16) taking the prize. As befits Tangent’s creative flair, this is the second time they have won an IBC stand design award. “This is attractive and clever,” said Lince. “We were particularly impressed that the structure was handmade by the Tangent staff. The story on the walls is a witty way of reflecting the name of the company’s product, Alchemy.” From the largest stands, over 100sqm, the judges highly commended SES Astra (1.B51), but gave the prize to Christie (9.B30). “This is a powerful design, an a t t r a c t ive s t a n d w i t h a c l e a r message provided through excellent displays.”

LSI camera breakthrough JVC By David Fox JVC’s prototype 4K camera may only be a technology demo, to show what you can do with its latest processing technology, but the results are impressive from such a small camera. It uses

Gustav Emrich holds the 3D and 4K cameras, with 4K output on the monitor

the world’s first large-scale integration (LSI) chip for high-speed processing of high definition video, and has been built to find out what customers might want in such a camera. Even if opportunities for broadcasting 4K are limited, having such high resolution is still useful, explained Gustav Emrich, JVC’s European product manager, Creation & Presentation, as it records full HD images (each of a quarter of the screen) to each of four SD cards, and the picture can also be cropped by four for HD production. All the files can be read independently, and can be edited on existing NLEs. “We want to make it flexible for any user,” he added. The chip is already used in JVC’s first professional 3D camcorder, the GY-HMZ, which has an integrated 3D twin-lens design, and records left and right images in full 1920x1080 resolution. 10.D41

EDITORIAL Editorial Director Fergal Ringrose Managing Editors David Davies, Melanie Dayasena-Lowe Production Editor Simon Croft

Burbank-bound: Automation and content management specialist Pebble Beach Systems is celebrating a new contract to supply its Marina automation solution to Californian independent public television station KCET. The deal sees the Marina system being provided via US systems integrator The Systems Group. Currently based on Sunset Boulevard in Hollywood, KCET plans to relocate to Burbank for a projected on-air date of April 2012. Marina will ultimately control seven channels, including KCET HD, KFAM, BBC and Future, providing fully redundant database and control, and will interface to the ProTrack traffic system from Myers Information Systems. It will also work in conjunction with the latest generation of Seachange servers and Evertz mixer/graphic devices, and include a layer of content management between the Seachange main and backup storage systems. Pictured, Tom Gittins (left) from PBS and The Systems Group’s president Chris Mehos. 8.B58

Reporters Kate Bulkley, Michael Burns, Ann-Marie Corvin, Chris Forrester, David Fox, Carolyn Giardina, Dick Hobbs, George Jarrett, Heather McLean, Ian McMurray, Anne Morris, Adrian Pennington, Paul Watson Photographers James Cumpsty, Richard Ecclestone, Chris Taylor Web Videographer Tim Frost IBC Chief Executive Officer Michael Crimp

SALES Sales Director Steve Connolly Tel: +44 (0)20 7354 6000 Email: steve.connolly@intentmedia.co.uk Deputy Advertisement Manager Ben Ewles Tel: +44 (0)20 7354 6000 Email: ben.ewles@intentmedia.co.uk US Sales Michael Mitchell Tel: +1 (631) 673 3199 Email: mjmitchell@broadcast-media.tv

ART & PRODUCTION

Sky News (Continued from front cover)

used there will be in place in Abu Dhabi when it launches in the Spring. It will have a very large EVS storage area network with 32 or 34 simultaneous inputs and about 25 simultaneous outputs. Sky is likely to opt for Final Cut Pro for craft editing, and EVS h a s w r i t t e n p l u g - i n s t o a l l ow browsing of its IPDirector from a Mac and making it simple to publish to the playout server. In the UK Sky uses CleanEdit and Clip Compiler as separate products, but it will now be a single product, to

make it easier for the users. It will have 180 multimedia journalists working on Avid’s iNews newsroom computer system. The broadcaster will use Panasonic’s P2 camcorders for ENG, Sony cameras in the studio, a Grass Valley Kayenne switcher in the gallery, and is working with Miranda on its iControl management system. This will kick off scheduled recordings in EVS and allocate lines to move content around the building, which will use Cisco networking and routers. TSL is doing the systems integration and will test everything in the UK beforehand. 8.B90

France’s M6 picks OTT partner SyncTV By Anne Morris French broadcaster M6 has selected SyncTV for its rollout of over-the-top French and US TV services in France, SyncTV exclusively revealed to The IBC Daily. SyncTV specialises in the delivery of television services to a broad range of internet-connected TVs, mobile devices, and other media-enabled devices Like many broadcasters today M6 Web, which is the OTT division of

the RTL broadcasting group, sees OTT as the future growth area of TV services, commented Alexander Garcia-Tobar, CEO of SyncTV. GarciaTobar said SyncTV has already won 10 customers for its OTT TV solution this year. The US-based company has a further three to five customers in the pipeline, with M6 the f irst of these to go public. M6 will initially focus on content for connected TV and mobile, but Garcia-Tobar noted that this is just the start of the relationship between the two companies. 13.MR3/1.B20

Production Manager Stephen Miller Page Design Avant Garde (Croydon) Ltd At the Show Paul Aarons, Dawn Boultwood, Hazel Croft Publisher Joe Hosken Managing Director Stuart Dinsey Printed by Partnion Published on behalf of the IBC Partnership by

Intent Media London, 1st Floor, Suncourt House, 18-26 Essex Road, London, N1 8LN, England © The International Broadcasting Convention 2011. No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners.

theibcdaily

In brief

11.09.2011 Plans to allow viewers to control depth range on their remote control

Depth adjusted for 3D phase 2

Zeplay aims at live sports Tightrope Media Systems is demonstrating version 2.0 for its Zeplay instant replay platform at the stand of EMEA Gateway. Designed exclusively for live sports production, Zeplay is a four-in, four-out instant replay system that continuously records four 100Mbps HD-SDI streams while simultaneously playing out any or all of the streams. With the new Zeplay 2.0 release the system incorporates additional features such as a built-in highlight editor with push/skip capabilities, an external file import with Final Cut Pro and Avid round-trip support, cross-faded switching on both sequence and replays, and built-in clip editing with match frame and multiangle editing tools. Romania’s independent HD production company Studio Video Art is an early adopter of the system. “People tell us every day that they can do twice the number of replays with Zeplay than with any other system they have ever used,” said Andrew Starks, co-founder of Tightrope. “[Zeplay] provides instant access to all recorded angles for playout; there is no need to toggle between program and preview, as all angles are directly in front of the operator and can be cued and run individually.” 7.E06

French broadcast investment in C100 SSL has announced the sale of four C100 HDS consoles for HD OB vehicles in France; three will go to GTHP (Groupement Technique des Hipodromes Parisiens) for its new HD OB vehicles, and one will be installed in the new Euro Media France XL1 HD OB vehicle. GTHP provides media coverage of horse-racing events for live to air transmission for various national and international TV channels. Each of its three large OB trucks will have a C100 HDS system for two operators, with 56 faders and an SSL Morse Router to share audio assets and allow for re-purposed broadcasts to two TV channels simultaneously. The Morse Router manages the audio infrastructure throughout the trucks and interfaces with video equipment for LSB/VSM control. The first system will be delivered during IBC and all three will be completed by January 2012. Euro Media France is refurbishing its largest OB vehicle, Road Runner 1, which will be re-named ‘OB XL1’ on completion. Primarily used for HD production for live music and talk-show programmes including The X Factor, Sing Off and Ti Lascio, it will also be used for sports events including rugby’s Premier League for Canal+. Euro Media France chose a 64-fader C100 HDS controlling up to 512 channels of DSP, with the Morse Router handling the high microphone count needed for its events. “We needed to equip our largest HD OB vehicle with a high-end, powerful console with the very highest audio quality, coupled with a large router to efficiently manage our audio resources within our space requirements and matching our customer’s expectations,” said Operational Technical Director for Euro Media France, Franck Fradet. “The programmes we capture are incredibly complex and demanding, and the CD100 HDS with an SSL Morse Router was the best choice.” 8.D83

David Wood: “First thing on the list is that pictures are normal HD quality”

Conference Analysis By George Jarrett The DVB commercial module on 3DTV will meet here at IBC on Tuesday to consider technical proposals for a Phase Two 3DTV standard. The Phase 1 standard is already ratified by ETSI, and assumes the

use of existing set-top boxes. “What we moved on to consider is whether there can be a Phase 2 system for the circumstance when it is not mandatory to use an existing STB,” said module Chairman David Wood. “We could have a new generation of boxes, or it could be built into new TV sets. “What we have been looking at

for some months is what Phase 2 should contain. The first thing on the list is that pictures should be normal HD quality,” he added. “This would mean sharper 3D pictures, but it is worth saying that the Phase 1 pictures are pretty good.” Other features investigated include Depth Range Control (DRC). “Young people like more depth in their pictures than old people do. They like ‘poke your eyes out’ but older consumers like flatter images,” said Wood. “Also, the nearer you get to the TV screen the more the depth compresses. There is an effect (stretching) which depends on how far from the screen you view from,” he added. “It seemed an interesting idea to allow viewers, on their remote control, to adjust the depth range of any picture.” This calls for broadcasting additional signals as well as the L/R pic-

tures. “These are depth maps, and the issue include what bit-rate they will require,” said Wood. “We are also discussing two other options concerning picture quality. The first would be to follow the kind of path using Blu-ray technology,” he added. “You get a whole picture and an element you add up in a clever way to get the L/R images. There is always that L picture present so you can play a 3D Blu-ray on a normal TV and see a 2D picture. This is called Service Compatible.” The MVC system used in Bluray would come into use and broadcasters could use the same system. If there is a TV set with an in-built 3D player, it would be possible to use the same electronics. “There is another school of thought,” said Wood. “If you have already star ted with a Phase 1 broadcast, the best thing you may be able to do is add a top-up signal, to give viewers full definition. This is called FC Compatible. “Our current hope is that Phase 2 may be available in the middle of 2012, when we pass it to the DVB technical module on 3DTV.”

Holistic approach to MAM Soft Vallée By Michael Burns First-time IBC exhibitor Soft Vallée is highlighting the value of Teamium, a new way of handling the economics behind running a broadcast or post production company. It offers a holistic overview to track multiple business processes, ranging from management of broadcast operations to the optimisation of existing assets and personnel and reduction of associated costs. Teamium products are available as separate modules or in combination, with each solution focusing on a core

operational area, among them Teamium Production which simplifies the production process and provides full control over production costs, helping to optimise staff productivity and management of external providers, and Teamium Media Asset Management, which enables monetisation of multimedia content through easy cataloguing, media selection, and management of rights and fees. Yannick Defrenne, co-founder and CEO at Soft Vallée, said that the state of the industry over the past few years has meant that companies have had to manage the financial process more accurately. This gets even harder to

Broadcasters and content providers risk losing out “on viewers and revenues because of the turbulence and uncertainty” of the mobile marketplace, said Steven Tan, programme director, Mobility Solutions at OpenText, writes Anne Morris. Media companies must overcome the fragmentation of competing mobile platforms, ecosystems and devices that makes it extremely difficult to target the widest possible number of viewers. Tan noted that there are over a thousand different devices on the market, using a wide variety of operating systems. “Delivering and updating media content – not to mention managing location-based services, advertising and other services – across all these devices is an almost impossible task, and is so time consuming as to be of questionable strategic value,” he said. Yet Tan argues that media companies cannot risk losing viewers by only concentrating on a few mobile platforms or devices. Broadcasters therefore face the choice of spending thousands of hours developing and prototyping separate contentdriven apps for each device, or outsourcing the whole process to third parties. “Media companies cannot run the risk of putting all their eggs in one basket, so content must be available to every device owner. Outsourcing to experts provides the only realistic return on investment, and the best insurance against the unpredictability of the mobile market,” Tan concluded. 13.203

Yannick Defrenne: Our approach is managerial rather than technical

control given the fast rate at which situations and schedules can change. “We start from a management approach, rather than from a technical point of view,” said Defrenne. “We offer a view of the entire chain from

the content you create, what you use to create it, what you do with the file, how you monetise the file and sell the rights, where you put the file – on one channel or the other.” 8.B30k

New Social TV from KIT KIT digital By Ian McMurray Multichannel video service providers (MVSPs) will have new opportunities to offer socially enabled experiences that transform the TV viewing experience with second screen companion content and interactivity. That’s the message from KIT digital at the launch of its Social TV solution. Described as ‘groundbreaking’, it is said to have been developed with a deep understanding of the relative social quotient for various types of programming, and emerging forms of user behaviour in social discovery, social content breaks, social interaction and syndication. KIT Social TV is said to easily enable companion device applications to enhance the broadband TV viewing experience and give new opportunities for audience engagement and monetisation. The second screen solution can include smartphones or tablets as a remote control and programme guide,

as well as an interactive device that delivers personalised information about the show and social feedback from other viewers. It also enables the delivery of interactive personalised and targeted advertising as well as socially driven e-commerce. “Social TV is not just a buzz word: it’s the future of TV driven by IP technology and people’s desire to have a deeper engagement with their favorite content and with other viewers in a virtual living room environment,” said Alex Blum, COO at KIT digital. “As MVSPs look to leverage the ubiquity of social media and the proliferation of connected devices to further engage audiences and monetise media content streams, the key to success lies in developing a second screen strategy that provides control, while complementing and enhancing the viewing experience. KIT digital’s Social TV solution provides the canvas for the most creative content producers, advertisers and merchandisers to create social TV experiences that matter.” 1.D71

PENTA 725 IP Audio Router Fast, flexible, and economical audio routing via IP can now be provided using the latest addition to the PENTA 725 router familiy. The PENTA 725 IP Audio Router enables broadcast-quality audio routing using Internet Protocol, and delivery of linear PCM audio quality with sub-millisecond latency via Gigabit Ethernet. • Up to 1024 x 1024 cross points • 64 bi-directional channels over IP Ethernet • Gigabit Ethernet Layer 3 protocol • Configurable I/O capacity • Up to 64 AES3 I/O channels • Up to six MADI or router connections • Optional sample rate converter interfaces • Redundant PSU and IP matrix core • Cross point control via advanced NTP VMC software • Compact and easy to install

www.ntp.dk

ew n he er t t e se Rou o 1 t dio 5 .B Au 8 d 5 IP n a st a 72 t i t Vis Pen

theibcdaily

11.09.2011

NHK: Super-HD possible for 2015 Conference Analysis By Chris Forrester NHK is examining whether it can start test transmission within Japan of its 4000-line ‘Super-HD’ system as early as 2015. No decisions have yet been made but next year’s London Olympic Games coverage in Super-HD, which already include plans to cover the opening and closing ceremonies, will be key deciders in the strategy. NHK’s off icial roadmap still calls for experimental transmissions to start, using satellite delivered Ka-

Glassworks Amsterdam selects Dolby Professional Reference Monitor 4200 Dolby By Heather McLean Dolby Laboratories has announced that post production specialist G l a s swo r k s A m s t e r d a m h a s selected the Dolby Professional Reference Monitor (PRM) 4200 for its new grading suite. Results f r o m t e s t i n g by t h e E u r o p e a n Broadcasting Union (EBU) revealed that the Dolby PRM-4200 is the closest ever measured to the EBU Tech 3320 v2 specif ication for Grade 1 monitors. Glassworks continuously reinvests in the latest technologies and

innovations in order to provide its clients with state of the art facilities. Wanting to enhance colour grading capabilities for its core commercial and broadcast markets, as well as opening itself up to a b r o a d e r m a r ke t – G l a s swo r k s recently invested in a Baselight HD colour grading system from FilmLight – the Dolby PRM is fundam e n t a l i n e n s u r i n g c l a r i t y, accuracy and experience, it says. Although CRT technology was at the forefront of professional display technology for decades, the shift in technology to LCD at a consumer level, and the scarcity of CRT generally, prompted Glassworks to

research the best options available for professional use. “As our industr y moves inevitably towards flat panel digital displays, Dolby is the only manufacturer to engineer a true alternative to a CRT. The Dolby PRM is handsdown the best grading monitor available today,” said Phil Lintur n, managing director, Glassworks. “In creating the monitor, Dolby brings its established reputation for innovation and technical excellence to the professional reference monitor market, and we are excited to now offer this viewing experience to our clients,” Linturn added. 2.B28

Newsroom integration for Adobe editing IPV By Dick Hobbs With growing interest in the use of Adobe Premiere Pro as a broadcast editing platform, IPV is showing a comprehensive solution which fully integrates it into the news workflow. Elements of the solution are already on air at CNN in a project which is one of the finalists in the IBC2011 Innovation Awards. The advantage of Adobe Premiere Pro is that its open architecture makes it easy to use for collaborative workflows and allows it to be customised. In the IPV solution, a lightweight version can be skinned to appear as part of the newsroom desktop, with a set of tools that are appropriate for journalists editing their own content. This is said to give more capabilities than the traditional ‘desktop editor’ – including linear dissolves and graphics tools to mask faces when required – but it remains simple and fast, and exists within the familiar environment, rather than a separate application. With an IPV plug-in, Adobe Premiere Pro can edit on a growing browse resolution file, which means the journalist can

IPV has a newsroom solution integrating Adobe Premiere Pro

start cutting a story within seconds of the ingest starting. Once the story is ready to be published it is passed to the IPV Conform Engine, which contains the full Adobe Premiere Pro finishing software. Full resolution content is located on the server, the edits are conformed, and the graphics rendered. IPV Conform Engine is a multithreaded system to run on a processor farm, so conforms are completed very much faster than realtime, with multiple versions able to be created automatically. Workflows are designed and driven by the IPV Process Engine,

which uses web services to call each part of the process. This gives it one of the fundamental advantages of a service-oriented architecture: isolation of each device and process from the rest of the network, so changes to individual applications will not affect the stability of the whole system. It also means that users can create their own workflows through simple XML applications, says the developer. This functionality could be used to create and implement house rules, for instance on captions or pre-roll material on web outputs. 8.B59

band signals, in 2020. Dr Keiichi Kubota, head of NHK’s science, technology and research laboratories, said “the official target has not been changed – yet. But our management is pushing very strongly to start the experiments in 2015. It is a possibility, but many elements have still to come together.” Dr Kubota says significant technical progress has been made in this past year, especially in image displays. “Up until now almost everything that we have done has been projected onto screens and in darkened theatres. For broadcasting we need direct-view displays such as Plasma or LCD units. We now have an LCD working at 85-inch, developed jointly by us and Sharp. Our goal now is to move onto a second-

generation set, probably at 70-inch but with finer, reduced-size pixels.” Dr Kubota, speaking at IBC, said the Super-HD lens had also been dramatically reduced in weight, and size, from 80kgs in its first-generation to today’s third-generation lens at just 20kgs. NHK is demonstrating live HiVision images from outside the BBC Television Centre to the NHK Theatre at IBC at 250 Mbps, and carried via Japanese telco NTT’s Academic network using H.264 compression. However, Dr Kubota says that the next major thrust is further compression to around 100 Mbps using the emerging High Efficiency Video Coding (HEVC), which may be an MPEG standard within the next year or so.

Quad-split video monitor

Don Bird: With the multi-viewers you get a much lower cost per screen

Wohler By Michael Burns Wohler Technologies has used IBC to announce two new products for presenting video and monitoring data over multiple views. The new RMQ-230 quad split video monitor allows users to watch video and monitor data in up to four display wi ndows on a si ngl e 23-inch 1920x1080 LED backlight screen. It’s joined by the RMV16 multi-

viewer, which gives control rooms and other mission-critical areas the power and flexibility to drive up to 16 separate windows to a common flat-panel display. “With the multi-viewers you get a much lower cost per screen than the traditional multi-screen setup,” said Don Bird, Wohler CMO. “With the RMV16 you can divide it up into any size of window, you can have all different types of video and computer feeds up there with a mixture of resolutions.” The RMQ-230 LCD monitor can be configured as a single full screen or with one large and three smaller windows. Both multiviewers accept multiple inputs including analogue composite video, SD-SDI, HD-SDI, and 3G. The RMV16 can provide outputs in VGA, DVI, and HDMI formats, while the RMQ-230 offers HDMI inputs in varying configurations tailored for different monitoring applications. 8.D56

UK hire firm Presteigne Charter has made the first purchase in Europe of Sony’s new shoulder-mounted 3D camcorder the PMW-TD300, writes Adrian Pennington. The purchase will also include tests with a new wireless link for the camera which permits convergence control by MPE-200 processor over standard RF link. The new entry to mid-level imager is officially launched at IBC. It uses the XDCAM EX codec and comes with a pair of half-inch Exmor Full HD CMOS sensors. It can record over six hours of HD to four 64GB SxS cards. Sony has worked with Broadcast RF to devise a wireless link for Steadicam use. By using the link, the camcorder effectively looks to a convergence operator in a OB truck as if it were a 3D rig. The camcorder and link have been tested by Sony with Sky and OB provider Telegenic in laboratory conditions. Presteigne Charter previously devised its own 3D Steadicam radio camera. Shaking hands on the deal are Mike Ransome (left), CEO Presteigne Charter and Roy Shufflebotham from Sony UK. Hall 12

we’re there

That’s a bold statement, but a true one. As one of the world’s largest broadcast and professional solutions suppliers, Grass Valley™ has over 3,000 active ‘broadcast’ customers, and tens of thousands of professional users generating content using Grass Valley tools. For more than 50 years, Grass Valley has been, and continues to be, at the forefront of on-air innovation, creating some of the most accomplished products and services available. When you’re watching news, sports, or entertainment programming, whether on a TV, the web, or a mobile phone, you’re watching Grass Valley at work.

Visit us at IBC Stand 1.D11 For more information, please visit: www.grassvalley.com

theibcdaily

11.09.2011

3D from the ground up

Get a solid grounding in 3D theory and technique

Conference Preview Blockbuster movies feature it. New television channels are built around it. Consumer electronics manufacturers see it as big business. It seems that, wherever you turn, people are advocating stereoscopic 3D production and delivery. But it remains a small market, with relatively few expert practitioners. If it is to expand we need successful, satisfying content, which means a hit and miss approach will not be enough. Producers, cine-

matographers, post production creatives and the technologists who support them need to develop a deeper understanding of 3D. This morning IBC is running a 3D primer session entitled Getting to Grips with Stereo 3D. It starts at 10:30 and is in the Auditorium with its state of the art digital projection facilities, allowing plenty of demonstrations. It will start with the basics of stereoscopy and how the eye and brain interpret it, and develop from that some basic concepts of shooting styles, post production techniques

and graphics placement. There is continuing controversy about the health implications of watching bad – or even good – stereo 3D. The session will go s o m e way t o p r ov i d i n g t h e answers, and giving the audience the solid g rounding needed to embark on 3D work. This afternoon there is another 3D session, this time produced jointly by the European Digital Cinema Forum and SMPTE and hosted by IBC. This gives visitors a unique opportunity to hear from the leaders in global digital cinema about the current and future developments in business and technology. It provides an update on standards, including the delivery of live content to cinemas, for subtitles and archiving 3D content. It will also look at the challenges of colour correction and the implications of downstream re-purposing of stereo content for portable devices. This is another valuable contribution to the 3D debate ahead of tomorrow’s focused theme day. The EDCF/SMPTE: Dealing with Mastering and Distribution challenges of 3D Movies session is at 16:00 in Room E102.View all the conference se ssi o n s v i a t h e we b si t e a t www.ibc.org/conference, on the IBC2011 Mobile App or on the Interactive Event Guides placed around the RAI.

Dutch cable operator Kabel Noord deploys head-end monitoring solution Agama Technologies By Ian McMurray Earlier this year, Agama Technologies announced that the Dutch cable operator Kabel Noord had deployed an Agama head-end video monitoring solution. Kabel Noord is using the technology for its digital cable TV service. “We see monitoring as a way to bring our customer service to the highest possible level and proactively react on issues,” said Anton van der Hoek, head of technical department, Kabel Noord. “Agama brings a complete monitoring solution that enables us to do

an advanced quality check for all digital channels before they leave the head-end,” van der Hoek added. The deployed solution includes the Agama Analyzer H-E, with support for analysing muxes on multiple RF interfaces and advanced monitoring of MPEG-2 a n d MPEG-4 AVC streams up to the video content layer. Mikael Dahlgren, CEO, Agama Technologies, added: “Kabel Noord joins our line-up of both traditional and hybrid cable operator customers, and we are very proud of that yet another modern cable operator opts for Agama when it comes to selecting a trusted partner to ensure their service quality.”4.A55

Agama Technologies CEO Mikael Dahlgren is delighted by Kabel Noord’s use of its head-end video monitoring

With the combined force of ioko, Megahertz and Polymedia, only KIT digital provides the breadth of experience and capabilities to guide our clients into the future of broadband-delivered TV. Management and Delivery: Hall 1.D71 Email: IBC@KITD.COM

By Ian McMurray Agra-based multi-system operator (MSO) Sea TV Network has chosen Thomson technology as the platform for its MSO operation in north India. The new infrastructure will be used to broadcast more than 200 SD and HD channels. Sea TV Network’s installation of systems from Thomson Video Networks at its digital cable head-end includes the ViBE SD EM1000 and the ViBE HD EM3000 encoders, together with the NetProcessor 9030 under the umbrella of Thomson’s

Web: KITD.COM

XMS management system. Local integration services for the project are provided by Thomson distributor Modern Communication and Broadcast Systems (MCBS). “The Thomson encoders, the 9030 multiplexer and the XMS management system work together to produce a combination of quality and efficiency other vendors could not match,” said Neeraj Jain, Sea TV Network’s managing director. “The technical advantages, upgrade path for future growth, and a high-calibre support operation made Thomson the right partner to help us build a superior platform for success.” 5.A17

Observer Mobile supports iPad and other portable devices

Monitoring on iPad/Phone By Carolyn Giardina

Integrated. Multi-Device. Socially-Enabled.

Tel: +44 (0)1904 438 000 EXT 2

Thomson Video Networks

Volicon

The Future of TV is here

Production: Hall 11.F20

Sea TV Network has selected MSO platform

Underscoring widespread interest in mobile applications, Volicon is offering its Observer logging and monitoring system on the go with Observer Mobile. This new web-based interface supports H.264 on Apple iOS devices using the Safari web browser, with native support for iPad, iPhone and other mobile devices. Observer Mobile gives media exe c s a c c e ss t o l ive O b se r ve r streaming along with back navigation of previously recorded content from both local and remote loca-

tions. It offers the ability to play, pause, search and create logged content on demand using smart devices. “The broadcast industry has continued to show widespread adoption among mobile applications recently, and we expect that trend to grow significantly over the next few years,” said Mike Asebrook, senior director of product marketing at Volicon. “Having Observer Mobile’s logging and monitoring available for iPad and iPhone users at any time and any place will greatly improve our customers’ portability, responsiveness, and flexibility of supported devices, regardless of location or time of broadcast.” 7.J16

STREAM FROM ANY CAMERA, ANYWHERE WITH ADOBE FLASH MEDIA LIVE ENCODER

Support for Industry-leading Streaming Apps The Matrox MXO2 family gives you a full range of streaming solutions ideal for field journalism, sports, live events, and distance learning. Work with any system – Mac or PC, laptop or desktop. Choose your favourite app – Adobe Flash Media Live Encoder, Telestream Wirecast, or QuickTime Broadcaster. Connect to any HD or SD video source via SDI, HDMI, or analogue. When the need for multi-camera input arises, Wirecast Pro for Mac works with the Matrox Multi-Ingest card to support up to four HD-SDI sources simultaneously.

Stand 7.B29 www.matrox.com/video Europe, Middle East & Africa — Matrox Video & Imaging Technology Europe Ltd. 4EL s &AX E-mail: video.info.emea@matrox.com Adobe, Flash, and Flash Media Live Encoder are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Telestream and Wirecast are registered trademarks of Telestream, Inc. QuickTime and the QuickTime logo are trademarks of Apple Inc., registered in the U.S. and other countries. QuickTime Broadcaster is a trademark of Apple Inc. Matrox is a registered trademark and Matrox MXO and Matrox Multi are trademarks of Matrox Electronic Systems Ltd. All other trademarks are the property of their respective owners.

theibcdaily

11.09.2011

Robust subtitling

In brief

Softel

Netgem, Sezmi partner Multi-screen hybrid television platform provider Sezmi Corporation and Netgem have announced a partnership that sees the inclusion of Netgem’s set-top box hardware and software as part of Sezmi’s TV offering. Sezmi is said to bring a differentiated multi-screen TV experience to consumers with a system that adapts to varying network capabilities, alleviating the need for service providers to upgrade their networks in order to deliver nextgeneration TV services. Netgem says that this partnership enables Sezmi to add to its offering the highest performing end-user devices in the market, enhancing Sezmi’s ability to efficiently launch new multi-screen TV services with the least capital investment and fastest time to market. The first customer deployment resulting from this collaboration is already underway with Grupo Iusacell, one of Mexico’s leading communications and television services companies. 4.B79/4.C79

IPTV rollout in Russia Rosintel, the leading internet service provider in the Tula region of Russia, has rolled out an IPTV solution based on products from Netris. Specialists from Netris used two core components – Netris iVision IPTV Middleware and Verimatrix VCAS – as well as integrating the platforms with the LanBilling system. The key features of the solution are said to be support of multiple vendor set-top boxes and access to TV content from PCs and laptops. At present, the Rosintel digital TV service is offered as a test service. The provider is planning to broadcast 70 TV channels, including 10 in HD format. Film, educational, entertainment, music and children’s channels will be presented in three main packages. The economy package will have 33 channels and will be totally free for subscribers. “Our mission is to provide our subscribers with high quality telecommunication services,” said Albert Scherbinin, CEO at Rosintel. “We aim to offer every resident of the Tula region affordable and multi-functional internet services for entertainment and development.” 4.C55

By Ian McMurray

Lively panel discussions provoke contributions from the floor

Get the business briefing Business Briefings What do eBay, Amazon Marketplace and Apple App Store have in common? How can hybrid workflows be implemented practically? Can you measure engagement to understand audience appreciation? These are just some of the questions tackled in today’s free IBC Exhibition Business Briefings. In the f irst session, at 12:00, online retailing will be under examination. The linking factor between eBay, Amazon and the App Store is that they use the power of their platforms to link customers with products, while si multaneously providing prof itable services to

other businesses. Cisco is the Platinum Sponsor of IBC Connected World, and in this session users of Cisco technology talk about their practical experiences in implementing business models for platforms like these. At 16.00 Harris is looking at the hybrid infrastructure. Given that broadcasters have to deal with signals in a mixture of linear formats and files over IP, and deliver them appropriately formatted to multiple outputs and devices, bridging the broadcast and IT worlds is becoming a necessity. The last session of the day is a lively panel discussion that is sure to provoke a lot of contributions

from the floor, too. Social media networks like Twitter and Faceb o o k h ave r e p l a c e d t h e wa t e r cooler conversation with a realtime exchange of views as a programme is happening. The session will examine the findings of a new research project on the ways television viewers use social media tools. Can broadcasters harness the information to gauge opinion more accurately, ensure appropriate scheduling and understand the real preferences of the audience? This is critical stuff, so come along to this free session, at 16:30, to talk about social media for television. View the full programme on the IBC Interactive Event Guide places a r o u n d t h e sh ow o r v is it www.ibc.org/briefings.

A guide entitled Subtitling and Captioning in File-Based Workflowshas been published by Softel. The guide explains how to simplify the complexity of multilingual subtitling and captioning processes delivered across multiple channels and over an array of platforms. With step-by-step practical guidance and two case studies from Turner UK and The Mill, the guide describes how feature-rich subtitling a n d c a p tio n in g s o f twa r e c a n enhance productivity, while reducing operational costs within nextgeneration workflows. The latest Softel Swift family of software provides solutions for creating subtitles and captions in SD, HD and 3D, supports most formats and languages, and transmits them over multiple platforms, including the web and mobile. “With the proliferation of new platforms and pervasive content repurposing across regions and continents, broadcasters need to ensure their subtitling or captioning process is robust, reliable and efficient,” said Sam Pemberton, Softel’s chief executive. “This new guide concisely outlines the challenges and provides proven solutions that have delivered reduced costs and greatly increased efficiency for our customers.” 1.A27

Bridge Technologies cites deep packet analysis first Bridge Technologies By Ian McMurray Making its debut on the Bridge Technologies IBC stand is the VideoBridge microVB, which is described by the company as a breakthrough and the first viable solution for deep packet remote analysis at the set-top box. It now has complete data-gathering capabilities, allowing operators to capture any packet that

capability. The passes through the unit Take it to the Bridge: a new result, says Bridge a n d t o f o r wa r d t h o se solution for remote analysis Technologies, is packets f iltered into unprecedented third party protocol accuracy in fault analysis software. resolution of The microVB’s any condition new advanced at the subdata-gathering scriber function premises, gives media along with service previously providers and unavailable telcos 24/7 realtime analysis and low-level analytics insight into how factors such as

packet loss levels affect real-world service quality. Also being showcased is the new VideoBridge 4.9 software release, which adds new enhancements and upgrades for the complete VideoBridge range of products. IBC visitors can see previews of for thcoming system elements, including powerful SQL database features, advanced graphic displays, probe auto-discovery, enhanced device control and more. 1.A30

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theibcdaily

11.09.2011

First major appearance for new CMO Feel the Pacific pulse Globecast By Ian McMurray IBC sees the f irst major public appearance in Europe of GlobeCast’s recently appointed Chief Marketing Officer, Philippe Rouxel. His principal assignment is to develop GlobeCast’s global product strategy for all business units in France, UK, Italy, South Africa, Asia and the Americas, and to lead the implementation of a strategy focused on value-added products in the broadcast market. According to Globecast, Rouxel will def ine and promote Globe-

Cast’s unique positioning, knowhow and team s, especially i n response to the latest developments in the multi-platform management and delivery of audio-visual content worldwide. Since 2007, Rouxel has held the role of vice-president of international distribution for France 24, available to 165 million households across five continents. Previously, he held business development positions with channels belonging to Lagardère, Canal+/Multithémathiques, Viacom/MTV Networks International, Première and Walt Disney International. 1.A29

Philippe Rouxel is GlobeCast’s newly-appointed chief marketing officer

Power-Cache server makes its debut Cache-A By Carolyn Giardina A blend of LTO-5 tape drives, RAID and 10GbE technologies, the PowerCache high-performance server is new from Cache-A. The compact one rack unit was developed to control up to four LTO-5 drives with up to two concurrently at full speed. Library24 and Library48 options and single or double stand-alone

racked tape drives can be controlled from Power-Cache. To simplify the storage of large projects, the ProCache Library24 and Library 48 appliances work with the PowerCache or Pro-Cache5 to automate workflows. Cache-A’s Library24 option can accommodate up to two internal tape drives and up to four tape drives on the Library48 option when driven fro m the Power-Cache model. Power-Cache also offers an

RDX transport and a 2.5-inch raw disk drive slot as optional removable media interfaces. Like the company’s flagship product, Pro-Cache5, and the desktop Prime-Cache5, Power-Cache includes LTFS (Linear Tape Film System) capability, developed to enable users to interchange content across different operating systems, software applications and physical locations. 7.G16

What are the technologies which will shock our industry into a new direction? What are the labs working on that could cause us all to take a fresh look at what we do? Hugh Mason, Singapore-based investor in technology, provided a thrilling, challenging and controversial What Caught My Eye session at last year’s IBC, and he is back once more to take a look at both the technologies coming from the Pacific Rim that will affect us all, and the general technological trends that will succeed in that region.

As a partner in Pembridge Partners, Mason mentors and invests in marketing, media and technology businesses, helping to build wealth for nations, regions and communities. No-one has his f inger more firmly on the Pacific pulse. Come and hear what he has to say. It is f r e e f o r eve r yo n e , a t 0 9 : 3 0 i n Room E102. To f i n d o u t m o r e v i ew t h e Conference Prog ramme at www.ibc.org/conferenceprogramme or download the IBC2011 Mobile App at www.ibc.org/mobileapp.

New office opens in UK Elemental Technologies By Carolyn Giardina US-headquartered Elemental Technologies, a provider of video proc e ssi n g sy st e m s t h a t e n a ble multi-screen content delivery, has opened an off ice in the United Kingdom. The new location provides sales, marketing and systems engineering services and support to E l e m e n t a l ’s c u st ome r b a s e in Europe as well as manages its reseller channel throughout EMEA. Located in Reading, the office is headed by John Nemeth, director,

EMEA. Prior to joining the company, Nemeth was sales director at IBIS and, before that, director of sales at Omneon (now owned by Harmonic). Elemental cites a number of early adopters of its adaptive bit-rate applications. Among other examples, WRN Broadcast (England) has deployed Elemental Live to create 10 simultaneous streaming outputs from a live HD-SDI playout source, while QVC (Italy) uses Elemental Live to capture live outputs in three minute increments to create Adobe Flash assets for later use on the company’s website. 7.H37

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The magic of colour correction is free Blackmagic Design By Carolyn Giardina DaVinci Resolve Lite from Blackmagic Design is a reduced feature version of DaVinci Resolve that includes a variety of colour correction features. The newly introduced downloadable software package is available free of charge. “We are very excited to be able to offer a free version of DaVinci Resolve, and we hope that many more people will be able to explore the art of colour correction in their work,” said Grant Petty, CEO, Blackmagic. “We are so excited about what colour correction can offer to the whole television and post production industry that we t hi n k t h i s no charge DaVinci Resolve Lite will create a revolution in visual design that will dramatically improve the production values

The EMX modular platform offers multiple functions within a single chassis

Brain box! Evertz By Michael Burns The new EMX modular platform from Evertz supports a myriad of high-density system products. The platform is being showcased at IBC, where the company is demonstrating how EMX supports multiple functions all under a single chassis. By way of example, Evertz suggests that an entire master control playout system can be constructed where video/audio/data routing, master control branding and multiimage display components all reside in the same frame. Unifying the operation of this modular hardware is the Evertz Magnum facility control system, which allows for seamless control over all modular elements within a system of any type or size. The front-loading design permits extraction of the power supplies and active modules from the front of the frame without compromising the integrity of critical signal paths. The modular design approach allows integrators and customers to tailor a package that fits their specific project needs while controlling size and cost. Evertz also claims that the EMX platform provides a more eco-friendly architecture, saving on power, rack space and cost in comparison to traditional multi-product/frame solutions. 8.B40

of even the lowest budget work.” DaVinci Resolve Lite is based on the latest DaVinci Resolve 8. According to Blackmagic, DaVinci Resolve Lite includes the same processing of the full DaVinci Resolve,

but limits projects to SD and HD resolutions, only two colour correction nodes, a single processing GPU and a single RED Rocket card. Additional tools such as stereoscopic 3D features are only offered

in the full DaVinci Resolve so are not included in this free DaVinci Resolve Lite edition. Eve n w i t h t h e r e st r i c tio n s , DaVinci Resolve Lite can accept high resolution source footage in 2K and 4K from digital cameras from Red and Arri. The DaVinci Resolve Lite feature set includes optical resizing,

curve grading, XML import and export, 32-bit float processing, YRGB image processing, multilayer timelines, stabilisation, window tracking, and primary and secondary colour correction. The software runs on the latest model iMac, 17-inch MacBook Pro and Mac Pro computers. 7.H20

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Web Workflow PPS now in version 5 Ceiton By Heather McLean Ten years ago, Ceiton developed a workflow management and resource scheduling system for one of the f irst digital and most complex media products invented: DVD. Today, at IBC, the system is available in version 5.0 and is used by major companies to manufacture products such as Sony Blu-ray, Apple iTunes LPs, Google YouTube

videos, digital broadcast streams, commercials, animations and more. The system not only allows for the reduction of manual production coordination, planning and SLA reporting for internal purposes, but also integrates customers and suppliers to cover entire business processes. Tobias Soppa, CEO at Ceiton, commented: “Often clients want to order services and products with specific requirements, not via mail or Excel, but with streamlined

online tools in order to track production progress of content creation. On the other hand, production companies often require vendors to supply infor mation on their work, wh ic h is why th ey n e e d to b e embedded into business processes. “Ceiton’s unique workflow management system allows building small or global workflows for controlling and tracking internal and external work, assets and contents, systems and applications in an unmatched efficient way.” 3.A60

Second screen: Disruptive change in the industry

stations grow with Apple Apps and gizmos change TV Apple’s Final Cut Pro X is a smart choice for a playout solution broadcast’s status quo says Gilbert Leb, vice president sales and marketing, ToolsOnAir IBC Value Add A few years ago we had never heard the word ‘app’, but in January this year Apple celebrated the 10 billionth download. Tiny bits of targeted code doing specific tasks are definitely the way to go. Linked to the rise of the app is the rise of the personal mobile device. Alongside the smartphone we now have the tablet, ideal for second screen use. Together they are causing a disruptive change in the industry, not just in the way that we consume content but in the way that we create it. The session, Apps and Gizmos Consumers Lead the Way, in Room E102 at 11:30 is presented by IBC’s

consumer technology specialist Ken Blakeslee. This session looks at some of the gizmos coming onto the market, the growing portfolio of apps that the next generation of TV professionals and the viewing public have at their disposal. In a lively presentation with a lot of demonstrations, this session looks at what can be achieved with these devices and software, and discusses how far the broadcast status quo is challenged. Par t of IBC’s value add e d stream, this session is free to all IBC visitors, and is highly recommended for all who are involved not just in consumer trends but the consumerisation of creation.

The release of Apple’s Final Cut Pro X video editing software in June was followed by much discussion and not a little controversy within the professional broadcast industry. In the weeks since its launch, users are now discovering that this new editing platform delivers quality and reliability, making it a smart choice for a playout solution. ToolsOnAir has long endeavoured to connect the traditional broadcast workflow with available computer technologies. We are confident in the sustained growth of the Apple video editing market, including the broadcast industry user base. Within our customer base of professional users like France Television, Swiss Television, NDR, HSN, and Televisa

Mexico, we’re seeing a growing demand for a video editing solution that’s easy to set up and offers efficient, userfriendly workflow at an affordable price point. Not only are we bullish about the growth of the Apple-based video editing market; we’re also anticipating added growth by way of a new trend of existing radio broadcast stations moving into video broadcasting. IBC has always been an important venue for ToolsOnAir to showcase our newest developments, and to listen to our customers’ needs and feedback. ToolsOnAir first debuted TV Station in a Mac with the just: series Broadcast Suite of software solutions at IBC2008. In the three years since, over 300 broadcast channels worldwide have inte-

Opinion

Gilbert Leb: IBC has always been an important venue for ToolsOnAir

grated ToolsOnAir into their video editing platform. At this year’s exhibition, we will introduce the integration of ToolsOnAir Broadcast Suite with the Octopus Newsroom System - an ideal workflow environment for the new upcoming TV stations. By incorporating just:in with its multi-channel ingest functionality, the user has ‘log and capture’ capability not otherwise available in today’s market. This solution will, we believe, ultimately make the question of hardware irrelevant. ToolsOnAir can easily be integrated into and any existing broadcast setup to implement MOS, router control, GPI and VDCP. With our easy-to-operate graphic solution, users can add info table overlays to live camera set-ups. Those info layers can be connected with our XML interface to the existing TV or radio newsroom systems to show news or traffic tickers, music clip information or Twitter feeds in realtime. If you’re attending IBC, we hope you’ll join us and discover the ToolsOnAir TV Station in a Mac advantage. 7.H32

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Conference keynotes define debate New Flip4Mac strategist The main body of the IBC Conference is divided into three central streams, addressing commercial, creative and technical issues. But to def ine the central issues of the debate, there are plenary sessions running across all three streams, each addressed by world authorities on the subject. The future for adver tisingfunded television is such a core issue that it permeates much of IBC. On Thursday the first of this year’s keynote sessions, The Future of Broadcasting at 09:30 in the Forum brought together William H. Roedy, former chairman and chief executive of MTV Networks International, John Smith, CEO of BBC Worldwide and Luke Johnson, founder and chairman, Risk Capital Partners. We return to the subject tomorrow, with Sir Martin Sorrell, chief executive of WPP Group leading a debate which features advertising agencies, analysts and broadcast technology companies. Broadcasting and the internet are becoming ever more closely intertwined, both in technology, with hybrid broadcast/broadband delivery and connected TVs, and in content, with social media drawing

IBC draws most influential and inspirational speakers

audiences and at the same time building on air brands. Thursday afternoon’s keynote presentation Cable and Satellite Future Direction in a Hybrid World at 15:30 in the For um brought together senior executives from terrestrial, satellite and cable broadcasting to share views on the hybrid connected home, a topic returned to yesterday in a plenary session on the connected TV. On Friday afternoon a select panel of experts talked about the digital agenda, leading into a debate on how the scarce radio spectrum can best be distributed between traditional broadcast-

ers and new wireless services. The clear leader in social media is Facebook, with confident predictions that it will reach one billion active users next year. There could be no-one better to set out the case for social media and its interaction with broadcast than Joanna Shields, vice president and managing director EMEA, Facebook. Her keynote on Friday added further to the quality of debate, the defining characteristic of the IBC Conference. View the full Conference Programme on the IBC2011 Mobile App, which can be downloaded at www.ibc.org/mobileapp.

Telestream By Carolyn Giardina Bjoern Adamski was recently hired by Telestream as marketing strategist and product manager for its Flip4Mac product range. With more than 10 million users worldwide, Flip4Mac provides Mac users with access to Windows Media content. “The desktop digital video space is changing rapidly and offers an opportunity for enormous growth,” said Barbara DeHart, VP of marketing at Telestream. “Bjoer n is a highly-respected visionary and entrepreneur in this space who brings a successful track record in product management, marketing and consulting to Telestream. His indepth understanding of the digital video landscape will help ensure that we continue to bring innovative systems that solve real world problems to market.”

Net Insight By Ian McMurray A new Tr u n k Module for hi gh capacity transport has been introduced by Net Insight. Implementing the unique Channelised IP Trunk concept on the Nimbra 600 platform, the 10 GE IP/Ethernet Trunk Module provides a transport solution featuring multi-service operation, optional intermediate forward error-correction, traffic shaping and signal regeneration for enhanced QoS preservation. Operators, says the company, can create scalable, cost-efficient

Net Insight’s Channelised IP Trunk (right) features multi-service operation for enhanced Quality of Service, compared to traditional IP networking (left)

media networks over IP, or in combined IP and SDH/SONET or WDM networks, with high quality and end-to-end management capability. Deployed in conjunction with the module, the Nimbra solution is said to enable one unif ied media network, independent of underlying infrastructure, with maintenance of

content integrity, reliability and control. The 10 GE IP/Ethernet Trunk Module enables further scaling of these networks and adds support for transport of high bandwidth services such as uncompressed 3Gor HD-SDI over IP/MPLS/Ethernet networks. 1.B40

Prior to Telestream, Adamski was a co-founder of the MXF4mac software division of Hamburg Pro Media in Germany. His other credits include being a former member of the Apple Final Cut Studio team in the US. 7.D16

NET: 1m Zappers, new deal Pace By Ian McMurray

Trunk Module for high capacity transport

Bjoern Adamski is the latest addition to team Telestream

A deal to expand its two-year partnership with NET, the largest multiservice cable company in Latin America, was announced by Pace earlier this year. The arrangement will see Pace develop new platforms to enable NET to deploy advanced digital services to its customers. Pace has also reached a significant milestone by shipping one million of its SD Zapper set-top boxes to NET. Within the extended partnership, NET has been working with Pace to roll-out three new platforms during 2011. These include the SD set-top box, a high definition (HD) interactive set-top box and a HD PVR. These platforms will support NET’s

transition to complete digitised television services for its subscribers through an HD interactive set-top box. The solution integ rates the Nagra Conditional Access system, OpenTV Middleware and Teleidea EPG application. “There is an increasing demand for HD television in Brazil and we needed a solution that would match this and support future customer requirements to scale-up as new services come to market,” said José Felix, president of NET Serviços. “We selected Pace to support our project as Pace has a proven track record of delivering industry-leading technology solutions and expertise in our market – both essential to positioning ourselves at the forefront of innovation.” 1.B19

EasySet 3D bid to make KVM extender can send data 100 metres virtual set design easier Gefen

By Carolyn Giardina A DVI KVM ELR extender, which is based on HDBaseT technology, is now available from Gefen. The product enables high resolution video in the DVI format to travel greater distances than ever before using a single Cat-5 cable. Gefen points out that with its ability to carry three USB 2.0 signals on the same Cat-5 cable alongside the DVI, the extender can reduce the amount of cables needed while increasing the length of transmission to 100m. At this distance, high resolution video is supported at resolutions up to 1920x1200. USB-

Brainstorm Multimedia By Heather McLean

The EXT-DVIKVM-ELR extender is now shipping from Gefen

data, meanwhile, is sent at rates up to 100 Mbps. Installation is plug-and-play, requiring the connection of the computer to the sender unit. The receiver offers three USB outputs for keyboard/mouse, camera, hard drive, printer or scanner, and a display.

One Cat-5 cable connects the sender to the receiver unit. The extender is rack-mountable, supports cross-platform computers, and comes with locking power supplies to prevent potential disconnects. 7.B30

EasySet 3D is one of the latest developments within Brainstorm Multimedia’s ‘Easy’ product family designed to simplify virtual set design. On show at IBC, EasySet 3D offers creative options to generate 3D sets from scratch. The system includes an expandable library of virtual sets backgrounds, roofs, floors, walls, textures and objects, as well as the ability to impor t objects and sets from Autodesk 3ds Max and Maya 3D. In addition to importing external

video feeds, virtually every popular image file format can be imported into EasySet 3D, allowing the user to integrate a variety of external content. The included library of virtual sets can be customised by modifying colours, textures, object sizes, animated elements and live video insertion. EasySet 3D provides up to 12 video inputs and features a live switcher mode for increased productivity. The system can easily transition between cameras in 3D, or apply sophisticated 2D or 3D shader effects from a live camera to the next one selected for on-air. 2.B59

20 theibcdaily

In brief Scope for audio analysis From Prism Sound comes the dScope Series III audio analyser, which allows the professional broadcast and postproduction markets to ensure their audio meters comply with ITU-R BS. 1770. Prism Sound’s dScope Series III, a digital audio analysis platform, is available in a number of configurations, including two analogue-only versions. The variants are said to give customers access to all the power of the dScope Series III audio analyser platform but at a much lower cost of entry. The main focus from SADiE is the company’s new SADiE 6 software, making its products available as software-only versions. 8.E96/E98

11.09.2011

Cutting edge technologies examined The Technical Papers are at the heart of the IBC Conference, and the cutting edge sessions are at the heart of the technical prog ramme. This morning’s pair of sessions should not be missed. The f irst looks at immersive media; Cutting Edge Technologies I – Immersive Media at 09:30. It includes the winner of this year’s IBC Conference Award, in which Yukihiro Nishida of NHK (Japan Broadcasting Corporation) talks about the work he and his colleagues have done on image perception which led to the des i g n parameters for Super Hi-Vision. Other thought-provoking and awe-inspiring presentations look at

IBC presents only the most adventurous research

audio-visual rendering and gesturebased interaction. There is also a paper on a new approach to ultra slow motion capture and replays for spor t television, now a central expectation for viewers.

After a break for coffee and conversation the attention turns to the latest in signal processing and imaging in Cutting Edge Technologies II – Signal Processing and Imaging at 11:30.

Presentations include direct RF sampling architectures, an automatic, realtime, high definition def og g in g s y s te m f o r o u ts id e broadcast cameras, and a quasi-3D imaging system using millimetre radio wave scanning. Only the most innovative, adventurous and practical research makes it into the IBC Technical Papers programme. These two sessions this morning in the Emerald room, are a real vision of the future of our industry. To view the full Conference Programme visit www.ibc.org/conferenceprogramme or check the IBC2011 Mobile App which can be downloaded at www.ibc.org/mobileapp.

GUI about digital routers Utah Scientific is showcasing new embedded-audio signal processing for its popular Utah-400 series digital routing switchers. The capability comes courtesy of a new line of I/O boards that rely on advanced fieldprogrammable gate array (FPGA) technology to perform signal processing. The router’s I/O board, can de-serialise and decode a signal into its component data streams without compromising the router’s overall operational reliability, says the manufacturer. The enhanced routing systems also incorporate a virtual control panel to provide an easy-toread display of the video signals and their associated audio positions. 2.B20

More Blackbox recorders Blackbox Recorder manufacturer JoeCo Limited is showing two new versions of its 1U multi-channel live audio recorder. The new models can monitor individual channels or pairs of channels, providing both hiresolution metering and headphone monitoring. The Blackbox BBR64MADI records and replays up to 64 channels of MADI data at standard sample rates, directly to Broadcast WAV files on an external USB2 drive. It also accommodates double sample rate MADI recording. The Blackbox BBR-DANTE is able to record and replay up to 32 channels of audio data from any Dante-enabled network device. 8.A17

Media management Louise is the name of a business management system designed for linear and nonlinear environments by PCI (ProConsultant Informatique). Hervé Obed, founder and president of PCI said: “Louise is the control hub; all metadata resides in Louise and is fully searchable, from purchasing, acquisition and scheduling to playout, as well as exposures to multiple, new media platforms. This global approach has allowed us to develop software with great durability, versatility and scalability. Our design is open for integrations, data exchanges and interactions with other systems.” PCI is also demonstrating its Cindy sales management software, which includes new modules designed to manage ad placement. 2.B21

Sky(line)’s the limit for German OB van More audio Level Magic

Jünger Audio has launched two new Level Magic processors, including the D*AP LM4

FOR-A UK

By Heather McLean In a notable recent project, FOR-A supplied an HVS-350HS 1.5M/E vision mixer to TV Skyline in Mainz. The mixer is now situated in a new design of compact truck that is said to have been on the road continually during its first six months of operation. Situated close to German broadcaster ZDF, TV Skyline specialises in outside broadcast, live studio production, and rental of special camera equipment. The small size and performance of the FOR-A HVS-350HS 1.5 M/E multi-format vision mixer rack box is said to have contributed to the truck’s success. A 3RU rack frame houses all the mixer’s functions, including frame synchronisers, HD/SD-SDI inputs and DVI

in/outs. It is designed to handle all signals that occur in the field while maintaining full broadcast picture quality. Wolfgang Reeh, CEO at TV Skyline, said: “This is a real success story. Since we designed and built this ver y compact four camera OB/SNG truck about half a year ago, it has been busy ever since.” Peter Jones, general manager of FOR-A UK, added: “TV Skyline is a long term FOR-A customer, and it was one of the first to adopt our new 1.5 M/E HVS-350HS switchers at last year’s IBC. We are delighted that it has contributed to generating more business for them. In fact, it’s proving to be a breakthrough for mobile production. With many such companies now seeing the benefits of this best-selling mixer, it has become the benchmark of modern mobile production.” 2.A51

Fourth generation of converters on display Work Microwave By Ian McMurray A fourth generation of indoor and outdoor converters is being showcased by Work Microwave. The new converters cover the frequency bands S, C, X, Ku, K and Ka, and are available as single-, dual- or triple-band converters as well as dual-channel converters. All conver ters from Wor k Microwave feature low phase noise guaranteeing and excellent signal quality, while low spurious emis-

sions enable them to be used in environments with demanding requirements such as high-power video uplinks. Additionally, Work says that the converters have the benefit of low power consumption and a longer life time due to up-to-date power supply technology and sophisticated circuit design. Users of these converters are also said to benefit from a modular architecture that allows highly optimised designs for specific requirements such as frequency range, output power and conversion gain. 4.B63

Jünger Audio By Heather McLean Audio loudness and dynamics specialist Jünger Audio is using IBC as a platform to launch two additions to its range of Level Magic processors. These new units form part of an expanding family of products that began with the launch of the T*AP TV Audio Processor. The first unit, the D*AP LM2, is a two-channel digital audio processor incor porating version II of Jünger Audio’s Level Magic algorithm, which is compliant with all current broadcast audio loudness recommendations including ITU, EBU R128 and ATSC A/85. D e si g n e d a s a su c c e sso r to Jünger Audio’s D06 unit, the D*AP LM2 offers a powerful combination of dynamics and loudness control, making it suitable for a wide range of applications including television, radio, music production and PA. The D*AP LM2 is capable of handling both analogue and digital (AES/EBU) audio and features an automatic input switchover with

parallel output formats. Jünger Audio’s Adaptive Dynamics comes as standard, allowing customers to incorporate additional processing blocks such as filters, compressors, expanders and the proprietary Spectral Signature processor. Jünger Audio’s second new product for IBC – and the third in the new *AP family – is the D*AP LM4, a four-channel digital audio processor that also incorporates Level Magic II. D*AP LM4 is aimed at television broadcasters and video production and post production companies that need to control audio loudness while creating and editing broadcast content. Similar in concept to the Jünger Audio B46 processor, which it will ultimately replace, the D*AP LM4 also features onboard AES/EBU I/O, along with optional 3G/HD/SDSDI I/O or analogue I/O. Also on show is the founder member of the *AP family, the T*AP TV Audio Processor. Primarily designed for TV playout facilitie s , th is p r o c e s s o r ma d e its operational debut at this year’s Eurovision Song Contest. 2.C49

Going the HD distance Belden By Ian McMurray Highlights of the Belden stand include Belden Brilliance HD BNC; a 1-piece compression BNC that can be used instead of the traditional 3piece crimp. After prepping the cable, the new compression connector can be fitted in a few seconds. According to the company, this solution is tested up to 4.5GHz to

meet the professional broadcast performance of 3G (1080). The Belden 3Gbps HD coax cables are also on show. Once again, Belden is supporting a demonstration at the nearby Grass Valley booth, with Grass Valley showing its Tr in ix r o u te r, r u n n in g 3 G (1080p/60) through Belden 1694A. The transmission distance chart at the Belden booth says this cable can go 82 metres. Last year, this demo was actually achieving 140 metres. 1.C21

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22 theibcdaily

11.09.2011

Storage and content management Front Porch Digital By Carolyn Giardina Content storage management business Front Porch Digital is highlighting a trio of key products. They a r e S A M M Asolo HD, a video migration system; DIVApublish mpx, an online publishing tool; and a beta version of DIVAdirector 4.2. DIVApublish mpx – a redesign of the DIVApublish that was previewed at IBC2010 – is an online publishing tool that distributes content to myriad locations and devices. It is integrated with Front Porch Digital’s DIVArchive and DIVAdirector content storage management systems, and was developed with an eye toward maximising marketing results through integration with

Front Porch Digital is showing its SAMMAsolo HD video migration system

partners in adware, syndication, analytics and content delivery. T he new SAMMAsolo H D migration system is a hardware and software system designed for realtime, quality-controlled migration of content from HD videotape into a managed digital environment that both supports preservation and facilitates access. The process preserves source timecode and also associates indexing and technical metadata. Front Porch suggested that this

‘meets a pressing need by enabling broadcasters, heritage institutions, and other enterprises to preserve and make use of their legacy assets’. At its IBC stand, Front Porch is also introducing version 4.2 of its DIVAdirector media asset management system, which includes a new browser interface, support for identification and retrieval of clips with noncontiguous timecode, partialrestore format auto-detection, and management of remote proxies without the need for their replication specifically for DIVAdirector. D I VA d i r e c t o r V 4 . 2 o ff e r s enhanced integration with Front Porch’s SAMMA Solo, a compact, turnkey, single-stream system for mig rating media content from videotape to digital storage. 7.C16

Here is the news... Dalet suite enhanced Dalet By Michael Burns New enhancements to the Dalet News Suite are being showcased at this year’s IBC. The Dalet News Suite is an integrated, end-to-end, Media Asset Management (MAM)based newsroom production system. The News Suite offers integrated desktop scripting, video, graphic and multimedia tools, while content and metadata are enriched at every step from ingest through to automated playout, archives and multiplatform delivery. The Dalet MAM

platform tracks it all and the work- ratios and mixed video formats on the same timeline all from our flow engine automates many proxy editing tools,” said Kevin background tasks. S av i n a , D a l e t ’s Dalet is also showdirector of product ing the full range of management. “Our news production capaiPad app has also bilities and demonb e e n e n h a n c e d, strating enhancements [allowing users] to to its video editor, view videos, exeincluding blur and zoom Dalet’s News Suite is cute approvals, and effects. There is also the an integrated MAM-based ability to preview Chy- newsroom production system see rundowns and other essential eleron graphics in the Dalet timeline editor and to directly burn- ments of the newsroom system.” The company is also providing a in graphics for web publishing. “It’s now also possible to trans- sneak-peak of ingest capabilities parently combine mixed aspect with the AVC Intra codec. 8.B77

Customised set-top software for BSkyB NDS By Ian McMurray BSkyB has deployed a customised implementation of NDS’s advanced s e t - t o p b ox s o f t wa r e f o r i t s Sky+HD boxes. As well as enabling the launch of Sky’s Anytime+ VOD ser vice, the component-based architecture of the set-top box software is said to allow Sky to help satisfy evolving consumer needs more quickly. “ Wi t h ove r 1 0 m i l l i o n s u b scribers in the UK and Ireland we are constantly working to ensure that our platform offers the best possible customer experience,” said Alun Webber, managing director of product design & development at Sky. “Our collaboration with NDS to develop this set-top box software

puts us in a great position to continually innovate, giving customers even more choice and control over how and when they consume the content that they love.” Sky Anytime+ complements the existing Sky Anytime push VOD service with a comprehensive catalogue of on-demand content available to Sky Broadband customers. Using NDS set-top box software and end-to-end progressive download technology to power its on demand ser vice, Sky is able to deliver VOD content over Sky’s own broadband network direct to the customer’s set-top box. Once enough content is delivered to the DVR, playback can commence, allowing for the remainder of the content to be delivered in the background. 1.A71

New yellobriks offering HDMI to SDI conversion Lynx Technik By Michael Burns The yellobrik series of modular interfaces by Lynx Technik is being expanded at IBC2011. The new yellobriks convert HDMI video into broadcast quality SDI video, sup-

Slick as a brick: The yellobrik CHD 1812

porting SD, HD and 3G-SDI. They also support 3D video formats. The CHD 1812 is a fully featured HDMI to SDI converter with two electrical SDI outputs as well as an optional fibre optic output. It incorporates an integrated frame synchroniser with full cross-lock capability to any sync reference standard, able to ingest HDMI signals into a broadcast facility from an external asynchronous HDMI source. Audio in the HDMI signal is embedded into the SDI output and the two external analogue audio inputs can be embedded into any AES channel. The analogue audio inputs support professional balanced audio levels and consumer line levels. The CHD 1802 version is identical to the CHD 1812 HDMI to SDI Converter, but at a lower cost and reduced functionality. It is suitable for HDMI to SDI conversion applications that do not need a frame synchroniser or analogue audio inputs. Both modules feature an optional fibre optic SDI output. Various fibre options are available, which include 10km and 40km fibre transmitters as well as 18 userselectable wavelengths for CWDM multiplexed installations. The fibre options can be retrofitted by plugging a f ibre sub-module into the side of the yellobrik. 8.E24

LOW-COST PROFESSIONAL (3G/HD/SD)-SDI Video and Audio DŽŶŝƚŽƌŝŶŐ ^ŽůƵƟŽŶƐ MD-DUCC

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DECIMATOR 2

MD-QUAD

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ͻ >Žǁ ĐŽƐƚ ŵŝŶŝĂƚƵƌĞ ;ϯ'ͬ, ͬ^ ͿͲ^ / ϰ ƚŽ ϭ YƵĂĚͲ^Ɖůŝƚ Žƌ ϰ ƚŽ ϭ ŝŶƉƵƚ ŵƵůƟƉůĞǆĞƌ ͻ ^ĞůĞĐƚĂďůĞ ŽƵƚƉƵƚ ĨŽƌŵĂƚ ŝŶ YƵĂĚͲ^Ɖůŝƚ ŵŽĚĞ ͻ >Žǁ ůĂƚĞŶĐǇ ďƵīĞƌŝŶŐ ĨŽƌ ĞĂĐŚ ŝŶƉƵƚ ĂůůŽǁŝŶŐ ŶŽŶͲƐǇŶĐŚƌŽŶŽƵƐ ŝŶƉƵƚƐ ͻ >ŝŶŬĞĚ ;ϯ'ͬ, ͬ^ ͿͲ^ / ĂŶĚ , D/ ŽƵƚƉƵƚƐ ͻ ϰ ǆ ;ϯ'ͬ, ͬ^ ͿͲ^ / ŝŶƉƵƚƐ ǁŝƚŚ ĂƵƚŽ ĚĞƚĞĐƟŽŶ (26 Formats supported in total) ͻ sĂƌŝĂďůĞ ĂƐƉĞĐƚ ƌĂƟŽƐ ƉĞƌ ƋƵĂĚƌĂŶƚ ͻ ϴͲ ŚĂŶŶĞů ƵĚŝŽ ŵĞƚĞƌŝŶŐ ƉĞƌ ƋƵĂĚƌĂŶƚ ͻ KŶͲ^ĐƌĞĞŶ ϭϲ ĐŚĂƌĂĐƚĞƌ / Ɛ ;hD ƐͿ ƉĞƌ ƋƵĂĚƌĂŶƚ ͻ KŶ ^ĐƌĞĞŶ ŝƐƉůĂǇ ŽĨ ĨŽƌŵĂƚ ƚǇƉĞ ƉĞƌ ƋƵĂĚƌĂŶƚ ͻ h^ ƉŽƌƚ ĨŽƌ ĐŽŶƚƌŽů ĂŶĚ ĮƌŵǁĂƌĞ ƵƉĚĂƚĞƐ ͻ 'W/ ŽŶ Z:Ͳϰϱ ĨŽƌ ƌĞŵŽƚĞ ƐǁŝƚĐŚŝŶŐ ĂŶĚ dĂůůŝĞƐ ͻ >ŽĐŬŝŶŐ WŽǁĞƌ ^ŽĐŬĞƚ

MINIATURE (3G/HD/SD)-SDI to HDMI with De-Embedded Analogue Audio and NTSC/PAL Down-Converted Outputs

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sŝƐŝƚ ƵƐ Ăƚ ƚŚĞ / ^,Kt͕ KKd, ϳ͘ ϰϬ

ǁǁǁ͘ĚĞĐŝŵĂƚŽƌ͘ĐŽŵ FUTURE-PROOF SOLUTIONS

24 theibcdaily

11.09.2011

New video creation apps Harmonic By Ian McMurray

Surround sound audio can be down-mixed instantly at the touch of a button for compliance checking, confidence monitoring and multiple language, or international mixes defined in seconds for instant recall. The PAM1-3G16 1RU multichannel audio monitoring unit comes with a full 16-bar graph display and many of the advanced features included on the PAM2-3G16, such as loudness measurement, preset standard switching and advance monitoring mode selection. 10.B41

The ProMedia family of software solutions by Harmonic has been designed to optimise live and filebased multiscreen video production and processing for content and service providers. The new range performs a broad range of functions to enable high quality video creation and delivery of live streaming, liveto-VoD and VoD services to TVs, PCs, tablets, smartphones and other IP-connected devices. The ProMedia range, says Harmonic, also provides a solution for content creation in file-based workflows, including tapeless production environments.

increasing shares of the available Ku and C band capacity. There are many Ka-band satellite launches planned to rectify this capacity shortfall. Ka-band satellites make the introduction of new applications possible, driving the companies involved towards new and different business models. Ka-band is already deployed for broadband access and TV distribution, and the appropriate technologies exist for other types of applications too, although they have not yet been deployed. This is about to change though as multiservice platforms become a reality at IBC this year. The additonal applications will rapidly add value to Ka-band satellite networks and provide a way of dramatically increasing the ROI for satellite and service operators, by speeding up the fill rate of

Ka-band satellites. The industry sees the vital need for this transition and as an independent technology provider, we do too. Newtec is launching a new multiservice platform with multi-spotbeam support and a brand new Ka-band Sat3Play terminal at IBC. Among a number of new applications supported on the multiservice platform are consumer and professional broadband access, high-speed IP and voice trunking, and video distribution. This is set to revolutionise the business model of satellite service providers and will provide extra functionality for consumers and broadcasters, critical for successful satellite networks. These additional services will generate extra service revenues and provide new offerings to millions of households and businesses, which

TSL’s AVM-T-MIX is billed as the world’s first rackmount touchscreen-controlled audio mixer/monitor

T-MIX touch is a ‘first’ TSL Prof Products Group By Melanie Dayasena-Lowe Two new products from TSL Professional Products Group are on demonstration. Latest developments include the AVM-T-MIX, described as the world’s first rackmount touchscreencontrolled audio mixer/monitor.

The AVM-T-MIX delivers a combination of audio monitoring and channel mixing, designed to simplify operations and workflow throughout the TV broadcast environment. In live operation, the user can instantly see channel activity, recognise the source that has been named via the keyboard menu, and listen to the audio from individual, grouped or mixed channels.

Ka-band is satellite’s future Ka-band High Throughput Satellites (HTS) are transforming the industry but the task now is to provide new services, suggests Serge Van Herck, CEO Newtec The future of satellite communications is Ka-band. Many professional satellite service providers in our industry have reached the point where it is challenging to stay profitable and competitive against fibre or other terrestrial technologies. To make things worse, these terrestrial networks are progressively increasing their reach to places where satellite was once the

only option. Because Ka-band capacity is both cheaper and much more abundant, it is being seen as a lifesaving opportunity by many satellite services providers. The total capacity offered by other commercial frequency bands cannot possibly cope with the ever-increasing demand for more bandwidth. New channels, HDTV and 3DTV claim

A suite of software products that can be deployed individually or as an end-to-end video processing solution, the ProMedia family is claimed to offer the flexibility and performance required for today’s multiscreen video services. The ProMedia family is also integrated with leading digital rights management systems, asset management systems and content distribution networks, in addition to other Harmonic products including encoders, receivers, playout servers and storage. Harmonic says that the ProMedia family leverages its strong H.264 video codec expertise – based on the same intellectual property behind Harmonic’s Electra encoders – to provide superior quality video content for multiscreen viewing. 1.B20

Opinion

Serge Van Herck: Major new deal with Astra Broadband Services

will help the satellite industry to compete with terrestrial high-speed broadband services. Newtec is announcing a major new deal with SES Astra’s broadband subsidiary Astra Broadband Services at IBC this week. The largest broadband network over satellite in Europe will be offering broadband services to its customers using Ka-band technology and it has selected Newtec as a preferred technology partner. As a result, delegates can see the new Ka-band technology at either the Newtec or SES Astra stands. Another important deal is with Eutelsat’s broadband subsidiary Skylogic which agreed a deal for services to be deployed in Africa. And South Africa’s Q-KON, which uses the Intelsat network, is also opting for the Newtec technology. The new multiservice platform is not in the distant future, it is available now, and will help ensure service providers in satellite markets stay in the black. 1.A49

CORIOgraphy â&#x20AC;Ś master the art of video processing

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C2-8210

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26 theibcdaily

11.09.2011

Comprehensive approach to DVB-T2 Harris By Dick Hobbs

The MC-100 SDI/HDMI converter is being previewed today

Mini converter launch Matrox Video Products Group By Carolyn Giardina At its stand, Matrox is previewing its MC-100 dual SDI to HDMI mini converter, which supports display resolutions through 3G, HD, Dual Link and SD-SDI. Priced at €399, this single portable unit can be used as a HD-SDI switcher, a distribution amplifier, a multiplexer and a 3D processing unit. Features of the Matrox MC100 – which is slated for availability in a few weeks’ time – include support for video formats such as side-by-side, over/under a n d f r a m e p a c k i n g ( o n ly o n HDMI), as well as a video time -

base corrector and frame synchroniser for 3D workflows. “Broadcast engineers and A/V professionals have diverse needs when it comes to managing SDI signals within their environments for monitoring, distributing, switching, multiplexing and converging 3D,” said Alberto Cieri, Matrox senior director of sales and marketing. “Until now, these professionals have been forced to purchase different devices to perform these tasks. Matrox MC-100 solves all these challenges in one inexpensive, easyto-use device. This cuts costs by reducing the need for inventory as well as providing training on a variety of equipment.” 7.B29

With broadcasters keen to maximise their bandwidth eff iciency, the DVB-T2 transmission standard is a hot topic. Harris is showing a comprehensive solution which includes a highly cost-effective headend based on its Selenio convergence infrastructure platform. Because the Selenio platform combines baseband video and audio with IP networking, it can accept a mixture of transport streams and video inputs to create a multiplex. Other data streams, such as EPG, subtitling and conditional access, can be brought into the Selenio for single point processing. The Selenio headend can also incorporate signal conditioning – for example, loudness monitoring and

correction – to deliver consistency across all channels in a multiplex. For national broadcasters, bandwidth can be even more effectively used by employing a single frequency network. Maintaining the necessary synchronisation for SFN DVB-T2 is recognised as a particularly processor-intensive task, but the Selenio gateway can meet the requirements. The result is a comprehensive distribution and transport stream system in a compact, 3U device. This is said to significantly reduce the rack space required, as well as lowering power requirements, increasing reliability and speeding the implementation time. The complete system can be tested in simulation before installation, and wiring is greatly reduced. Enhancements and upgrades are implemented in software which can

be fully tested before going live. The Selenio DVB headend and gateway is one of three elements of the Harris transmission solution. Its Maxiva and Platinum transmitter lines use the latest LDMOS technology for high efficiency. The Apex M2X exciter supports all global digital terrestrial broadcast standards, including DVB-T2. The final element is the MultiSource Analyzer (MSA) test and measurement instruments. A DVBT2 option is launched here at IBC and will be available for delivery immediately after the show. MSA can provide verified checks on compressed video conformance, audio levels and loudness, and data services. It provides reassurance in systems with a complete headend sending a transport stream to a remote, unmanned transmitter site. 7.G20, 7.G23

Integrated QC for ingest/transcoding AmberFin By Carolyn Giardina A new version of AmberFin’s iCR f i l e - b a se d c o n t e n t i n g e st a n d transcoding system is being shipped this month. Featured at IBC, version 7.3 integrates Unified Quality Control across all of its content ingest and transcoding operations. The company differentiates this new version of iCR from rival systems by pointing to the ability of UQC to provide quality control using automation together with human interaction over ingest and transcoding operations. UQC uses both automated and operator-controlled features for

baseband and file quality control within the same user environment. AmberFin explains that UQC therefore gives iCR users the potential to create a high quality f ilebased HD/SD master, implement quality control and provide file conversion to multiple formats in the same user environment. “Within modern media facilities there is an overarching need to maximise the value of video content, wh i c h r e q u i r e s t h e a b i l ity to transcode to more formats and produce copies more cost-effectively,” said Bruce Devlin, chief technology officer at AmberFin. “This is our raison d’étre at AmberFin: automating more so you work more eff iciently while reducing the time and

3D Titan gets a boost International Datacasting Corporation By Ian McMurray The latest version of the Titan video encoder is being shown by Interna-

tional Datacasting Corporation ( I D C) . Fo l l ow i n g o n f r o m th e launch of the original Titan at IBC2010, the new model includes advanced features for compression. ICP positions itself as a pioneer in file-based digital cinema package

Bruce Devlin, chief technology officer at AmberFin

expense associated with reworks; helping media businesses to grow and adapt to meet new consumer demand; and repurposing/transcoding content to an ever growing range of new media distribution channels.” 7.J15 (DCP) delivery events and live events, including 3D events, with over 3,000 installations worldwide. In 2010, it delivered the first ever 3D live event, the FIFA World Cup, to movie theatres. Audio delivery via DVB satellite networks is another of IDC’s specialisms. Accordingly, the company is showcasing next generation products for radio broadcasters at this year’s IBC. 1.C29

Enhanced streaming media management Viewcast By Anne Morris An enhanced version of the company’s SCX streaming media management software, SCX 6.4, is being shown by Viewcast. The latest release offers features including support for adaptive live encoding via Microsoft IIS Smooth Streaming and PlayReady DRM support.

Also included are updates to Akamai HD iPhone and iPad streaming, improved MPEG-4 streaming, and presentation and security enhancements for adaptive streaming. Full software functionality will be available on Viewcast’s professionalgrade Niagara Pro II, Niagara 7550 and Niagara 4100 streaming media appliances, with upgrades available to existing owners of Viewcast streaming appliances.

At the heart of Niagara SCX 6.4 is the Adaptive Live Media Publisher component, which simultaneously creates multiple H.264 video streams that are time-aligned to support delivery in adaptive formats. SCX 6.4 also offers improved MPEG-4 streaming start-up as well as a passive FTP option for companies using f irewalls that impede adaptive streaming deployment. 13.119

28 theibcdaily

11.09.2011

MultiPlay system has increased integration

New image restoration packages Cintel International By Carolyn Giardina Three ‘Film2Film’ 2K/4K image restoration workflow packages are being demonstrated by Cintel International. The new offers are aimed at f ilm archives and restoration companies. “There is a growing need worldwide to restore old and degraded film, and the Film2Film workflow systems provide all the equipment from one supplier to do this at an extremely competitive turnkey package price,” said Simon Clark, business development manager, Cintel. The ‘film in’ part of each workflow is Cintel’s diTTo evolution 2K/4K film scanner, which includes optical dust and scratch concealment tools as well as pin registration and non-pin capabilities. The ‘film out’ function is provided by CCG’s DefinityHD film recorder. Between these processes, each ‘Film2Film’

Vector 3 By Carolyn Giardina

Cintel’s diTTo evolution film scanner

package includes Cinte l ’s imageMill2 realtime 2K restoration system, including Grace film grain and image noise management, Steady image stabilisation, and Origin dust and scratch reduction, plus individual selections of storage, monitoring and colour correction tools. Film2Film300 is the basic package, which includes Cintel’s new Colourflow colour correction and timeline management tool for

imageMill2 plus 18TB of storage. Film2Film400 includes the features in the 300 package, plus Rain colour correction from Marquise Technologies, a fibre channel network including 24Tbytes RAID storage and full HD monitoring. Film2Film450 includes everything in the 400 package plus Diamant from HS-ART, which provides more manual and automatic image restoration tools, and a total of 40TB RAID storage. 7.B35

Good for business

Opinion

It is not just the economy that affects your business: it helps if customers have confidence to invest and money to spend, says Ian Prowse, director, Vortex Communications How’s trade?’ is the cheery (if somewhat disdainful) greeting from our solicitor, though probably better than being asked ‘how’s business?’ which would lump us together with the bankers ... ‘Unpredictable’ has been the true reply for the last 18 months which doesn’t mean that business is bad. It is just that I have no idea what orders we are hoping to get next week, let alone next month or next year but when I look at box six on the VAT return (Total Value of Sales excluding VAT) luckily it seems to me, month after month, the numbers are there. So how is business? Having been caught many years ago with organising an editing workshop to be held in January with 200 invitations sent out, broadcast VCRs hired and freelance

IBC2011 is providing a venue for Vector 3 to demonstrate its broadcast multichannel system, Vector MultiPlay. The company is also drawing visitors’ attention to its allin-one Vectorbox chassis. Vector MultiPlay is designed for ‘Hub and Spoke’ playout scenarios, effectively providing the ‘Hub’ automation component, while Vectorbox plays the ‘Spoke’. Roman Ceano, general manager of Vector 3, commented: “With many broadcasters evaluating integrated workflows powered by a media asset management platform, we have enhanced our playout systems to integrate deeply with MAM applications. “In addition to advancing our integration with MAM platforms, Vector 3 R&D is also enhancing the

editor employed, we awoke on the morning of the main event to a huge dump of snow and freezing temperatures. The result: only six customers made it through the wintry weather. With this nervousness, we did not exhibit at Broadcast Video Expo in London but we did visit and this year, there seemed to be a bit of a buzz in the air. Very good, (but we are still nervous about the winter months). Then at NAB, there was a truly positive indication that things were really looking up which is a huge step on from beginning to turn the corner which was the mantra from the year before. And now we come to IBC with a definite spring in our step which comes from a real confidence that things are moving and sure that we

Ian Prowse: Trade is the engine of the economy

are by no means whistling in the dark to raise the spirits. It is not just the economy that affects your business but it helps if customers have the confidence to invest and the money to spend. The skill lies in having the right thing at the right price and at the right time and this is where we have been devoting our efforts. This year, we have four brand new products plus add-ons to our established range and are demonstrating variations and improvements that have come along in response to cus-

tomer requests. Not that this doesn’t apply to everyone, we listen, we are diligent and luckily, what we sell is well worth the money and indeed lets customers save theirs by using our kit. So is IBC good for business? Last year a distributor visited us specifically to tell us that an order that he had been working on for more than a year for equipment his customer saw the year before on our stand in Amsterdam would finally be on its way to us. And guess what, he was right; it arrived last month, just in time for a press release for this IBC. So two years later, onwards and upwards but had we not been here... Maybe we are lucky; we are certainly more than OK. But the funny thing is, the harder you work, the luckier you seem to be and we have sure worked hard in readiness for IBC. And, as I always remind our solicitor, trade is the engine of the economy. 11.G11

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MCR workflows by providing more web-based (applications) such as the new multiviewer that allows the entire staff to tune in to the control room from virtually any desk, making broadcast management much more flexible,” Ceano added. “Saving manpower in playout is certainly linked with automating processes but even more with clever monitoring that allows operators to only be warned when human actions are needed.” Vector 3’s advanced playout technology also includes: integration with Diva, Xendata and SGI for cart machine management; new software inspector for realtime control of live signals; new EPG formats; extended subtitle file support; third-party compatibility for aspect ratio management; more compatibility with third party playlist and as-run logs; and compatibility with NAS and SAN storage. 7.C01

Forensics protect VoD SeaChange International By Ian McMurray Securing and monetising content is a key issue for many companies. Against this backdrop, SeaChange International and Civolution have announced an integration and distribution collaboration to offer NexGuard forensic watermarking for premium video-on-demand (VoD). The NexGuard application for cable VoD includes a content preprocessing phase to ensure ease of integration, scalability and highest quality performance upon streaming in MPEG-2 or H.264. To offer the most efficient operations upon content ingest this pre-processing is available either as a plug-in for transcoders or as a transparent standalone application able to preprocess content already prepared for cable distribution. The solution is designed to be compatible with any VoD streaming server and all CAS and DRM encryption systems. The watermark embedding itself is performed on a per-VoD transaction basis upon streaming the content to the viewer by SeaChange or third party VoD servers. The watermark detection from suspected pirate video samples, available through Civolution’s webb a s e d a u toma te d N ex G u a r d – Detection Service, helps content rights’ owners to identify the source of piracy with a fast turn-around in case of content theft. Civolution VoD watermarks can be automatically detected without the need for original content. 1.C27

theibcdaily 29

11.09.2011

Major upgrade for Media Backbone Conductor MAM system Sony By Adrian Pennington A large-scale upgrade of asset management system Media Backbone

IMT’s microLite HD Transmitter delivers 200mW from a six cubic inch package

Portable RF link offers a compact solution IMT By Ian McMurray The RF Central microLite HD Elite is being showcased by Integrated Microwave Technologies (IMT). The system is described by IMT as a complete RF link in a portable package, with all required accessories specifically chosen to optimise total system performance. Featuring IMT’s microLite HD Transmitter and microLite HD Receiver, the set-up includes handselected antennas that are optimised for high gain, durability and low weight, and are claimed to provide exceptional range without compromising microLite HD’s portability. The receiver and transmitter are available in both the 5.8GHz unlicensed or 2GHz licensed bands. The microLite HD ultra-compact MPEG-4 COFDM digital transmitter can deliver up to 200mW from a package of less than six cubic inches, and features H.264 HD and SD encoding capabilities while operating in the standard 2k DVB-T COFDM mode. The H.264 video encoder supports the main profile of the H.264 standard, providing a 30 percent bit-rate reduction or video quality improvement compared to encoders which only support the H.264 baseline profile. Another feature of the microLite HD Elite system is its ergonomic mounting. The adjustable magic arm mount allows users to confidently set up the system and be sure that it is safe and secure at all times. 1.D40

Conductor (MBC) is being launched by Sony. The MBC was first introduced at NAB 2010 and is described as an enterprise class integration platform, designed to simplify system complexity and increase productivity.

MBC V1.2 draws together the media platfor m and workflow engine into one display screen for the very first time, providing users with greater visibility and control. ‘Until now users were required

to change between display screens to operate the media panel and access the workflow,’ according to Sony. ‘This latest upgrade allows users to access the editing tools and the task at hand, while simultane-

ously viewing the workflow, in one easy-to-use layout. This represents a significant step forward and provides a fully integrated platform for media asset management.’ Hall 12

30 theibcdaily

11.09.2011

3D makes perfect strategic sense for IPTV operator Orange France

Bringing 3D to multiple channels By Adrian Pennington

3D Market Briefing rench IPTV operator Orange has been active in stereo 3D since 2008, experimenting with broadcasts from Roland Garros before launching a full channel last year following 15 days of live 3D tennis from the French Open. It has since thrived on a mix of live sports, premium movies and documentaries under the guidance of Ghislaine Le Rhun-Gautier. Most content is acquired but Orange also produces, including unique stereoscopic coverage of Prince Albert of Monaco’s July wedding. “There are genres for which 3D is a plus, particularly natural history and wildlife documentaries where the 3D makes a real difference to how you experience a lands c a p e o r w i l d l i f e ,” s ay s L e Rhun-Gautier. “We are cautious about transmitting any poor quality 3D because this has to be at least equal to, if not better than, the viewer’s HD experience.” The Hollywood production syst e m f o r 3 D content has now matured, she feels, so that there is a better quality of content emerging – and what’s more lots of it – for

“A 3D Olympics will be the greatest opportunity for our customers to experience 3D. The event could be the catalyst which truly kicks off the market”

Orange 3D to programme. However, she believes the economics of 3DTV production can at present only work in a paid model. “As an IPTV operator, Orange has a great opportunity to offer VoD and free catch-up content,” she insists. “We can make money in future with VoD but the business model for free to air channels is not matured yet. There’s not enough content, advertisers or TV sets in the market – but it will come.” 3D, she says, makes perfect strategic sense for Orange because it plays to the operator’s strengths as a forwardlooking brand. “We have invested €2bn in an extensive fibre network in France for which 3D programming is an ideal showcase,” Le Rhun-Gautier says. “3D is in the DNA of our broadband network.” That innovative spirit will be taken a step further following the acquisition of 49% of online video service Dailymotion, which is the leading competitor to YouTube in many European countries. From 2012 Orange plans to introduce a 3D channel on Dailymotion dedicated to user-generated stereo content. It is also to engage its subscribers in a multi-screen strategy on tablets and smartphones

Ghislaine Le Rhun-Gautier: 3D is in the DNA of our broadband network

enabling the viewing of 3D content seamlessly on different devices. “We could envisage the 2012 Olympics being viewed on mobile devices connected to our service,” she says. Orange would look to negotiate 3D rights for events such as the Olympics with France Televi-

sions and TF1 as it has done previously for UEFA Champions League 3D transmission. “A 3D Olympics will be the greatest opportunity for our customers to experience 3D,” she declares. “The event could be the catalyst which truly kicks the market off for 3D.”

Multiviewers with keyboards Apantac By Carolyn Giardina The newly-enhanced AMP2-16V audio/video processing monitor from Wohler

Monitors designed for the operator Wohler By Michael Burns Wohler’s MADI-8 and AMP1D8MDA-3G audio monitors are making their European debuts at IBC. While the MADI-8 audio monitor allows broadcasters to implem en t t h e M ultichannel Audio Digital Interface (MADI or AES10)

in their production workflows, the AMP1-D8MDA-3G in-rack audio monitor offers a lower-cost solution for operators who only require decoding of Dolby Digital (AC-3) signals. Meanwhile, the newly-enhanced AMP2-16V audio/video processing monitor now offers support for SMPTE 2020 metadata monitoring, a menu lockout function that pre-

vents unauthorised changes to the unit’s configuration, and the ability to cycle through solo monitoring of defined clusters of audio channels at the press of a button. These and other updates are available as a simple upgrade to all cur rent AMP2-16V owners and come standard on all new AMP216V units. 8.D56

Image and signal processing equipment developer Apantac is showing a new software option that lets users control all computer inputs on one or multiple Tahoma Multiviewers with a single mouse and keyboard. Tahoma Cynergy can be deployed with Apantac’s Tahoma-DE ‘Universal’ and Tahoma-DL ‘Hybrid’ lines of multiviewers.

End-to-end provisioning Dimetis By Ian McMurray

US cable service provider upgrades HFC ARRIS By Ian McMurray An upgrade of Madison Communications’ HFC system to Doscis 3.0 technology has been announced by Arris. Madison is a provider of broadband, telephone and video entertainment services from central Illinois. M a d i s o n Comm unications launched HSD service in 2001 with early Docsis 1.0 technology, then

upgraded to Docsis 2.0 in 2007. Early in 2011, the Madison team made the decision to upgrade to a Docsis 3.0 C4 CMTS and enlisted Arris Professional Services as its collaborator. Together, they focused on eliminating single points of failure that could impact services and installed a redundant f ibre-optic transport ring between the head-end and other key locations. “The Ar ris management and engineering staff were invaluable in

helping us design and complete this upgrade,” said Madison Director of Information Technology Jerry Davis. “Their expertise in areas like channel bonding and load balancing has enabled us to maximise our investment, customise our technology, and prepare us to meet future customer demand for new and exciting services. The Madison team is now performing extensive testing to begin offering faster broadband internet speeds to all our customers.” 1.D41

“A requirement for keyboard and mouse control features for multiviewers is a strong trend in the market,” said Thomas Tang, president of Apantac. “Tahoma Cynergy eliminates the need for a proprietary hardware interface that may or may not be compatible with an existing mouse and keyboard.” Once a Tahoma-DE or DL Multiviewer is installed, no additional hardware is required and users can s im p ly u p g r a d e w ith th e key board/mouse software option. 7.K21

Net Insight has announced a partnership with Dimetis designed to further improve end-to-end provisioning with built-in scheduling and booking of media resources. The relationship will, says the company, benef it networks owners in trhe media and broadcast industry. Integration between the Nimbra platform and Boss Link Manager combines a high performance transport solution with a state-of-the-art control software that optimises media content flow across the video facilities and the communication network. The solution also facilitates

end-user scheduling and booking. Net Insight’s Per Lindgren commented: “Our partnership with Dimetis brings considerable value to our offering and our customers by enabling scheduling and booking of Nimbra network resources for ondemand services.” “We have found Net Insight’s Nimbra platform to be a well-proven transport solution, guaranteeing reliability and scalability,” said Dr. S h a h in A r e f z a d e h , D ime tis CTO/COO. “Wherever Net Insight and Dimetis solutions are harmonically integrated – like, for example, in the extensive network of Hibernia Media – customers get an optimal solution for network control.” 4.B77/1.B11

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11.09.2011

Hybrid: buzzword or bona fide game changer? Broadcasters need to remain aware of the massive potential and perils of combining technologies in single devices, explains Peter MacAvock, programme director, Technical Department, EBU herever we turn today someone is liberally prefixing things with the word ‘hybrid’. Cars, power, food, buildings – the term is fashionable and overused. But, lest we sneer, the broadcasting business is no different. It is common to hear industry insiders foretell that hybrid techniques will revolutionise TV, radio and broadcast networks. But it is rare to encounter a true understanding of the potential of hybrid techniques to our business. The term ‘hybrid’ could apply to a device, network or application that draws from more than one network for its content. For practical purposes, this is a broadcast system coupled with an internet network. Simplistic marketing campaigns seeking to hijack the term would have us believe that hybrid means only internet-connected television sets – but the reality of hybrid is far more diverse. For starters, there’s radio: a universal medium still dominated by FM broadcasts and audio content. But the radio consumer has progressed to the iPod age, using integrated media players that offer functionalities impossible to access via FM alone, which is where digital broadcast radio and internet connected FM radios come in. By exploiting simple techniques, like RadioDNS, it is possible to couple radio broadcasts with applications such as a slideshow for album art or more sophisticated information, electronic programme guides and more. Such techniques enable broadcasters to offer an enriched radio experience, and provide a bridge between FM and the digitised world of the future. But less well known is the possibility of increasing radio and TV network coverage by using hybrid techniques. This could be beneficial where a digital radio broadcast network deployment cost is too high to provide deep indoor coverage, that is to say the consumer can listen to the radio in the lounge, but perhaps not in the kitchen. Many homes today are Wi-Fi-enabled, offering the possibility of translating the broadcast network signals to Wi-Fi streaming, thereby improving the indoor radio and TV reception. Such techniques could be a way to address the allimportant, but closed, tablet market.

Single entertainment device For television, hybrid techniques promise to change fundamentally the business paradigm. The coupling of a broadcast (cable, satellite, terrestrial) and an internet tuner in the same device brings with it enormous possibilities

As a rule, broadcasters have supported a standards-based approach, albeit not all the same standards, while each of the consumer electronics manuf acturers has its own answers. Clearly there is much work to be done in order to harmonise the plethora of different solutions and to address these deficiencies.

Companion screens

Peter MacAvock: Hybrid applications and devices will fundamentally change the world of broadcasting

Some visionaries predict a future where the world is exclusively hybrid, one in which traditional broadcasting techniques and their exponents will be consigned to history

for enhancing the consumer experience. There are many ways to look at this, but largely this means a single entertainment device capable of providing an experience which includes pushed realtime broadcasts with on-demand catch-up television and close integration with social networking functions. This may be just the start, but already it poses many challenges to the incumbent industry players – although which model or models prevail remains to be seen. Broadcasters with applications signaled through the digital television broadcasts? Consumer electronics companies with widget-based, internet-driven experiences that are currently de-coupled from broadcasts? Or the internet big hitters, such as AppleTV and GoogleTV? It is too early to tell, but it is a fair bet that eventually it will be a combination of these models that goes the distance. Individually, each solution has its limitations and its advantages. As is nearly always the case with consumer electronics, one of the major challenges will be to minimise confusion for the end user. Replicating a computer experience on a media device, such as a TV set, risks being a complicated experience for the average domestic consumer. And another important issue will be to ensure there are sufficient standards in place to guarantee a vibrant market with a level playing field for all participants.

Another hybrid technique that has become very fashionable is the use of companion screen applications. Pioneered in the US using Hollywood content, these seek to exploit the many consumers now simultaneously viewing content on different screens. Each screen is typically doing different things: the main screen shows linear content, while a companion screen is used for social networking, and is perhaps even tied in with the linear content. Either way, it is important that broadcasters are able to fill these different screens with appropriately targeted content. Many content providers already offer strong online experiences linked to enticing linear content, so combining these to enhance viewing on different devices risks exploding the number of devices and operators supported. There are some solutions to this danger, with broadcasters, such as the BBC, leading the charge. All are aimed at ensuring that the repurposing cost does not introduce other production-related issues. A point worth bearing in mind is that some visionaries predict a future where the world is exclusively hybrid, one in which traditional broadcasting techniques and their exponents will be consigned to history. They may be right, but we have yet to get there. Other commentators subscribe to the more pragmatic theory that a proper exploitation of hybrid techniques will add value to the existing broadcasting business in the medium term, as it prepares for more radical changes to come. The latter school says success will come through seizing this opportunity while taking steps to address the substantial threats that exist. Undeniably, hybrid applications and devices will fundamentally change the world of broadcasting. Even with FM as the broadcast mechanism, radio will become a fuller, multifaceted experience on integrated media devices. TV will also be a cross-media fusion of catch-up services, social networking and other elements together, all promising to reshape TV to fit smartphones and tablets as well as the traditional TV set. As we head into the hybrid age, broadcasters need to remain aware of the massive potential of combining technologies in single devices. But they must also bear in mind the perils of being left behind. These are exciting times, but this is just the start of what promises to be a long and eventful journey.

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11.09.2011

One urgent issue that remains in 3D is a lack of sufficient content – but 3D has certainly arrived

A century in, the 3D market is starting to mature 3D Analysis By Douglas I Sheer Stereographic 3D is maturing and becoming the entertainment technology of the new century. With so much history behind it, 3D is a key player in a complex consumer entertainment environment in which many products and services are vying for the attention and dollars of recession plagued and option addled consumers. 3D is exciting more and more consumers due to the increasing quantity of 3D content available a n d t h e ex panding nu mber of devices that support the viewing of that programming. With more than 100 years of previous attempts to popularise 3D in motion media, the latest trend has uncovered a slew of negative pundits ready to put down any advances of the movement. However, unlike previous and often sensationalistic attempts to popularise 3D, the

m ove ment now enjoys mu c h broader support from the entertainment industry. It’s not just a movie house phenomenon. Audiences are as likely to be at home, on the run or supporting a premium level approach to revenues in theatres. If there is a sustaining power, which remains to be seen, it will be in no small part due to the breadth of the interest, the wide range of delivery pathways and the clearly higher quality.

Appetite for more 3D We can now see 3D awareness building and the experience with actual 3D imager y also rising. Most people are gaining their initial exposure to 3D via visits to movie theatres. Having seen one or more 3D movies, like Avatar, most v i ewe r s s e e m t o d eve l o p a n appetite for more, a fact that has been driving theatrical releases and pumping up box office revenues for the past few years.

3D, even with its somewhat more limited application than HD, still represents marquee entertainment, excitement and fun. It seems to be thriving in those tighter confines where it applies best. It supports higher ticket prices, helps pump up attendance, supports the deployment of special satellite and cable channels, creates a demand for 3D Bluray, has enlivened the games business. Only 3DTV lags behind, but is likely to catch up soon. While some consumers will shop specifically for a 3D set or device, many others will consider 3D one of a number of features that they would look for. Just as in the past few years, like 1080p, 3D protagonists mu st p r omo t e a n d d e f e n d 3 D against the other features, as few consumers will buy new sets solely due to their having 3D as a prime feature, but rather as one of many features desired in the next set. That said, 3D is rapidly becoming the most sought after future-proofing feature requested in sets.

Glasses-free

Respondents reveal the intended distribution of their 3D production

Many 3D admirers would prefer to not have to wear 3D glasses that so far have been a requirement of all 3D viewing whether in theatres or at home. Glasses-free 3DTV is generally all lumped together as autostereoscopic, even though there are a few subtle differences from system to system. Manufacturers and producers have known for years that some viewers complain of eye strain,

headaches, and other discomforts from viewing 3D, in theatres or at home. And, portable devices lend a new potential for discomfort. Now the industry has been taking steps to reassure the viewing public and the healthcare industry that 3D viewing is safe and does no harm. For 3D motion pictures, TV programmes, sports or any other live events for consumers there must be a dependable workflow that allows the capture and processing of content. And, manufacturers and professional customers have been busy over the past several years perfecting new equipment and re-purposing conventional electronic gear to suit the new purposes of stereo production for motion pictures and beyond.

End-to-end Emerging in that time frame has been an end-to-end workflow starting with cameras and camcorders, generally mounted on rigs/beamsplitters, then going to processors, then to encoders/decoders and or t r a n s - c o d e r s , t h e n sw i t c h e r s , servers or storage devices, and ultimately to editing and graphics stations then back, then out to either theatres or other distribution links and over the communications pathways in some form. M o st o f t h i s g e a r w i t h th e n o t a bl e ex c e p t i o n o f r i g s a n d processors has been re-purposed conventional and that has been a boon to the traditional brands of gear. What this means for manufac-

turers is a boost to their sales generally and to customers, a reliable flow of applicable devices to a widening and increasingly dependable and reliable workflow.

3D content is lagging One urgent issue that remains in 3D is a lack of sufficient content and that is the most diff icult to overcome in the sale of 3DTV sets. For TV set sales to take off, and a broadcast service to succeed, consumers will need to feel that there is a) enough good quality programming, b) lots of live sports and music performances and – ideally – episodic enter tainment series, before they start to really buy a lot of sets. 3D has already proven itself to be more mature than we would have expected to see by now, based its past history of the technology and medium. Even the hardest bitten skeptics have to admit that 3D has sur vived longer than they expected and has now truly penetrated the consciousness of audiences, worldwide. We can expect to see almost every device being capable of playback or screening of 3D imagery by five years from now. Yes, it is less likely that 3D will wholly supplant HD as the dominant new media technology. Rather, it seems destined to ride the wave that HD began and become a standard feature in hundreds of devices until almost all viewers will know 3D. Douglas I Sheer is CEO & chief analyst of DIS Consulting Corporation, which has just published 3D Production World 2011. He can be reached at dougsheer@gmail.com

Delivering consistent payTV matters

Opinion

Viaccess EVP Sales & Communication Noureddine Hamdane explains how to reach a level of excellence in OTT and multi-screen delivery It’s a complex content distribution chain with three major areas that are no longer managed and controlled by the service provider: content from uncontrolled sources; network that doesn’t belong to the service operator in the case of OTT operation; and, last but not least, devices beyond the STB which are multi-purpose termi-

nals where payTV is not the only application. Apple has set the level of excellence in convenience with its vertically integrated model. Reaching a similar level in a mix of vertical and horizontal models is a real and still open challenge. To take-up this challenge, service

Noureddine Hamdane: Apple has set the level of excellence

Hall 10 D20

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providers need a comprehensive suite of four building blocks pre-integrated together on top of a global multiscreen content security management solution, such as: A convergent service delivery platform for a consistent and persistent multi- and cross-device user experience. Flexible Rights Management with rights managed at the user lever rather than at the device level, regardless of the DRM technology supported by each device. Content Discovery and recommendation to make the TV experience truly personal. Device User-Interface and UserExperience framework closely integrated with the service delivery platform for a true smooth multidevice user experience. These are the pillars of Viaccess OTT and TV Everywhere suite. Viaccess is showcasing these ‘TV solutions tailored to your needs’ as part of our portfolio at IBC. 1.A51

• •

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Multi-screen and Over-The-Top are no longer optional for payTV services. It’s easy to talk about, but hard to achieve as delivering a consistent payTV service with support of OTT and multiscreen is not a trivial task. The main challenge is keeping the end-user experience as simple as TV has always been and should be.

• •

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36 theibcdaily

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Distribution as desired

Norwia’s miniHUB now features auto selection on the optical and electrical inputs

Norwia By Melanie Dayasena-Lowe The miniHub optical video distribution platform from Norwia provides design features like the ‘Click & Go’ card-locking system and a free

controller card. As well as debuting miniHub, Norwia is also showcasing its OC-4B-SDI optical distribution card. An addition to miniHub is auto selection on the optical and electrical inputs to route signals to their desired destination. This function is

useful in a ring structure where a user can add a signal at any location without having to physically switch or apply a control function other than plugging the signal in, suggests the developer. The intelligent add/drop/pass can also be used on the tailgate of OB trucks to select between electrical or optical signals, depending on the distance to be covered. With extra capacity, the miniHub now accepts the new cascadable CWDM optical mux/ demux and WDM mux/demux 1, 2 and 3 pack passive optical devices. Now capable of Gigabit Ethernet, the OC-4B-SDI is a 3G-SDI optical distribution card that can be populated with Norwia SFPs from one to four channels as the user needs evolve. The one card can be used for transmit, receive or both. 10.F34

Technology that does more for less Efficiency in today’s broadcast workplace requires intelligent but cost effective signal processing and wise investment suggests Stephen Shpock, president, Integrated Microwave Technologies Despite the fact that the industry is beginning to rebound from recession, the biggest challenge facing stations today is to make wise investments in technologies, equipment and infrastructure upgrades that enable them to better manage and maximise the value and the full potential of their existing assets and infrastructure. New, efficient technologies enable broadcasters to cope with the challenges of ‘doing more with less’ by empowering their leaner news crews

and studio staff with user-friendly equipment, automated operations and IP-based routing and workflow. Today, our customers are looking for efficient solutions that not only improve workflow, offer intelligent routing, provide maximisation of paths, deliver optimised protocols and advance communications, but also are cost-effective to implement and maintain. Nucomm and RF Central brands of products use H.264/MPEG-4 video

compression for recording and distribution of HD video. H.264 allows for HD content to be delivered over the same robust link setting as a station’s existing SD content. H.264 also allows for multiple SD video sources to be delivered back to master control simultaneously, allowing the producer to have more options on which live feed to take to air. We continue to streamline and simplify the user interfaces and preset features on our radios, so that they

New 3G full HD signal transport system shows Oticom By Ian McMurray The PBTS (Portable Broadcasting Transport System) WDM (Wavelength Division Multiplex) 3G full HD signals transport system is being launched at IBC by Koreanbased developer Oticom. Key features of the PBTS include up to eight channels of video signals (SD/3G Full HD,DVB-ASI), 16 channels of digital audio signals (AES/EBU), one channel Ethernet, one channel serial data, two channels

of analogue video, two channels of analogue audio and four channels of CC signals. Through hybrid type cable (optical and power), AC power can be delivered to remote locations that have no power. The PBTS features a sturdy and compact frame to ensure that it can be fitted into the rack of OB vehicles or can function standalone. It is based on a modular card cage concept, which allows the f r ame to b e c o n f ig u r e d a n d expanded in future to the customer’s requirements and budget. 5.B15f

Opinion are more intuitive, requiring a faster, more comfortable learning curve and little special skills to operate. We use maximal-ratio combining technology in our diversity receivers to eliminate the expense of central control, while achieving greater range. COFDM transmission technology significantly improves modulation and eases setup time for sports and news, furthering station efficiency. Today’s field reporters are accustomed to editing their stories in the field, as new technologies enable them to automate the nonlinear editing workflow from shooting, editing, transport to news server and finally

Stephen Shpock: Customers are looking for efficient solutions

air. Within the studio, moving the IP file-based stories around is commonplace in many of the large news organisations. The Nucomm Messenger mobile and studio system enables broadband IP connectivity between an ENG/OB/SNG truck and the broadcast studio. It significantly simplifies how today’s leaner news crews deliver stories, as it seamlessly integrates with newsroom computer networks and extends the studio computer system into the field. The high capacity IP bandwidth provides predictable and controlled QoS, enabling the studio and the newsgathering vehicle to remotely share applications, skills and resources efficiently. IMT’s Nucomm and RF Central brands are focused on the next generation technologies that provide the broadcast industry with solutions that allow them to operate more efficiently in today’s ever changing environment. The broadcast industry is constantly changing. For us, the IBC show is an important venue to keep our finger on the pulse of that change as it gives us an opportunity to meet with our customers, get their feedback and then develop technologies and solutions that make broadcasters’ work easier, more efficient and cost-effective. 1.D40

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IBC2011 exhibitor list and floorplan Future Zone incorporating New Technolog Technology gy Campus & NHK (Japan Broa Broadcasting adcasting Corporation) Super Hi-Vision Big Screen Auditorium

Conference

Halls 1, 2, 3, 4, 5 & 6 – Pii Halls 9, 10 & 11 – Pv Hall 7 – pviii, Hall 8 Pix Halls 12 & 13 Px Outside Exhibition area Pxi

Connected World

Producction Village Production

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Exhibitor list (accurate as of 8 August 2011) 10 LiveDefinition 3.A15ci 2020 3D MEDIA 8.G35 27M Technologies 3.C30 2Connect-IT (Co-exhibiting with Thrane & Thrane)

OE202 8.E78 9.B40 13.193

2WCOM 3ality Digital 4Mod Technology A A&C Aastrolight Aaton AB on Air Abakus ABE Elettronica Abel DRM Systems Abilis Systems

11.C60 11.G61 11.D39 3.A15m 11.G29 8.D23 1.A76 1.C81 4.C81 13.115 6.A24 5.B11/6.A29/11.F61 5.B15d 5.C49 10.F24 8.E41 2.C40a

(Co-exhibiting with Nagra Kudelski)

Accedo Broadband ACCESS Accusys Ace Marketing Acetel Co Acorde Acrosentec Co Actia Sodielec Active Circle Active Storage

(Co-exhibiting with Global Distribution) 7.G16 Actus 4.A91 Acz Group 6.C22 ADB Lighting Technologies 11.A34 Adder Technology 7.B33 Adobe Systems 7.G27 Adtec Digital 1.D01 Advanced Broadcast Components 8.A30 Advanced Digital Broadcast – ADB 5.B48 Advantech Wireless 1.A11 AEQ 8.C55 Aeta Audio Systems 8.B30f AF Electronics 4.C53 Agama Technologies 4.A55 Agilent Technologies 2.A50 AIB (Association for International Broadcasting) 11.F02 AIC/Xtore 7.J49 AIRSTAR (Co-exhibiting with Matthews Studio Equipment)

11.G71

AirTies Wireless Networks 5.B33 AJA Video 7.F11 Akamai Technologies 7.A14 AKG Acoustics (Co-exhibiting with Harman 8.D60 International/Studer) ALBENTIA Systems (Co-exhibiting with BTESA – Broad Telecom) 8.B02 Albiral Display Solutions 10.A42 Albis Technologies 4.C71 Albrecht Elektronik 10.A40 Aldena Telecomunicazioni 8.E37 Allegro 1.A46 Alpermann+Velte 10.B48 Alpha Networks 9.A12 Alphatron Broadcast Electronics 11.B40 Altech GDL (Co-exhibiting with Altech UEC) 4.B50 Altech MediaVerge (Co-exhibiting with Altech UEC) 4.B50 Altech SetOne (Co-exhibiting with Altech UEC) 4.B50 Altech UEC 4.B50 Altera 5.A15 Altermedia 7.D02 Alticast Corp 1.F50 AmberFin 7.J15c Ambient Recording 8.A80 AMD 7.H35 Amino Communications 5.B40 Amos – Spacecom 1.C65 Amphenol Broadcast Solutions 9.B08 Amplidata 6.A05 Amptec (Co-exhibiting with DPA Microphones) 8.D70 Amsterdam inbusiness (Co-exhibiting with Dutch Media Hub) 9.A20 AnaCom 1.D91 Andersson Technologies 7.A03 Anet 9.B45 Anevia 4.B66 ANNOVA Systems 3.A31 Anritsu 1.C95

ANT Group ANT Software Ant Systems Antik Technology Anton Bauer

8.E20 4.C98 13.198 13.313

(Co-exhibiting with Vitec Group)

11.D61 7.K27 7.K21 1.C61 1.A81a

Apace Systems APANTAC Appear TV APRICO Solutions ARA – Antenna Research Associates (Co-exhibiting with Vialite by PPM)

ArabSat Arbor Media Archion Technologies

1.F29 1.C38 7.G15b

(Co-exhibiting with EMEA Gateway) 7.E06 Ardis Technologies 7.J17 ARET video and audio engineering OE201 Argosy 10.D55 Arion Technology 4.A71 Arkivum 8.G44 arqiva 1.B61 ARRI 11.F21 ARRIS 1.D41 Artec Technologies 7.G35 Artel Video Systems 2.A20 ASC Signal Corporation 1.C51 ASL Intercom 10.B31 Aspera 7.G11 Aspiro 13.223 ASSIMILATE 7.H11 Aston Group 2.A30e 1.B51 ASTRA (SES ASTRA) ASTRA Broadband Services (Co-exhibiting with 1.B51 ASTRA (SES ASTRA)) ASTRA Platform Services (Co-exhibiting with 1.B51 ASTRA (SES ASTRA)) Astro Strobel Kommunikationssysteme 3.C20 ATEME 1.F70 Atempo 7.J03 ATG Broadcast (Co-exhibiting with Dan Technologies) 8.B51 Atomos EMEA 6.C28e ATOS – Siemens 9.C25 Atos Origin 13.163 3.B20a ATS (Co-exhibiting with Enesys) ATTO Technology 7.F41 Audio AG – RME 8.A19 Audio Developments 8.D97 Audio Ltd 8.D96 Audio-Technica 8.D78 Aurora Lite Bank 9.B18 Austin Insulators (Co-exhibiting with Kintronic Labs) 8.E35 Autocue 11.E51 Autodesk 7.D25 Autoscript 11.D61a Avanti Communications 1.A50 Avateq Corp 4.C59 Aveco 3.B56 Avid 7.J20 Avitech International Corporation 7.K30 Aviwest 2.C21 AVL Technologies 5.A49 AVP Europa 10.E57 AVT Audio Video Technologies 8.E91 AWEX 10.D31 AWOX 2.C33 Axcera 10.F28 Axel Technology 8.C62 Axia Audio (Co-exhibiting with Telos System) 8.D29 Axon Digital Design 10.A21/10.B21 Ayecka Communication Systems 4.C51 Azden Corp 8.D80 Azure Shine International 6.A29c

B B&H Photo Video, Pro Audio Band Pro Munich Bangchen Barco Silex Barix Barrowa Bazhou HongXingJieTu studio lighting equipment Co BBC Academy BCE Beat the Traffic bebob

10.A01 11.F40 13.382 9.A57 3.A48 1.B26 11.F61b 9.A38 7.J40 2.A10 11.F54

BeeSmart 13.281 Beijing Brightcast Co 11.G80 Beijing Feiyashi Technology Development 11.F81 Beijing Hualin Stone-tech 11.F79 Beijing OSEE Digital Technology 10.F33 Beijing Phylion Battery Co 11.A20 Beijing Realmagic Technology Co 3.A52 Beijing United Victory Co 11.D71 Beillen Battery – JIADE Energy Technology 11.E80 Bel Digital Audio 10.A30 Belco 8.C60 Belden 1.C21 Belgium Satellite Services 1.A03 BES and Media Products 10.C51 BESAT Broadcasting Systems 9.C47 BETTERVIEW 3.A15ai BFE Studio und Medien Systeme 9.B25 BHV Broadcast 10.F35 Binocle 11.D70a BIRTV 10.A08 Blackmagic Design 7.H20 Black-Tek OE118 BLANKOM Antennentechnik (Co-exhibiting with BLANKOM Digital) 1.F51 BLANKOM Digital 1.F51 BLT Italia 8.A68 Blue Lucy Media 7.F04 BlueArc Corporation 7.E10 Bluebell Opticom 3.A68 Bluefish444 7.J07 BlueShape 11.A14 Bluestreak Technology 13.123 Bluetop Technology Co 5.C43 BMS Broadcast Microwave Services Europe 1.A10 BON ELECTRONICS, 11.D85 Boris FX/Media 100 6.A03 Boxx TV 11.C66 BPL Business Media 13.211 Bradley Engineering 11.C37 BRAINSTORM MULTIMEDIA (Co-exhibiting with FOR-A UK) 2.B59 Brexel 5.B15c Bridge Technologies 1.A30 BrightSign 3.C17 Bristol Vfx (Co-exhibiting with Photon Beard) 11.C44 British Kinematograph Sound & Television 8.B99 Society (BKSTS) Broadcast Bionics 8.D73 Broadcast Electronics 8.C91 Broadcast International 13.362 Broadcast Pix 7.B20 Broadcast Solutions 5.C29/OE110 Broadcast Traffic Systems 3.B25 Broadcast Unifying Gears (Bug.tv) 7.B01 Broadcom Corporation 2.C39 Broadcom 8.B38h Broadpeak 2.C40b Broadtec 3.A15c Bryant Unlimited 10.D15 BSI 9.A46 BTESA – Broad Telecom 8.B02 Building4Media – Primestream 7.D21 Bulcrypt 5.C46 Burli – EuMediaNet 6.A26 Büro Für Neues Fernsehen (Co-exhibiting with SeaChange) 1.C27 Burton 8.G48 BW Broadcast 8.E73 C C&C Technic Taiwan Co 5.C41 Cabletime Limited – IPTV 13.373 Cache-A Corporation (Co-exhibiting with Global Distribution) 7.G16 Caldigit 7.B42 Calibre UK 7.J43 Calrec Audio 8.C58 Camargus 9.D26 Cambridge Research Systems 8.B38b Camera Motion Research 9.A55 Canara Lighting & Sconce 11.E74 Canare 11.B63 Canford 9.C01 Canon Europe 11.E50 Carl Zeiss 11.D75 Cartoni 11.C30 Caspian One 4.A61hi Cavena Image Products 2.A47

CB Electronics 8.A04 CCBN2012 8.F56 CEITON technologies 3.A60 Celeno Communications 3.A15f Cetel 3.A20 Chambre De Commerce Et D’Industrie De Paris 2.A30/2.B39/2.C40/3.B20/8.B30/8.D82/11.D70 Channelot 3.A15k Chellomedia (Co-exhibiting with Liberty Global Europe) 1.D39 China Anhui Modern TV Technology Co 7.D03 China Ruige 9.B06 Christie 9.B30 Christy Media Solutions – Broadcast Recruitment Specialists 6.C20 Chrosziel 11.E65 Chyron 7.D11 Cine 60 10.D57 Cine Power International 11.F11 Cinegy 7.A30/7.A41 Cineroid 11.A58 CINE-TV broadcast systems 11.B12 Cinevation (Co-exhibiting with DFT Digital Film Technology Munich) 7.E21 Cintel International 7.B35 Cisco Systems 13.197 City of Hilversum (Co-exhibiting with Dutch Media Hub) 9.A20 Civolution 2.C30 Clear-Com 10.D29a Cmotion 11.C40 Cobalt Digital 8.A94 Cobham 1.F41 Codan Satcom 4.C75 Code One 10.F38 4.A61g Cogent Technologies (Simtra) Cognacq-Jay Image (Co-exhibiting with MEDIA BROADCAST) 1.B79 COGNIK 2.B39e Colem Engineering 4.A61hii Colt Technology Services 3.C41 Commonwealth Broadcasting Association 10.A03 Communications Research Centre Canada 8.F49 Communications Specialties 8.A15 Comrex (Co-exhibiting with Vortex Communications) 11.G11 COM-TECH High Freq and Broadcast 8.C74 Comtech Telecommunications 1.F80 Conax 1.D69 Concurrent 4.B78 Conducfil 8.E79 Connected Home Academy 13.311 Conspin Co 4.C50 CONTENTUS (Co-exhibiting with European Broadcasting Union (EBU)) 10.F20 Contentwise 13.332 Convergent Design 7.A07 Cooke Optics 11.D10 Coolux 11.D66 CoreELTechnologies 1.F96 CoreTrust 13.421 Coship Electronics Co 1.A74 Cosmolight 11.C36 Cotech 11.A54 CP Cases 10.A44 CPE Italia 8.B11 CPI International 1.B41 Craltech Electronica 9.B14 Craze Productions 3.A15i Creative Network Design, Inc (Co-exhibiting with MSV) 8.A04 CreNova Technology Co 5.B15b Cryptoguard 3.C53 Crystal Vision 2.B11 CSE 2.C40c CSTB Russia 8.F57 CTE Digital Broadcast 8.C38 Cube-Tec International 8.D03 Cubiware 5.C35 CUK HING Industries (Hong Kong) 11.F61c CV Support 11.C84 CYTAGlobal 5.B05 (Co-exhibiting with MSV)

D D&R D.I.P. Company D4D INGENIERIA VISUAL d’accord broadcasting solutions Dalet Digital Media Systems

8.C70 7.D01 11.D70cii 9.A53 8.B77

Dan Technologies Group 8.B51 Danmon Systems Group (Co-exhibiting with Dan Technologies) 8.B51 Darim Vision 7.C10 Data Vision & Allied Vision Technologies 9.A50 DataDirect Networks 7.C30 Dataton 7.G12 Datavideo Technologies Europe 7.D39 DAVID Systems 7.F20 Dawson OE120 Dayang Technology Development 7.H39 Dazmo 9.A34 dB Broadcast 10.A28 DB Elettronica Telecomunicazioni 8.B16 De Sisti Lighting 11.D50 Decimator Design 7.B40 Dedo Weigert Film 11.D31 DEEP VISION 11.D70c Dega Broadcast Systems 7.G07 DekTec 2.A41 Delec Audio und Videotechnik 10.D30 Delta Meccanica 8.E36 DELTACAST (Co-exhibiting with DELTACAST.TV) 10.D10 DELTACAST.TV 10.D10 DEV Systemtechnik 1.F34 Deva Broadcast 8.D79 Devlin Keyboards 6.C28b devolo AG 13.273 DEXEL Lighting 11.G74 Dexin Digital Technology(Chengdu) Co 6.A29b DFT Digital Film Technology Munich 7.E21 DHD 8.A50 DiBcom 3.B51 Digidia 8.A13 Digigram 8.C51 Digimetrics-DCA 7.A01 Digisoft.TV 13.291 Digispot System 8.E83 DigiTAG (Co-exhibiting with European Broadcasting Union (EBU)) 10.F20 Digital Instruments 8.A11 Digital Nirvana 10.A12 Digital Rapids 7.G41 / 13.293 Digital Stream Technology 5.B15e Digital TV Group 5.A45 Digital TV Labs 2.A18 Dimetis 4.B77 DirectOut 8.E02 Discretix Technologies . 3.A15b Disk Archive Corporation 8.B38g DivX, now part of Rovi 5.A31 DK-Technologies 8.E60 DLNA 13.376 Dmlite c. 9.A04 DMT SyES 8.C49 Dolby 2.B28 Doremi Technologies 10.B10 Doteck Digital Technologies 2.C27 Double D Electronics 1.F58a Doughty Engineering 11.B61 DPA Microphones 8.D70 Draka 11.C31 DSPECIALISTS 8.E69 DTS 2.B50 Duma Video 5.C39 Dutch Media Hub 9.A20 DVB 1.D81 DVBControl 3.B50 DVEO division of Computer Modules 2.A48 DVLab 5.C07 DVS Digital Video Systems 7.E25 Dymo 3.C31 Dynacore Technology Co 11.E70 E e2v – Stellar Eardatek Easyrig EBH Radio Software EchoStar Europe ECRIN Systems Eddystone Broadcast Edgeware Editshare Eela Audio Egatel Egripment EgyptSat Elber Elbit Systems Land and C4I

1.A78 4.C67 11.A10 8.A02 1.F76 5.C21 8.B38e 4.B71 7.C21 8.E85 8.C16 11.A21 1.B91 8.C11a 3.A15di

(continued on page vi)

theibcdaily

08-13.09.11 Halls 9, 10 & 11

A A01

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A35 C45 PPanasonic Marketing Europe GmbH

A46

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B48 F51

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A3 A38 38

A4 A44 44

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D41 Professionaal JVC Professional Europe Ltd

C449 C49

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OR G ORG

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theibcdaily (continued from page iv)

Elecard Electronics Research Inc (ERI) Electrosys Elemental Technologies Elettronika Elrom Studios ELTI Emcore EMEA Gateway Emotion Systems emotion3D EMS Technical Personnel Enco Systems Encompass Digital Media Enensys Enigma Systems Ensemble Designs, Enterprise Europe Network

2.A28 8.E23 8.C40 7.H37 8.A35 3.A15g 8.A31 2.A24 7.E06 6.A23a 6.A01 1.B09 10.F26 5.C33 3.B20a 5.B21 8.B91

(Co-exhibiting with Dutch Media Hub) 9.A20 EnterpriseData Technologies 4.C89 Entone 13.266 Entropic Communications 3.A41 Envivio 1.D73 EPAK 2.C35 Ericsson 1.D61 ESL (Co-exhibiting with Thrane & Thrane) OE202 Espial 5.A18 Etere 8.B89 10.D31 ETILUX (Co-exhibiting with AWEX) ETL Systems 4.B84 Etnatel Consorzio Export 5.C30 ETRI 8.G31 ETSI 2.C29 Euro Light System (Co-exhibiting with Nila LED Lighting) 9.A19 Euro Video System 10.F25 European Broadcasting Union (EBU) 10.F20 Eurotek 8.A59 Eutelsat 1.D59/OE112 Eversat 1.A52 Evertz 1.A33/8.B40 Evoxe – Newsroom 2.C59 EVS 8.A96/8.B90 Exir Broadcasting 8.D28 Explorer Cases by GT Line 11.G76 Exterity 13.335 Extron Electronics 3.A51 Eyeheight Limited 8.D92 Ezako 8.B30c

F F&V LED Lighting 11.F70 F.A.Bernhardt, FAB 2.A21 Facilis Technology 7.D05 Factum Electronics 8.B92 Farmers Wife 9.A10 FascinatE 8.G44 Fast Forward Video 9.A16 Fiberfox 11.G59 FileCatalyst 7.H40 Film and Digital Times (Co-exhibiting with Transvideo) 11.F31 Film Gear – Eclalux 11.G48 Filmfabriek 9.B43 Filmlight 7.F31 FIMS (Co-exhibiting with European Broadcasting Union (EBU)) 10.F20 Fischer Connectors 11.E21 Flanders Scientific Inc (FSI) (Co-exhibiting with Zunzheng Digital Video Co) 10.F22 Floatcam 9.B51 Flolight (co-exhibiting with Prompter People) 11.G75 FLYING-CAM (Co-exhibiting with AWEX) 10.D31 Focal Professional 8.B30i FOR-A UK 2.A51/2.B59/11.A70b Forbidden Technologies 7.J15e FORTIS 5.B45 Foxcom 5.C40 France Broadcast 8.B30j Fraunhofer Alliance Digital Cinema 8.B80 Fraunhofer FIRST (Co-exhibiting with Fraunhofer Alliance Digital Cinema) 8.B80 Fraunhofer Gesellschaft (Co-exhibiting with Fraunhofer Alliance Digital Cinema) 8.B80 Fraunhofer HHI (Co-exhibiting with Fraunhofer Alliance Digital Cinema) 8.B80 Fraunhofer IIS (Co-exhibiting with Fraunhofer Alliance Digital Cinema) 8.B80 Front Porch Digital 7.C16 FTTH Council Europe 5.A10

08-13.09.11 Fujinon (Europe) Fujitsu Funke Digital TV Furukawa Future Media Concepts FX-Motion

11.C20 1.F90 3.C60 11.D11 5.C08 11.D81

G G Technology Hitachi 7.D12a G&G Tape Check 10.A38 Gazprom Space Systems 4.A95 GB Labs 7.J15b Gearhouse Broadcast 10.D46 Gefei Tech Co 8.E05 Gefen 7.B30 Gekko Technology 11.D40 Genarts 7.J15d Genelec 8.D61 General Dynamics Mediaware 9.A06 General Dynamics SATCOM Technologies 1.A41 Gennum Corporation 9.A45 Geolink Satellite Services (Co-exhibiting with Cetel) 3.A20 Gepco International/General Cable 9.B02 Geritel Giomar 8.E29 Ghielmetti 8.C77 Giga Communications (Gigasat & Giga-Com) 1.C30/OE207/OE208 Gigawave OE115 Gilat Satcom 3.A15w GkWare 2.C51 Glensound Electronics 8.E89 Glidecam Industries 11.G45 Global Crossing Genesis Solutions 13.297 Global Distribution 7.G16 Global Invacom 4.B75 Global VSAT Forum 8.F58 GlobalTT.com (GT&T) 1.F71 GlobeCast 1.A29 Globecomm 4.C74 Glyph Production Technologies (Co-exhibiting with Global Distribution) 7.G16 GoPro 9.A36 GOSPELL Digital Technology Co 5.B11a Grass Valley 1.D11/1.E02/OE301 Gravity – Rock Solid Recommendations 13.413 Green Wave Telecommunication 1.B90 GreenPeak Technologies 1.F94 Group 47 8.G49 Guntermann & Drunck 4.B74 Guramex 10.B20 H Haivision Network Video 13.451 Hamlet 9.D10 Hangzhou Xingfa Transmission Equipment Co 6.A29d Harman International/Studer 8.D60 Harmonic 1.B20 Harris Systems 7.G20 HDI Dune Europe 13.200 Headroom Broadcast 2.C57 Hego Group 6.C19 Hellas Sat Consortium 4.A80 HHB Communications 8.D56 Hi Tech Systems 10.A49 Hiltron 4.B89 Hispasat 4.C72 Hitachi Data Systems (Co-exhibiting with Hitachi Kokusai Electric Europe) 11.F51 Hitachi Kokusai Electric Europe 11.F51 Hitron Technologies 5.B13 HMS 8.C25 Homecast 4.B81 HoseoTelecom Co 3.B60 HS-ART DIAMANT Film Restoration (Co-exhibiting with DFT Digital Film Technology Munich) 7.E21 HTTV 4.C60 Huawei 13.111 Huawei Symantec Technologies Co 9.B17 Humax Co 4.B70 Hyperion Video (Co-exhibiting with Tcube) 8.B30a I I Tech Electronic 5.B11g I.S.P.A. – Group 9.B20 IABM 8.F50/8.F52/8.F54 IBC Partnership Village 8.F51 IBM 2.B31 3.B67 Icareus (Co-exhibiting with SysMedia) IdeasUnlimited.TV 8.C97 iDirect 5.B30

IDX Technology 11.C21 IEEE Broadcast Technology Society 8.F51b IET – The Institution of Engineering and Technology 8.F51c IGP 1.F58d Ihlas News Agency 3.A40 IHSE 7.B10 ikan Corp 9.B47 Ikegami Electronics (Europe) 11.A31 Ikonoskop 11.C87 Image Engineering 11.E16 Image Systems 7.A28 Image Video 8.A58 Imagine Communications 3.A15j Imagineer Systems 7.J47 Imaqliq 13.372 I-MOVIX 11.E60 Impeq 3.B31 Impire 2.C23 INA – Institut National de l’Audiovisuel 9.A17 IneoQuest 1.C39 Infomedia Digital Technology Co 2.C53 Inmarsat 2.A15 Institut für Rundfunktechnik 10.F51 Integral Systems 1.A01 Intek Digital 5.B37 INTEL 13.191 Intelsat Corporation 1.C71 Inter BEE 10.A02 International Datacasting Corporation 1.C29 Interra Systems 6.A15 10.D31 INTOPIX (Co-exhibiting with AWEX) IntraTec 8.B38di 1.D71 ioko (Co-exhibiting with KIT digital) IP4.TV 13.442 iPanel.TV 5.B11f IPE Products (Co-exhibiting with Global Distribution) 7.G16 Ipgallery 3.A15e iphion (Co-exhibiting with Dutch Media Hub) 9.A20 IPV 8.B59 Irdeto 1.D51 IRIS GATEWAY SATELLITE SERVICES LTD (Co-exhibiting with CYTAGlobal) 5.B05 IRTE 8.D10 Isilon Systems 7.H10 ItalTelec 8.A21 Itelsis 8.E19 J J.L. Fisher Jampro Antennas JK Audio (Co-exhibiting with Vortex

11.D51 8.B96

11.G11 JMR Electronics 7.F06 JoeCo 8.A17 Jos. Schneider Optische Werke (Co-exhibiting with Schneider Optics) 11.A28 Junger Audio - Studiotechnik 2.C49 Justad.tv 3.A15o Jutel 8.A24 JVC Professional Europe 10.D41

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K K5600 Lighting Kabelkom . Kaltura Kantar Media – Audiences KaonMedia KATHREIN-Werke KCEI KDDI Kino Flo inc/Cirro lite (Europe) Kinotehnik KINOTON Kintronic Labs KIT digital Czech

11.B31 8.E11 3.A15a 4.C57 1.B16 8.C29 2.B39f 8.F48 11.D35 11.F72 6.A10 8.E35

3.C35 KIT digital 1.D71 Klewel advanced webcasting solutions 4.C85 Kobatt Benelux 11.C81 Kontron 13.182 Korea Digital Convergence Association (KODICA) 5.B15h Korea Pavilion 5.B07/5.B15 Kramer Electronics 8.B81 Kroma Telecom 10.A24 Kronomav Sistemas (Co-exhibiting with Medialuso-Kronomav) OE204 K-Tek 8.A72 Kupo Grip 11.G69 Kvant-Efir 8.E75 (Co-exhibiting with Visual Digital)

L Labwise 5.C20 Lacie 8.D82b L’Aigle Paris 11.D86 LARCAN 11.G70 Lasergraphics 7.F01 Latens 4.B60 LAWO 8.C71 Lectrosonics 8.A60 LEMO Connectors 11.C41 Levira (Co-exhibiting with MEDIA BROADCAST) 1.B79 LGZ Broadcasting Tech (Co-exhibiting with Broadcast Solutions) OE110 Libec Europe 11.B55 2.A31 LiberoVision (Co-exhibiting with Vizrt) Liberty Global Europe 1.D39 Lightequip 11.C74 Lightstar (Beijing) Electronic Co 11.A38 Linear Acoustic (Co-exhibiting with Telos System) 8.D29 Lino Manfrotto & Co 11.F50 Litepanels (Co-exhibiting with Vitec Group) 11.D61 LiveU 3.A15x/3.B43 Livewire Digital 4.A61b LMC 11.D70ciii LMP Lux Media Plan 10.F21 LogicKeyboard – BSP 7.F49 Logiways 2.C40d LS telcom 8.E39 L-S-B Broadcast Technologies 8.C20 LSI 6.A27 LSI Projects 11.D41a LTO Program 10.D42 LUCI 7.A32 Lumantek 2.C19 Lund Halsey (Console Systems) 2.B10 LUTEUS 2.A30d Lynx Technik 8.E24 LYTEK International 11.F73 M Magic Software 3.A15l Magix 8.A14 MainConcept, now part of Rovi 5.A31 Mandozzi 8.A48 Mantrics 7.A09 Mariner 13.275 Mark Roberts Motion Control 11.G35 Marquis Broadcast 2.A58 Marquis Consulting (Co-exhibiting with Marquis Broadcast) 2.A58 Marshall Electronics 11.D20 Mart, JSC 8.B15 Marvell Semiconductors 13.301 Marvintech 7.K01e Masstech Group 8.B73 Masterclock 10.A10 MathEmbedded Consulting 4.A61hiii Matrox Video Products Group 7.B29 Matthews Studio Equipment 11.G71 Mayah Communications 8.B94 Maxon Computer 6.C10 MBT 8.D82a MEDIA BROADCAST 1.B79 Media Excel 13.353 Media Links Systems 1.B11 Media Logic 7.J18 MEDIA360/DEBRIE 7.E30 Media-Alliance 8.B71 MediaGeniX 3.C59 Mediaguru Consultants 10.F31 Medialuso-Kronomav OE204 Mediatec Group (Co-exhibiting with Broadcast Solutions GmbH) OE110 mediatvcom 2.B39c Meduza 9.A40 Megahertz Broadcast Systems (a Kit Digital company) 11.F20 MELTZER MOBILE 3.A15s Memnon Archiving Services (Co-exhibiting with STP) 8.C85 Merging Technologies 6.C29 MeteoGraphics 2.C48 Metracom 2.A30b MICRODOLLY HOLLYWOOD 11.A40 Microfilms 11.E61 Microtech Gefell (Co-exhibiting with SchulzeBrakel Schaumstoffverarbeitungs) 8.D77 Mic-W Audio 8.B09 Mier Comunicaciones 8.E30 MikroM 8.B95

Miller Camera Support 11.D30 Mindspeed Technologies 10.F39 Minerva 13.342 Minexa 13.433 miniCASTER 1.A80 Minnetonka Audio Software 7.J01 Mirada 5.B26 Miranda Technologies 8.D41 MiraVid 13.434 MIS 6.B20 8.A04 MIT INC (Co-exhibiting with MSV) MITEQ/MCL 1.A18 MIT-xperts 3.A58 mLogic (Co-exhibiting with Global Distribution) 7.G16 Mobile Broadcast 3.B21 Mobile Viewpoint-Triple IT 13.363 Mode-AL 10.F30 MOG – Technologies 7.G39 Mole – Richardson Company 11.F35 Monarch Innovative Technologies. 7.K41 Mosart 5.C26 MO-SYS 11.A41 Motama 13.274 Motorola 1.D31 /4.A75 Movea 3.C11 MSA Focus International 3.B40 Mstar Semiconductor 3.A14 MSV 8.A04 MTF Services 11.C73 M-Three Satcom 8.C11c Multidyne Video & Fiber Optic Systems 2.A54 Murraypro Electronics 10.F23 MUSCADE (Co-exhibiting with European Broadcasting Union (EBU)) 10.F20 MWA Nova 7.J39 Myat 8.E17 N NAB Show 7.A43 nac Image Technology 9.A14 Nagra Kudelski 1.C81 Narda Test Solutions 5.B08 National Instruments 8.D71 Nativ 4.A61e Nautel 8.C61 Nautilus Studio 3.A26 ND SatCom OE219 NDS 1.A71 NEC Corporation 8.E10 Nediva (Co-exhibiting with CV Support) 11.C84 NEO TELECOMS 8.B30b Neotion 4.B53 NET INSIGHT 1.B40 Neta 3.A30 Netgem 4.B79/4.C79 1.A29 NETIA (Co-exhibiting with Globecast) Netris 4.C55 NetroMedia 6.B22 NetUP 13.383 10.D31 NEURO TV (Co-exhibiting with AWEX) Neutrik 8.C94 never.no 3.A36 Nevion 8.B70 Nevion (Co-exhibiting with Colt Technology Services) 3.C41 Newland Communication 5.B11c Newtec 1.A49 NewTek 7.K11 NEXTO DI 11.G37 8.A04 Neyrinck (Co-exhibiting with MSV) NHK 8.G01 NICT 8.F39 /8.G30 Nikon 11.A70a Nila LED Lighting 9.A19 Ningbo Eimage Studio Equipment 11.C75 NKK Switches 8.A70 No Tube 13.202 NOA Audio Solutions 8.D91 Nokia Qt 13.265 Nokia Siemens Networks 13.225 NorCom Information Technology OE215 Nordija 13.271 Norsat 1.F75 Norwia 10.F34 Novella SatComs 1.F58b NovelSat 3.A38 Novel-SuperTV 4.B61 Novotronik 1.A54 NSA Telecom 3.A15p NTP Technology (Co-exhibiting with Dan Technologies) 8.B51

theibcdaily VII

08-13.09.11 NTSI 2.B39b NTT Corporation/NTT Advanced Technology Corporation/NTT Electronics Corporation 2.C50 Nucomm/RF Central 1.D40 Numedia 3.B55 NVIDIA (Co-exhibiting with PNY Technologies) 7.J38 NWIEE 4.C83 NyeTec 2.C31 O OASYS 8.B38d Object Matrix 6.C28a Oconnor (Co-exhibiting with Vitec Group) 11.D61 OCTOPUS Newsroom 2.B19 OIPF (Co-exhibiting with Open IPTV Forum) 13.151 OiV 5.B04 Olympus 9.A35 OMB Broadcast 8.C92 Omega Digital Electronics 5.A16 Omnia Audio (Co-exhibiting with Telos System) 8.D29 Omnitek 6.A18 Onair Media 8.B05 OneSat 4.A61c ONETASTIC (Co-exhibiting with Elber) 8.C11a Open IPTV Forum 13.151 Open Text 13.203 Opentech 3.C10 Opera Software 5.B47 Opsomai 2.A30c Optical Cable Corporation 10.F29 Optocore 9.A47 Optoway Technology 8.A16 Opvision Technology Co 8.A40 Oracle 9.C15 Orad Hi-Tec Systems 7.B27 Orban Europe 8.D93 Orca Interactive 2.B40/3.A15v ORION TECHNOLOGY Co 5.B07b Oticom Corporation 5.B15f OVERLINE – Systems 10.E59 Oxygen DCT 10.B44 P P+S Technik 7.D07/11.E28 Pace 1.B19 Packet Ship Technologies 4.A61d PAG 11.E20 Pals Electronics Co 4.A51 Panasonic Marketing Europe 9.B42/9.C45/9.D40 Pandora International 7.K01d Panther 11.D21 Paywizard 13.185 Peak Communications 1.B10 Pebble Beach Systems 8.B58 Peer TV 3.A15h PENKI KONTINENTAI GROUP 13.331 Penta Studiotechnik 10.A41 Percon 10.E51 Pesa 10.A11 Petrol Bags (Co-exhibiting with Vitec Group) 11.D61 PGM Optical Fiber 1.D95 Phabrix 8.E25 Philips Home Control 1.A81 Philips uWand Remote Touch (Co-exhibiting with Philips Home Control) 1.A81 Phoenix7 3.C21 Phonak Communications 8.E95 Photon Beard 11.C44 Photron 11.G25 Pilat Media 3.A15q/ 3.B14 PIPTV 4.A61hiv Pixel Power 7.A31 Pixelmetrix Corporation 1.B28 Plaber – HPRC Cases 9.A42 PlayBox Technology 8.C30 Playcast Media Systems 3.A15n Plisch 8.B37 Plura Broadcast 8.C76 PNY Technologies 7.J38 Polecam 10.C49 Polymedia (Co-exhibiting with KIT digital) 1.D71 POND5 9.A01 Portaprompt 8.A90 Preco Broadcast Systems 8.E49 Pre-Met 8.B38dii Preview GM System 8.B61 Prime Focus Technologies 7.D20 Primera Technology Europe 7.H09 PrimeSense 3.A15z

Prism Sound ProConsultant Informatique Prodys Professional Show Professional Sound Corp Profitt Progira Radio Communication Promax Electronica Promise Technology Prompter People ProSat Solutions

8.E98 2.B21 1.B24 8.B31 8.D95 7.A04 8.D21 8.B22 9.A33 11.G75

(Co-exhibiting with Broadcast Solutions)

OE110 8.C48

ProTelevision Technologies Province of Noord-Holland (Co-exhibiting with Dutch Media Hub)

Provys PRO-X CO Publitronic Q Qbit QoE Systems Qphonics Quadrille Quadrus Technology Quantel Quantum Qube Cinema Quicklink Video Distribution Services Quintech Electronics QUOTIUM TECHNOLOGIES Qvest Media (Co-exhibiting with Wellen+Noethen)

9.A20 2.B49 11.G60 2.A49 8.A26 9.A05 8.C05 3.B20b 7.K31 7.A20 7.G30 7.F45 7.B13 4.C56 2.B39g 3.A35

R Rabbit Labs 3.A22 Radio Frequency Systems 8.B34 5.C07 Radiodar (Co-exhibiting with DVLab) Radioscape 8.D90 RaLex Solutions 8.D75 RAMI 8.B30g Rascular Technology 8.B38bi RealNetworks 13.285 Red Bee Media 1.A40 Red Digital Cinema 9.B49 Reelway Gmbh 13.232 Remote Solution 3.A54 Renesas Electronics Europe 1.B31 Reply (Discovery Reply) 8.C90 Research Concepts 1.F58c 8.C61 Rfmondial (Co-exhibiting with Nautel) RGB Networks 4.C78 RGBlink 7.F05 Riedel Communications 10.A31 Rights Tracker (Co-exhibiting with StorerTV) 2.C41 Rimage Europe 7.G15a RJS Electronics 6.C28d RO.VE.R Broadcast 8.C37 Robycam/Movicom 9.B41 Rockwell Collins Sweden (Co-exhibiting with SWE-DISH) 1.A31 Rohde & Schwarz 8.D35 Roland Systems Group 7.B17 Roland Systems Group UK (Co-exhibiting with HHB Communications) 8.D56 Romantis 4.C63 Root6 Technology 7.C17 Rorke Data 7.A10 Roscolab 11.G21 Rosenberger – OSI Fiber-Optics 11.C65 Ross Video 9.B12/ 9.C20 Rotolight 11.G73 Rovi 5.A31 RRsat Global Communications Network 1.A25 RS2I 2.C40e RSComm 8.E15 RT Software 2.B16 RTI Group 6.A21 RT-RK Computer Based Systems 5.A01 8.F51d RTS (Royal Television Society) RTS TELEX 10.D20 RTW 8.E76 Russian Satellite Communications Co 5.B20 Ruwido Austria 1.F68 RVR Elettronica 8.C28 Rycote Microphone Windshields 8.A86 Ryerson University 8.F41 RYMSA 8.D16 S S Net Media S&T (Strategy & Technology)

5.B15a 1.C31

S3 Group 3.B23 S3 Satcom 1.A99 S4M – Solutions for Media 3.B26 Sachtler (Co-exhibiting with Vitec Group) 11.D61 SAD 7.A12 SADiE 8.E96 Sagemcom 1.F40 SAIL LABS Technology 8.E13 SALZBRENNER STAGETEC MEDIAGROUP 8.C80 Sam Woo Electronics Co 8.E97/11.G33 Samim Rayaneh Co 8.B18 Samsung Electronics 1.D35 San Solutions 7.G01 Sanken/VDB 8.C01 SAPEC 1.F21 Sat-comm Broadcast OE101 Satlink Communications 5.A41 SatService 1.F47 SAV (Co-exhibiting with Vortex Communications) 11.G11 ScheduALL 1.D30 Schill GmbH & Co 11.C61 Schneider Optics 11.A28 Schoeps Mikrofone 8.E90 Schulze-Brakel Schaumstoffverarbeitungs 8.D77 Sconce Exhibitions (Co-exhibiting with Canara Lighting & Sconce) 11.E74 Scottish Development International 9.B16a Screen Plane (Co-exhibiting with Cmotion) 11.C40 Screen Service Broadcasting Technologies 8.C41 Screen Subtitling Systems 1.C49 Screenkeys 8.A54 SCTE 8.F51e SeaChange 1.C27 SecureMedia 13.233 SELECOM 8.B30h Selevision (Co-exhibiting with Gravity - Rock Solid Recommendations) 13.413 Sematron 1.A62 Sencore 1.C36 Sennheiser Electronic 8.D50 Service2Media 13.244 Servicevision 11.B51 SES (Co-exhibiting with ASTRA (SES ASTRA)) 1.B51 SES WORLD SKIES (Co-exhibiting with ASTRA (SES ASTRA)) 1.B51 Sezmi 13.231 SGI 9.A08 SGL 7.J15a SGO 6.A11 SGT 2.A30a Shantou Nanguang Photographic Equipment Co 11.E10 Shenzhen Advanced Video Info-Tech Co (AVIT) 5.B11e ShenZhen Geniatech 5.B11b Shenzhen MTC 3.A55 Shenzhen Ourstone Electronics 5.B11d Shenzhen Skyworth Digital Techonlogy Co 5.B46 Shively Labs 8.A18 Shotoku Broadcast Systems 11.G30 SI Media 8.B93 Siano Mobile Silicon 3.A15u Sichuan Changhong Network Technologies Co 6.A29e Sichuan Jiuzhou Electric Group Co 3.C56 Sichuan Video Electronic Co 5.B11h Sielco 8.A12 Sierra Video (Co-exhibiting with Kramer Electronics) 8.B81 Sigma Designs 4.C59 Signal 3G 3.A18 Signiant 13.341 Signum Bildtechnik 7.D31 Sintec Media 2.B41 Sinuta 4.C61 SIRA Sistemi Radio 8.C31 SIS LIVE 1.C55/OE205 Sisvel Technology 13.106 SJTek Co 5.B07c SkyDigita Co (Co-exhibiting with Rabbit Labs) 3.A22 Skyline Communications 1.A21 Skyware Global 5.C11 Slik Corporation 11.A30 SmarDTV (Co-exhibiting with Nagra Kudelski) 1.C81 Smart AV 10.F32

SMART electronic 3.A24 Smart TV Pavillion 13.192 Smartclip 13.412 SmartJog (Co-exhibiting with MEDIA BROADCAST) 1.B79 SmartLabs/In-Line 13.181 SMiT 1.F86 SMK EUROPE 1.C90 SMPTE 8.F51f SMT Electronic Technology 3.A19 SnapStream 6.A06 Snell 8.B68/13.381 Soft at Home 5.A11 SOFT VALLEE 8.B30k Softel 1.A27 Softlab – NSK 7.A05 SoftNI Corporation 1.A39 Softron Media Services 7.H01 Solarflare 9.A30 Solaris Mobile (Co-exhibiting with ASTRA (SES ASTRA)) 1.B51 Solectrix 11.G72 Solid State Logic 8.D83 Sondor/Marquise Tech 7.K25 Sonic Solutions, now part of Rovi 5.A31 Sonifex 8.E61 Sonnet Technologies 7.G03 sono Studiotechnik 8.C81 Sony Professional Europe 12.A10 Sorenson Media 6.A02 Sound Devices 8.E72 SOUND4 8.B30e Soundfield 8.A84 SPB Software 13.424 Spectra Logic 7.K36 Spinner 8.B27 SPX Communication 8.E93 Square Box Systems 7.F07 ST Electronics (Satcom & Sensor systems) 1.F55 St.Petersburg State University of Film and 7.D01 Television (Co-exhibiting with D.I.P Co) Stardom 7.G09 Starfish Technologies 2.C18 Starline Computer 7.H05 Step2e Broadcast 5.A03 Stereolabs 11.D70b Stereoscopic Technologies 9.D20 Stergen High-Tech (Co-exhibiting with Vizrt) 2.A31 Stirlitz Media (Co-exhibiting with Broadcast Electronics) 8.C91 STMicroelectronics 1.F36 Stordis 7.A16 StorerTV 2.C41 STP 8.C85 Stream Labs 7.G47 Streambox 5.C45 Streamit 8.A74 STRYME 7.C28 Studio Network Solutions 7.A08 Studio Technologies/E and E Exports 9.A48 Studiotech 8.A20 Suitcase TV . 2.C10/2.C15 Sumavision Technologies Co 1.C11 1.F59 Surface Heating Systems (Kirkcaldy) SVC4QoE project 8.F40 SVP Broadcast Microwave 1.C93 SWE-DISH by Rockwell Collins 1.A31 Swedish Microwave AB 1.A91 Swisscom (Co-exhibiting with RGB Networks) 4.C78 SWIT Electronics Co 11.D60 Switchcraft 9.C49 SysMedia 3.B67 Systembase 8.C03 T Tac System (Co-exhibiting with MSV) TAG V.S. (Co-exhibiting with Ayecka

8.A04

Communication Systems) 4.C51 Taiyang Movie and Television Equipment Co 11.F61d Talia 4.A61f Tangent Wave 7.B16 TangoTec 3.A15t Tata Communications 3.A61 Tata Elxsi 1.F31 TC Electronic (Co-exhibiting with HHB Communications) 8.D56 Tcube 8.B30a TDF (Co-exhibiting with MEDIA BROADCAST) 1.B79 Teamcast 2.B51 Technisat Digital 1.A44

Technocrane 11.B39 TechnoTrend Goerler 1.A58 Tedial 8.B41 Tektronix 8.C75 Teleca 13.315 Telecast Fiber Systems/Belden 10.B39 Telecommunications Technology Association (TTA) 5.B15g Teledyne Paradise Datacom 1.B22 Teleidea 13.195 Telemann Corporation 5.B07d Telemetrics 11.F45 Telenor Satellite Broadcasting 1.A59 Telesat 1.F56 Telespazio 4.C88 Teleste 5.C36 Telestream 7.D16 Teletest 11.D80 Television Research Institute 5.C37 Teliasonera International Carrier 3.C16 TELIKOU TECHNOLOGIES CO 11.A56 Telmaco 8.E45 TELMEC BROADCASTING 8.B21 Telos Systems 8.D29 Telsat 8.C11b Temwell Corporation 6.A29a Teracue 13.423 Teradek 9.A51 Teranex Systems 10.D21 Terrasat Communications 1.F81 Texas Instruments 9.B19 Thales Angenieux 11.F30 The Associated Press/AP ENPS 7.D30 The Bakery 9.A59 The Foundry Visionmonger 7.B21 The Israel Export & International Cooperation Institute 3.A15 The Pixel Farm 6.C18 TheLight 11.C71 ThinkAnalytics 1.D93 Thomson 5.A17 Thomson Broadcast (Co-exhibiting with Thomson) 5.A17 Thomson Video Networks (Co-exhibiting with 5.A17 Thomson) Thrane & Thrane OE202 THX 7.K01b Tieline Technology (Co-exhibiting with You/Com Audio) 8.E74 Tiffen International 11.D36 Tiger Technology 7.G05 Tightrope Media Systems (Co-exhibiting with EMEA Gateway) 7.E06 Tilta Technology Co 9.A03 TiVo 13.283 Tixel 7.A02 TMD 2.C58 Toner Cable Equipment UK 4.B91 ToolsOnAir 7.H32 TOUCHCAST (Co-exhibiting with AWEX) 10.D31 TRANSRADIO SenderSysteme Berlin 8.D30 Transtel Communication 7.K01a Transvideo 11.F31 TRedess 8.C10 Triada-TV 8.D31 Triaxes Vision (Co-exhibiting with Elecard) 2.A28 Tribune Media Services 13.276 Trident Microsystems 1.F49 Trilogy 10.A29 2.A28 Trinity (Co-exhibiting with Elecard) Tripleplay Services Holdings 4.A61a TriVis Weather Graphix 3.A50 True Lens Services 11.G65 10.D31 TSF.BE (Co-exhibiting with AWEX) TSL 10.B41 Turksat Satellite Com.Cable TV Operator 5.A21 TV Genius 13.325 TV ONE 7.C27 TV Skyline Plazamedia 11.C80 TVBEurope 11.F04 TVINCI 3.A15d T-VIPS 1.B71 TVLogic Co 10.B29 TVU Networks 2.C28 U UK Pavilion c/o Tradefair 4.A61/6.A23/6.C28/7.D12/7.J15/7.K01/ 8.B38/9.B16/10.D29/10.F30i/11.D41 Ultimatte Corporation 7.B25 Unique Broadband Systems 8.A28

(continued on page x)

VIII theibcdaily

08-13.09.11 Ă&#x153;BERFILM TECHNOLOGY MADE IN GERMANY STAND NO. 11.E28

WEISSCAM HS-2 MKII

PS-MAG 16D SR-III

Digital Film Camera Excellence A passion for innovation and exceptional pictures â&#x20AC;&#x201C; thatâ&#x20AC;&#x2122;s the maxim of P+S TECHNIK, the Munich-based manufacturer of high-end, professional ďŹ lm equipment.

P+S TECHNIK SCREENING â&#x20AC;&#x153;Inspirational Tools for Exceptional Imagesâ&#x20AC;? ON THE BIG SCREEN Saturday, 10th September, 15.30 to 17.00

www.pstechnik.com Traditionally reliable. Daringly innovative.

Hall 7

A01 A03

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F200 G20 Lim mited Harris Systems Limited

Matrox Mat rox B27

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G27 Adobe Systems Benelux BV

Ex En (ba

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K255 DVS D VS â&#x20AC;&#x201C; Digital Video Video Systems Pixel P Power ower

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NHK Sup Super er Hi V ision Vision

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F50 F51 F54 ATG A TG T Broadcast B51

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Arnold & Ri Arnold Richter ichter Cine TTechnik echn e ik

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P ress Registration Registr e ation Press & Exhibition Exhibiition Entrance Entrance

theibcdaily

08-13.09.11 (continued from page vii)

Volleyball V olleyball Cour t Court

WC W WC

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On nyx LLounge ounge Onyx (G round floor) floor) (Ground

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19 INFO

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Decimator Design

W B40 B42 WASP3D 3.B62 Wave Science Technology 8.A44 Unitend Technologies 3.C51 e ee WaveStream 6.A20 A11 UnitronGroup 5.C23 A10 WAZE MOBILE 3.A15r Unity mobile (Co-exhibiting with Visual Digital) WB Walton EnterprisesL 1.F33 C A15 3.C35

Weather Central 3.B61 ee Universal Electronics 1.C41ee A18 2.C55 University of Essex 13.201 C01 Weather Services International A21 WeatherOne 2.C11 B2 (Co-exhibiting with Liberty Global Europe) UPC Omnitek A01 A02 A03 A04 A05 A066 A14 Well Buying Industrial Co 8.A22 B2 C111.D39 A25 C10 A16 A15 WellAV Technologies Limited A20 1.F11 Utah Scientific 2.B20 The Israel Export & A29 A24 A26 A27 A28 A A23 Wellen+Noethen 3.A35 A18 International International Cooperation Cooperation C16 C17 C17 Whisper Power OE221 V B09 A03 A01 AB on Air WIGE MEDIA 11.A60 Vaddio 11.F41 A22 WC WC Winmedia 8.B30d C2011.C11 B21 varavon A19 C21 C221 Sumav Su mav A24 WireCAD B111.F57 C1 A15 A11 B144 B10 VBOX COMMUNICATION 3.A15bi A26 Wireworx (Co-exhibiting with Broadcast Solutions) B23 13.403 A20 VBrick Systems OE110 VCS 3.C44 A30 Enensys Ene ensys B19 Wisi CommunicationsB16 5.B25 B 8.C01 C31 VDB (Co-exhibiting withB200Sanken) p Pace plc C Kaon Media A10 Wisycom 8.D89 A35 A36 VDL B25 C308.C99 S4M M Wiztivi 13.432 A18 C Vector 3 7.C01 C35 B266 WMG, University of Warwick/goHDR 8.G41 A31 B31 Solutions Solut ions Venera Technologies 6.A28 KIT Digi Digital ital C A21 B22 for Me edia Media 10.D31 WNM (Co-exhibiting with AWEX) Verimatrix 4.B54 A38 Annova Anno va Systems Wohler Technologies OE225 Vestel 13.131 C4 C41 41 A40 VCS Wohler Technologies B24(Co-exhibiting with HHB A25 C44 1.A51 Viaccess A41 B40 A42 Communications) 8.D56 C Vialite by PPM 1.F29 Entropic Sea C Prodys ys A48 B20 Work Microwave Prody 4.B63Sea C511 C5 VianeosCommunications 2.A30f C48 Harmonic B43 B26 Working Easy 11.A50 VidCheck 10.A09 A50 A51 B500 C533 World DMB A27 9.D30 Videobewerken B28 WorldCast Systems 8.B50 A52 B51 11.F90 (Co-exhibiting A55with Zacuto) B566 B5 Wowza Media 13.121 C A54 VideoPropulsion 5.C25 B55 C56 A30 wTVision â&#x20AC;&#x201C; Software for TV 3.C61 A58 Videosolutions Group 7.A06 C5 C599 S&T T Wuxi Huaxin Radar Engineering Co 1.C97 A60 Videssence 11.B10 B60 A61 C311 (Co-exhibiting with Commonwealth Media M edia G GeniX eWWBTI niX A29 VidiGo 7.H30 C60 B61 GlobeCast A68 Broadcasting Association) 10.A03 VidyoCast division, Vidyo 6.A25 C30 B31 Strategy & Strategy B62 Wyplay 5.C42 Viewcast B67 13.199 C61 C6 61 Vigintos Elektronika 8.E21 C39 XYZ Viking Media Group 3.A16 X Frame Software 5.C13 C38 VimondInmar Media 13.391 A31 A33 Inmarsat sat Solution XCRYPT 5.B07a C3 Evertz Ever tz Vimond Media Solutions (Co-exhibiting with Vizrt) C1 A40 11 C11 B11 A15 B10 XD MOTION 11.D70ci A10 C102.A31 XDA44Productions A39 8.D82c Octopus C1 15 C15 (Co-exhibiting with Vitec Group) 11.D61 Vinten A18 Newsroom Ne wsroom B16 XenData 7.H47 (Co-exhibiting with Vitec C18 Group) C1 Vinten Radamec B40 19 C19 B19 XForm Systems C 11.D61 Starfish TTechnologies e echnologies A46 (Co-exhibiting with Penta Studiotechnik) 10.A41 Visio Light Inc. 11.F71 C2 21 C21 A41 B20 A21 Xilinx 10.D25 B41 Vision Research 11.F60 C23 C C28 B21 A20 Xytech Systems 3.C48 Visiware 2.B39d C2 A50 27 C27 Yegrin LiteworksA49 9.A44 C B28 VISLINK 1.A61 A24 Yellowtec 8.A51 29 A52 A54 C29 Visual Research 7.J30 C2 Screen Su Subti ubti YoSpace 13.242 Visual Unity 3.C35 You/Com AudioVViaccess 8.E74 C A28 Vitec Group 11.A70c/11.D61 iaccess B31 C30 Yuvsoft 11.F74 31 C31 Vitec Multimedia 7.J31 C3 B51 A51 Zacuto 11.F90 C5 C3 33 C33 ASTRA Vivesta 2.A46 A31 Civolution (SES ASTRA S.A.) 9.A32 Zalman VIXS Systems Vizrt 5.A12 Zappware 4.B51 35 C35 A58 Vizrt 2.A31 C3 C40 B39 with Ambient Recording) Zaxcom (Co-exhibiting A30 A59 Vocas Systems 11.B43 C3 39 C39 8.A80 Voice Technologies (Co-exhibiting with Ambient A41 Zhengzhou KEMA MOVIE-TV Logiways Logiw a ys C4 41 C41 Recording) 8.A80 C B40 OPTO-ELECTRONICS CO 11.F61a Appe A Volicon A47 7.J16 B41 Zhuhai Hansen Technology Co 3.A42 A46 Vortex Communications 11.G11 C4 49 C49 B61 Zixi 13.351 A61 B49 C48 Arqiva VRT-medialab 8.G39JĂźng JĂźnger ger A48 Publitron Zoran Corporation 5.C06 DTS Audio Aud io V-Shine Technology Co 6.C11 A49 B50 Zunzheng Digital Video Co 10.F22 C A50 7.G33 C5 VSN (VIDEO STREAM NETWORKS) 51 C51 A62 (Co-exhibiting with Zylight C508.A10 VTE Microwave Technologies B51 A54 C5 53 C53 Nila LED Lighting) 9.A19 Amos sâ&#x20AC;&#x201C; VTS Studiotechnik 8.A03

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Visitor Registration Visitor Registration & Exhibition Entrance Entrance

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Compact widescreen monitoring Preco By Michael Burns The RX-702HD dual 7inch widescreen LCD is a space-saving addition to the Cooltouch range of rack-mountable monitors. The dual-screen RX-702HD handles SD-SDI and HD-SDI (625/525 autosensing), HDMI, component, dual composite video, plus audio. Each of the screens is a high-brightness active matrix

TFT LCD with 800 RGB triads x 480 pixels resolution. Aspect ratio

The dual-screen RX-702HD fits a standard 19-inch rack space

is switchable between 16:9 and 4:3. Each display is complemented by its own audio monitoring channel

sourced from analogue inputs or extracted from the S D I streams. Additional connectivity features include d u a l DV I - I / H D M I (shared via gender converter), four composite video inputs and two reclocked SDI outputs. Designed to fit 3RU of a standard 19-inch rack space, the RX702HD is housed in a rugged metal enclosure (483x130x53 mm, 1.8 kg). It is powered by 12 volts DC or via the included universal mains adaptor. 8.E49

Polishing the visual experience Graphics are often key to getting eyeballs trained on a channel, says David Alexander, sales director, Brainstorm Multimedia Compelling graphics are such a key part of the broadcast visual experience it would be difficult to overstate their importance. Frequently, they are key differentiators between how many eyes are trained on a particular channel at a particular time, how long they will stay there, and whether they come back – and it’s the number of eyes coming back that are crucial to ongoing success.

As a broadcast graphics company focussed on assisting our clients to create highly engaging visual experiences for their viewers, our eyes are not only trained on how to provide the best possible graphics package and services, but also to ensure that they are fast, reliable and the best fit for the job at hand – and those needs can vary wildly. Live sport and election coverage

are two areas in which we excel, among others such as news, game shows, branding and virtual studios supplied to clients worldwide. To focus on sports, and being a Spanish company, we were disappointed that our native son, Rafael Nadal, just missed repeating his 2010 Wimbledon Championships success. Wimbledon was nevertheless a huge success for Brainstorm as our

Finance secured for sub Saharan DTH service International Datacasting Corporation By Ian McMurray J u s t ove r a m o n t h b e f o r e I B C opened its doors, International Datacasting Corporation announced a vendor financing package, and foll ow - o n c o n t r a c t s w i t h t h e Wananchi Group for the rollout of a Direct-to-Home (DTH) broadcast service in Africa. The credit facility was developed in cooperation with E x p o r t D eve l o p m e n t C a n a d a (EDC) and a Canadian f inancial institution. Wananchi Group launched the first triple-play network in Africa,

and recently added Zuku Satellite to bring video, voice and data services to consumers in the Sub-Saharan region of Africa. “We believe that this unique structure acts as an important cornerstone for our relationship going forward,” said Richard Essex, chief development officer of East Africa Capital Partners (EACP), and Africa Telecommunications Media and Technology Fund (ATMT). “Canadian technology is already playing a key role for Wananchi as it launches its pay TV service. We have broken new ground and as the business grows, we look forward to this facility growing along with it,” Essex continued. 1.C29

Opinion products formed the core elements for the production of all the graphics displayed during the two weeks of the Championships. And of course it was hugely entertaining for the millions of viewers worldwide who watched Wimbledon and saw the Brainstorm-produced graphics live day after day. We worked with IDS, an IBM Business Partner, who configured the systems, provided the software and supplied the staff to support the Wimbledon production. Our eStudio 3D render engine — the industry’s fastest

with unlimited broadcast graphics power and design options – was used by IDS during a joint review with IBM and BBC Graphics to create a ‘Wimbledon Graphics Reference Guide’ which defined the format for the Brainstorm-based graphics package and subsequently produce them, live, for multiple courts throughout the fortnight of the Championships. A total of 23 Brainstorm eStudio licenses covered the numerous graphics requirements for all courts simultaneously throughout the tournament. This equates to many weeks of uninterrupted graphics for live TV coverage, all requiring dynamic synchronisation of statistical data with live displays. With all that data flooding in, not a single error occurred, and that’s a lot of processed data. And speaking of large volumes of data, election coverage in the UK back in May set new records for viewership and Brainstorm graphics were used by the BBC to display those results to the British public. Our expertise in election night graphics spans many years and BBC News has a multi-year contract with Brainstorm’s Production Services Department to provide them. It will be of no surprise that Spanish broadcasters covering regional elections in May also took advantage of home-grown talent from our Production Services group to provide election graphics that were fast, flexible and compelling. So, we should never lose sight of the fact that the battle for viewers is what keeps us all in business, and right now all eyes are on Brainstorm. 2.B59

Hall 1, Stand D40

52 theibcdaily

11.09.2011

WorldNet Oslo: the next generation APT By Paul Watson “The next generation begins here,” said Kevin Campbell, sales director

for APT, of the latest developments sur rounding its WorldNet Oslo audio multiplexer. IBC sees the launch of a new codec card for the unit, the AOIP NextGen. Compatible with all existing Oslo

units, the AOIP NextGen card combines audio, IP transport and auxiliar y data on a single module, providing the user with high quality audio over IP performance, as well as improved scalability and flexibility.

Each AOIP NextGen card can decode four separate streams from f o u r se p a r a t e so u r c e s o f time domains, eliminating the issues of clock drift associated with streaming multiple channels over IP to a single decoder. It is able, therefore, to decode any channel in any audio format from anywhere. The unit can decode up to 24 The NextGen card is compatible with existing Oslo units

streams including discrete monos with independent bitrates and algorithms from independent locations. It also handles its own IP traffic. Campbell added that the company has “scheduled several more new releases throughout 2012 which will ensure the Oslo remains unrivalled in the industry”. 8.B50

The Royal Wedding starts new partnership Adtec Digital By Ian McMurray It’s a few months ago now, but for m a ny, t h e we d d i n g o f P r i n c e William and Kate Middleton in April is still fresh in the memory. Encompass Digital Media partnered with Adtec Digital for ABC’s broadcast of the nuptials and surrounding festivities throughout the UK and US. Operations run by Encompass in London and Minneapolis provided support for transcontinental video transport via fibre and satellite to millions of viewers. The company paired its portable, 2.4M flyaway system with 25 Adtec mediaHubPro encoders, 20 RD-60 IRDs and 10 of Adtec’s 10-channel capable muxes to perfor m the complex requirements of this large-scale production. The demands of the project led to the installation and operation of several transmission sites that included ABC’s London Bureau, Methodist Central Hall Westminster and Canada Gate, which is situated just outside Buckingham Palace. “Our products are designed and engineered to deliver high-quality, reliable and cost-effective transmission of content generated for worldwide contribution and distribution applications,” said Kevin Ancelin, senior vice-president, director of sales for Adtec. “Encompass’s client called for an application that would guarantee delivery of the transmission with no single point of failure, and our compression solutions played an integral role in delivering an uninterrupted contribution link of this celebrated moment in Britain’s history.” 1.D01

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Q&A

New and powerful products Canford By Paul Watson A new series of 19-inch rackmountable mains power distribution units

Eran Igler, CEO, AbonAir Q: Has IBC come at a good time for the electronic media industry? Why? The broadcast industry has become more competitive than ever, and production teams need new and better technologies to help them compete. Today, news is reported live, right from the scene. Sports broadcasts show the player’s perspective, and reality shows require realtime monitoring. Flexibility is the key and wireless is the solution. Being first on the air by using wireless HD links and avoiding the timeconsuming setup of cables will increase viewer ratings.

Q: What do you think are the key developments in, or threats to, your market sector at the current time? The availability of unlicensed frequencies, which can be used for wireless HD links, enables every production team to benefit from the advantages of wireless. Another important technological development in the market is the superior performance of the innovative H.264 encoders, embedded in ABonAir’s products. They offer more than double the performance when compared to the old MPEG-2, assuring excellent picture quality.

Q: Why should delegates visit your stand at IBC? We have just launched two new products, AB307HD and AB310HD. These are wireless HD links based on OFDM radio over unlicensed frequencies, using H.264 video encoding for enhanced picture quality. These are bundled with unique algorithms, specially designed to merge video and wireless. The AB307HD is a basic unit priced for all budgets and the AB310HD is a feature-rich product for high-end users.

3.A15m (Israel Pavilion)

is being shown by Canford, the proaudio and video equipment supplier. A range of fibre optic panels is also on display. The new Canford LED Rackl i g h t , 3 G H DT V BN C a n d 3 G

HDTV MUSA panels, along with the latest Ruige HD monitors in both panel-mounted and on-camera versions, are also being debuted. In addition Voice Technologies miniature mics and headsets, along with new Cat5E and Fibre optic multicores, cables and breakout boxes are being shown for the first time. Other developments include the

addition to Canford’s range of MDUs (main power distribution units) of a series featuring both sequential power up and power down. The company has also extended its own manufactured range of fibre optic termination panels. The panels are based on their existing broadcast pattern design and fabricated from extruded aluminium. 9.C01

54 theibcdaily

fischer connectors

Adding to archive solutions

New Triax HD Pro+ Broadcast Solution by Draka and Fischer Connectors

11.09.2011

The actLine software family contains 12 tools

NOA By Paul Watson A new product line from NOA Audio Solutions provides users with a set of tools that allow the reshaping of content during the

archiving process. actLINE works with NOA’s existing jobDB and mediARC systems to provide far-reaching audio archiving solutions. The actLINE software family contains 12 tools for triggering workflows, moving files among workflows, decoding and transcoding files, and recombining segmented archives, while integrating fully with jobDB and mediaARC workflows. All actLINE tools for the mediARC platform are available now, while some tools will be available for the jobDB platform later in 2011. Jean-Christophe Kummer, NOA’s managing director, commented: “actLINE extends the effectiveness and power of our existing systems. Customers can now perform all of the functions with one integrated system from a single service console.” 8.D91

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Screen Subtitling Systems By Ian McMurray With the 24/7 nature of broadcast, 100% uptime is an absolute pre-requisite. One of the ways that this is achieved is by providing each piece of equipment with an internal redundant power supply. Screen Subtitling Systems believes there’s another way, and has backed its thinking with the announcement that its Polistream 2Power unit has gone into full production, making reliable power redundancy available for the company’s Polistream transmission systems. “Internal redundant power supplies clearly have an important role in uninterruptable kit, but adding them in every individual unit can add unnecessary cost and complexity,” said

Sales and Marketing Director Gary Glover. “We’ve taken a different approach with our Polistream system which we feel is much more suited to a multi-platform architecture.” With two, individually fused power inputs, Screen’s separate 2Power box is capable of p r ov id in g p owe r f e e d s to u p to e ig h t Polistream units or any other equipment. 2Power is said to provide a fast and non-disruptive switchover from the primary to the secondar y power feed, allowing any units connected to the eight outputs to continue to function while the main power feed is out of service. Once any maintenance is completed and the power or UPS is reconnected, the primary feed is re-established and the Polistream units are reverted back to this source. 1.C49

Q&A

Hall 11, Booth E.21

Giovanni Soldi, managing director, Media-Alliance Has IBC come at a good time for the electronic media industry? Why?

www.fischerconnectors.com Headquarters Fischer Connectors SA Saint-Prex - Switzerland Phone +41 21 800 95 95 mail@fischerconnectors.ch

In Partnership with : www.draka.com/communications

Yes, it is definitively a good time. Not considering Cloud and 3D points of attraction, this year is actually a strategic moment for the migration from tape-based to tapeless television. We believe that the most appropriate term is: IT television. This means a mature solution for stations using almost only Information Technology (IT) that has been adapted or engineered for broadcasting purposes.

What do you think are the key developments in, or threats to, your market sector at the current time? Our sector is media management and we are a software house. We believe that the main focus is on developing solutions based on IT that meet the high demanding requirements of television stations. For example, cluster or media storage instead of traditional storage and archiving systems based on hard disks (such as DiskArchive ALTO) rather than tape libraries — as well as software applications that are able to exploit computer and TCPIP networks rather

than hybrid solutions based on mixed traditional video and IT.

Why should delegates visit your stand at IBC? The reason is in our Information Technologies (IT) for broadcast. Our applications are mature solutions able to exploit computer, servers and TCPIP networks to achieve frame accurate production without any need of traditional video devices. We shall be showing an Enterprise Ingest System (VIVA) able to control any numbers of live feeds or VTRs from one single and simple networked PC, and a live censorship system (CATONE) capable of scaling up to hundreds of channels.

8.D91

theibcdaily 55

11.09.2011

ServAssure now handles IPv6 ARRIS

Systems Integration or systems compromise? SIs need suppliers who are design and development partners, not simply box shifters, argues Mark Errington, chief executive officer of integrator Oasys

By Ian McMurray The Arris ServAssure Advanced performance management software platform now handles IPv4, IPv6 and dual-stack devices for data collection as well as realtime requests. The company says that ServAssure currently manages over 80 million customer premises devices worldwide. ServAssure Advanced provides customer experience monitoring and performance tools to optimise the quality and capacity of DOCSIS networks, enabling what are said to be substantial improvements in available bandwidth and quality of experience. Service providers can address network and customer service assurance proactively, while reducing mean-time-to-repair by presenting complex data and health metrics in meaningful, organised views. “Responding to forecasts indicating that the central pool of IPv4 Internet addresses would be completely depleted in 2011, we began preparing for the move to IPv6,” said Gary Cunha, Arris senior director of assurance solutions product line management. “We are now in the position to help our customers tackle today’s IP address management and shortage issues while continuing to offer a suite of comprehensive applications, for a proactive, customer-centric solution that solves network issues and improves subscriber satisfaction.” 1.D41

Mark Errington: SI’s role is to differentiate what is deliverable and what’s vapourware

In today’s ever-developing broadcast world, the role of the Systems Integrator (SI) is increasingly important. It is no longer enough to be a dealer in a range of broadcast equipment; SIs need to know how it all works together (and where it doesn‘t), and to be able to understand and articulate a workflow design that encompasses the entire broadcast chain. Now that the broadcast world has embraced IT-based workflows we are increasingly seeing delivery in the shape of software rather than hardware, and new solutions that require integration into existing workflows as well as addressing new requirements.

As there are no suppliers who can address the full extent of modern workflows, integration of supplier offerings is critical. The SI’s role is to differentiate what is deliverable and what is vapourware, and to select suppliers based on their competence to deal with things if they go wrong. Customers often base their requirements on their own knowledge of solutions, rather than specifying in terms of the features and functions required. A good SI can help at this stage by developing templates for solutions that are not dependent upon specific suppliers, but are based on generic requirements and core functionality. In this way a project can be defined based on the best fit for the budget and any compromises due to budget constraints are known in advance. Of course we don’t live in an ideal world – sometimes something doesn’t work as it should, someone forgot to mention a critical existing workflow element, and so on. At times like this customers need the full support of suppliers who care not just about commitment to get an order, but commitment to deliver a working solution without significant compromises. A real business partner will analyse, test and develop, and do this quickly to ensure the success of a project. The role of the SI here is to select the suppliers who have the speed, flexibility and core competencies to develop solutions, rather than try to make existing solutions fit, and those that

Opinion accept that the only compromises the customer should make are those that they chose during the tendering process. Suppliers that are open to integration rather than locked into their own solutions; those with open rather than proprietary or limited standards; and those that have a tightly linked support and development team that are able to identify and solve integration issues quickly, without having to wait for the next big release scheduled for a trade show. Then finally, and most importantly, those that deliver on the software they say is already released, rather than those that promise everything the customer wants will be ‘in the next version’. Oasys has been at the centre of workflow design for nearly 20 years, creating one of the leading automated playout solutions that has been integrated with many customer workflows. Our worldwide SI network appreciate the detailed work we do on every customer commissioning programme, and our ability to provide a feature-rich and highly integrated product set, rapid solution development and first class customer support. 8.B38d

RAI Amsterdam Conference 8-13 September : Exhibition 9-13 September

IBC Certified Training Programme Thursday 8 September – Monday 12 September Creative software for post production continues to advance at great pace, offering users new and powerful tools and techniques. IBC is presenting you the chance to learn and become certified on Apple and Avid at the world’s leading electronic media event. Produced by the internationally renowned training company, Future Media Concepts and taught by a team of certified trainers, the IBC Certified Training Programme is aimed at those who create, design and deliver digital media and is geared at intermediate to advanced users. Produced by:

Choose from: • editing and designing with Final Cut Studio (2 day course) • Avid Editing Workshop (2 day course) • Adobe Production Premium (1 day course)

Beneﬁts: • explore and learn about the latest trends and ground-breaking technology • benchmark practices with peers • gain practical tips you can apply to your very next project • increase your personal tool set and marketability • get Apple or Avid certiﬁed

For more information and to register please go to the Forum or visit:

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

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Refining the TV search experience with metadata and more TV Genius By Anne Morris The newly enhanced power of TV Geniusâ&#x20AC;&#x2122; universal search engine is under the spotlight at this yearâ&#x20AC;&#x2122;s IBC. The TV and video search engine environment requires specific algorithms that are unlike any other: repeats, linear schedules, popularity, channels, catch-up and availability all need to be taken into account. The TV Genius search engine enables accurate search by keyword, genre, channel, actor and show title. This is essential because many generic terms like â&#x20AC;&#x2DC;Houseâ&#x20AC;&#x2122; or â&#x20AC;&#x2DC;Footballâ&#x20AC;&#x2122; require special optimisation for relevant results. Additionally, the search engine allows operators to offer smooth universal search across catch-up, VoD and linear TV.

Update for SurroundControl RTW By Paul Watson A new design for RTWâ&#x20AC;&#x2122;s SurroundControl series has been unveiled here at IBC. Changes to the series include a product redesign and the addition of a new loudness-range instrument (LRA) to the 3.0 software. The new visual audio meters, designed for professional broadcast, production, post production and quality control, are a result of the new worldwide EBU/ITU loudness regulations, and have also been given a facelift for a more modern look. Andreas Tweitmann, managing director of RTW, commented: â&#x20AC;&#x153;As the audio industry continues to face n ew wo r l dwide modif ication requirements to its loudness control practices, RTW is leading the way by updating its products with the proper technology to make these changes happen.â&#x20AC;? The new LRA instrument combines the measurement and visualisation of two critical loudness parameters that RTW says are essential for todayâ&#x20AC;&#x2122;s loudness instruments: programme loudness (the integrated loudness of the overall program) and loudness variances within short time periods. The compact 3-RU SurroundControl 31900 module is designed for studios working on video production, post production and live projects. At the heart of the series, RTWâ&#x20AC;&#x2122;s Surround Sound Analyser provides an easy-to-read report of sound loudness, sound pressure level, phase correlation, and level differences among channels. 8.E76

To keep search results relevant, the TV Genius Universal Search engine uses robust metadata and unique algorithms that take multiple factors into account, including relevancy algorithms, relative popular-

ity, availability of channels, and linearity (or what time shows play). Based in the Cloud, the universal search engine can be deployed on connected devices, web, TV, mobile, and tablets.

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58 theibcdaily ASC Signal By Ian McMurray Supporting the building out of the emerging Ka-Band systems – a market segment where the company says it has a strong track record based on its patented sub-reflector tracking (SRT) technology – is a key European focus for exhibitor ASC Signal. According to the company, the SRT technology has been proven to give superior performance in challenging climatic conditions. By way of example, ASC Signal points to deployments ranging from the IP Star network in the humid heat and typhoon conditions of South East Asia, to the Wildblue network with extremes of hot and cold temperature in continental North America. ASC Signal has offered the subreflector tracking (SRT) solution for use on large satellite communications antennas for more than four

11.09.2011

SRT is European focus BBC, BSkyB projects dB Broadcast

ASC Signal SRT technology supports the use of Ka-Band broadband satellites

years. This is in response to Ku-band congestion of recent years which has increased customer requirements and development of new technolo-

By Melanie Dayasena-Lowe

gies to support the drive to the use of Ka-Band broadband satellites, which rely on spot beams to facilitate frequency re-use. 1.C51

Bringing two media worlds together Traditional and new media workflows must work in tandem, says Klaus M Heidrich, director media & broadcast, COO, VCS The media world is changing: new distribution outlets, new content creators and the ever-accelerating speed of changing consumer behaviour as they embrace new technologies is fundamentally affecting the game. Established and familiar borders between departments, companies and markets are getting more and more blurred. How should the members of the broadcast industry react to these

developments in both the short and longer terms? And clearly, some of these answers may be valid for a short period of time only. This is a challenge for everyone in the industry, but also a big chance for new ideas and business models. But wait – everything is changing? No, not everything. New media is gaining pace, but likewise established media has not at all become obso-

lete! Current media usage analysis shows that radio and TV as we know it is maintaining a very strong position and is here to stay. So aside from the change there still is – and will be – a sustained market for ‘traditional’ broadcast business. So what’s the problem? The real challenge is to bring these two worlds together – embrace the changes in new workflows and business models,

UK independent systems integrator dB Broadcast has worked on two large broadcasting projects for BSkyB and the BBC. The landmark projects involved the Broadcast Centre of Sky Studios and BBC Newcastle’s Barrack Road facility. At Sky Studios, dB Broadcast was appointed to install, test and commission the core technical facilities within the Broadcast Centre, comprising 400 bays, 37 operational desks and 1,000,000 metres of cable. Incorporating the playout system, the f irst channels were succ e s s f u l ly m i g r a t e d f r o m t h e existing installation to the Sky Studios building, including Sky while maintaining the superior quality of the traditional daily operations of radio and TV. Supporting technology will have to flex to these new ways of working. Our clients and business partners are asking for open systems that allow even more collaborative working, yet are part of an established and reliable technology base. Taking the perspective of an experienced supplier of successful media software solutions, such innovation and change has been a steady state since VCS Media Broadcast first delivered sophisticated dira! radio production and playout systems in 1993. We have risen to the challenge of the conflicting needs to be innovative and the overwhelming needs for superior quality and reliability.

Atlantic and Sky Arts. The systems integrator was also responsible for building the new MCR system, which is now live. For BBC Newcastle, dB Broadcast has completed a contract to refurbish the Barrack Road sound facilities as part of the corporation’s regional television upgrade programme. The project involved replacement of the existing Calrec anal og u e a u d i o c o n s o l e w i t h a fully-assignable Calrec Zeta digital system. The mainframe and associated PSUs were installed in the Central Technical Area (CTA) to minimise noise and heat in the Sound Control Room (SCR). While s o m e ex i s t i n g o u t b o a r d wa s retained, dB supplied equipment including new custom-designed technical furniture. 10.A28

Opinion

Klaus Heidrich: Providing systems that are change-enabled

Frankly the key to this always has been a long-term trustworthy partnership between the supplier and the broadcaster. More specifically; we have got to deliver solutions that allow our customers to change their workflows and to do this fast, and maybe in ways that are almost unpredictable. Secondly: when doing so, we must not compromise our proven best in class quality and reliability that customers rely on for their daily business. This must not be jeopardised by innovation. And finally: ensuring the joint success of both parties makes superior project delivery skills more important than ever – there is just no time, no money and no resources for delays and errors. Besides the obvious reasons to be at IBC – to meet existing customers and get in touch with other members from the broadcast community – IBC is also a great opportunity to discuss the challenges facing the broadcast industry, to get new ideas and a concentrated snapshot of the current market status. Nothing beats a real international show at this – come and have your say. 3C44

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Set-top box demos are multi-room Humax By Ian McMurray Founded in South Korea in 1989, digital set-top box manufacturer Humax is showcasing its range of solutions for the European market. Visitors to the multi-room stand can see demonstrations of digital TV recorders, standard and high definition (HD) set-top boxes, and hybrid boxes for cable, satellite and terrestrial TV services.

STBs on show

Humax is also providing live demonstrations of the latest features offered through its set-top box range, including advanced internet and streaming capabilities in multi-room set-ups and between mobile and fixed devices and other internet-enabled features available on the recently-launched Humax TV Portal. 4.B70

Quads create ‘cost-effective’ large monitor walls Miranda Technologies By Michael Burns The standalone Kaleido-XQUAD quad-split multi-viewer for truck and studio monitoring is being launched at IBC. The quad-split operates with the same software as the larger Kaleido family multiviewers, allowing it to be fully integ rated in large multi-vi ewe r systems, with seamless control across upstream routers and the multi-viewer systems. Louis Caron, senior product manager at Miranda, said that costeffective large monitor walls could be achieved by using multiple indi-

vidual ‘quads’ with inexpensive displays. “This offers the assurance of a very small failure block at just 4 inputs – perfect for mission critical applications and live product i o n ,” h e a d d e d . “ B e c a u s e o f Miranda’s cluster concept, unlike other basic quad split processors, the Kaleido-XQUAD can be logically linked to more quad split processors for large monitor wall quad views and operated seamlessly as one system.” Kaleido-XQUAD is available in two versions: Kaleido-XQUAD features four 3Gbps/ HD inputs and a si n g l e mu l t i - v i ewe r o u t p u t (HDMI/HD-SDI), while KaleidoX QUA D - D UA L o ff e r s e i g h t

Driving the growth of OTT Tvinci By Heather McLean A Pay OTT services platform that allows operators, broadcasters and media companies to offer end-users linear content, catch-up TV and VoD on multiple devices is being demonstrated by Tvinci. The company is one of the driving forces

behind the g rowth of OTT TV, which has been forecast to grow to 380 million people viewing online video via connected devices by 2015 (source: Informa). The service being showcased by Tvinci comprises the Tvinci MediaHub and Tvinci MediaStore systems that include a brand new functional area for IBC, the Tvinci Device and Domain management

3Gbps/HD inputs and two multiviewer outputs. Both versions offer a 1RU, half 19-inch frame chassis with silent ventilation for installation within studios. The Kaleido-XQUAD processors also offer tight integration with NVISION and third party routers, with source control and centralised mnemonic database access. There’s also tight integration with many third party production switchers, with tally support via direct serial interface. To simplify signal management and avoid signal-timing problems during live production monitoring, the quad-split is said to offer ultrafast processing, which avoids the

need for complex audio delay compensation. 8.D41

m o d u l e , wh i c h i s d e si g n e d to answer the needs that arise from the multiplicity of devices used to consume media. With its new functionality, Tvinci enables users to associate their individual devices with their account (and soon with a household composed of other individual users with different hierarchies). Service providers can manage and conf igure backend parameters such as maximum number of total devices per user, types of devices, parental control, credit manage-

ment and soon maximum permissions per domain and more. The goal is to eventually differentiate between users within the household, thereby enabling up-todate intelligence on each user’s f avourite content and viewing habits on multiple devices. Using this information, says T v i n c i , p ay T V o p e r a t o r s a n d broadcasters can deliver a personalised TV experience to their subscribers, f ight cord-cutting and increase ARPU. 3.A15c

The standalone Kaleido-XQUAD quadsplit multi-viewer, launched at IBC2011

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Major growth of terminal gear Far from the demise of terminal gear the technology is on the rise, says Chris Shaw, Senior VP of sales & marketing, Cobalt Digital

Opinion With conversion gear such as embedders and de-embedders built into mainframe equipment like routers and switchers, the question is being continually raised, ‘are we seeing the demise of terminal gear?’ The answer is exactly the opposite: needs may be changing but there is still major growth within the terminal gear environment. End-user requirements are dynamic, and with the ever-increasing number of telco’s, satellite and cable companies pushing for multi-

APRICO Solutions By Ian McMurray Demonstrating how its next-generation recommendation and targeting engine has advanced to capitalise on the expansion of the content eco-system to multiple screens is Aprico Solutions. The company says that it works with customers in the broadcast and internet industries, across various TV, internet and mobile platforms, to offer a more personalised service that allows content from any source – TV, VoD or the internet – to be tailored to viewer preferences. Aprico Solutions is showing a range of new demos, among them new integrations with TVs, PCs, mobiles and tablets, including secondary screen linkage with a range of mobile platforms; integration with social media, such as Facebook; complete integration (front

channel processing, there is a demand for terminal gear solutions that address the latest broadcast challenges. The need for multi-featured, multi-functional cards providing the necessary space saving advantages is as strong as ever. For example, the rush to 3D, especially for sports, has increased the impetus for 3G processing. Mobile production trucks (outside broadcast vehicles to our European brothers) and studio transmission environments all need to be 3G ready. Many are already processing signals to meet the growing 3D sport environment. The mobile broadcast environment has recently re-invested in MADI for distribution between trucks. MADI provides distribution with minimum signal loss and offers both efficiency and

economy. Using mini-HD-BNC or mini DIN 1.0/2.3 enables multiple cards in a single frame, providing as many as two hundred outputs. Whether you are looking at 3G, Fibre, MPEG encoding/decoding or MADI, all can now be provided using terminal gear. The need for multi-channel Dolby decoding and encoding, a necessity for many transmission environments, has proven costly and space hungry. The transition to signal processing cards containing these capabilities has proven a godsend in many space strapped facilities. For example, Cobalt offers Dolby transcoding on a single card, taking this offering to another level. Equipment that only a few years ago would have consumed 3RU or more (with significant power and

subsequent cooling needs), is now available in multiples within a single frame. Up/down/cross converters with frame sync, audio embed/deembed, Dolby transcoding (and much more) are now available on one card, with multiples installed in a single 2RU frame. The terminal gear card, along with ever-expanding control, configuration and monitoring systems via SNMP or proprietary GUI has provided operational necessities in a single frame. The EBU and US Government requested that loudness control be a part of broadcasters’ compliance needs. EBU R128, ATSC A/85 and ITU BS.1770 are now familiar vocabulary. Initially 1 and 2RU units (some larger) were developed to provide compliance. It soon became obvious that on many occasions, multi-channel solutions were required. Again, satellite, cable and telco’s were at the forefront of this demand. They needed 20, 40, 200+ channels of loudness processing. The terminal gear industry provided the answer, offering multiple loudness processing cards in a frame. What is next? The industry now

Chris Shaw: Rush to 3D has increased impetus for 3G processing

moves towards transmission over IP. Already, terminal gear companies are developing equipment to meet this new need – Cobalt is demonstrating loudness processing over IP throughout IBC. The terminal gear industry is innovative and will continually develop solutions to meet today’s and tomorrow’s dynamic broadcasting challenges. 8.A94

Recommended viewing Digital TV to satellite apps Teamcast By Heather McLean

Aprico Solutions is highlighting the potential of its recommendation engine

and back-end) into service provider solutions with leading p l a t f o r m p r ov i d e r s ; a n d h ow Aprico Solutions’ modular and

scalable technology approach enables simpler integration, resulting in a shorter time to market. 1.A81a

TeamCast is highlighting and demonstrating multiple new products, including a DVB-T/T2 addition to its QoS Measurement Probe range. The company is also releasing its second generation of DVB-T2 modulator. TeamCast says it is addressing various market segments in the EMEA region, including mobile and terrestrial digital TV, wireless video links transmission, test and measurement, and satellite applications. The RQX-1410 is the DVBT/T2 addition to the QoS Measurement Probe product range. This probe – which is said to bring users the highest level of RF signal level

measurement – allows the transmission of different classes of service within the same RF channel (HD or SD contents) using ‘multiple PLP’ technology. TeamCast is also releasing its second generation of DVB-T2 modulator, MT2, in two product ranges: the MT2-2000, arriving as a compact and cost-effective solution for low/medium power transmitters; and the MT2-3000, implementing the Digital Adaptive Pre-correction (DAP) algorithm for optimising high power transmitters. This new OEM module takes advantage of the former DVB-T2 modulator, called Power4-T2, which has been deployed within the Finnish commercial network and extensively evaluated on worldwide trials. 2.B51

Mobile HD broadcasting in the Cloud TVU Networks By Heather McLean Live ENG broadcasting solution pr ov i d e r T VU Networks h as announced the release of a new Cloud-based broadcasting platform. TVUPack Cloud enables professional newsgathering organisations of all sizes to capture live coverage of news, interviews and events in SD or HD quality, and transmit it to a web audience or news station without need of costly receiving infrastructure. TVUPack Cloud allows news agencies and freelance reporters to add another tool to their news-gathering operation by adopting a costeffective Cloud-based alternative to

TVUPack Cloud aims to bring an affordable broadcasting Cloud to the press

traditional satellite or microwave broadcasting hardware. With this platform, live video is captured, optimised and transmitted on the fly via multiple 3G, 4G, Wi-

Fi or WiMax connections. The signal is received and stored in the Cloud, and can then be sent to a Content Delivery Network (CDN) for direct-to-Web broadcasting or news stations for live television broadcast. This allows reporters to distribute live content to web audiences or TV stations that do not have any receiving infrastructure. “Freelance reporters and news agencies are looking for better ways of bringing live broadcast content to TV stations or Web audiences with minimum infrastructure investment. TVUPack Cloud gives reporters a powerful tool to deliver the highquality broadcast content that their audiences demand,” said Paul Shen, CEO of TVU Networks. 3.A40

Switchcraft’s Micro patchbay now has colour-coded options

Video patchbays in colour Switchcraft By Michael Burns Channel colour coding is a new feature announced by Switchcraft for its Micro video patchbays. In total, six colour options are available: red, green, blue, orange, yellow and white. The patchbays were launched last year and provide 96 patch points in a 1RU 19-inch patch panel and 192 patch points in a 2RU panel. With a bandwidth of 3GHz, the patchbays meet SMPTE 424M spec-

ifications for HD patching and offer broadcasters and systems integrators the opportunity to reduce the total number of video patchbays needed or fitted. Switchcraft claims this is especially useful for OB and SNG related installations, but adds that the patchbays can also be used for AES/EBU digital audio patching. The micro video jacks are available internally normalled or non-normalled, and 75ohm or nonterminated. Connections to the rear of the video jacks are industry standard DIN 1.0/2.3 connectors. 9.C49

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New content protection for OTT Conax By Ian McMurray A new security solution for overthe-top content (OTT) distribution

has been launched by Conax. The new solution – which is being highlighted at IBC – is based on the Conax Contego content protection platform. The result, says Conax, will

p r ov i d e d i g i t a l T V s e r v i c e providers with a unified and flexible platform for eliminating revenue threats for all distribution models and all video services – anytime, anywhere.

According to the company, the enhanced solution will fur ther s t r e n g t h e n t h e t e c h n o l og y provider’s commitment to excellence in providing pay TV operators and other distributors of digital pay-content with futureproof, open standard solutions for securing premium content. 1.D69

Q&A

David Pollack, President & CEO, Spacecom Has IBC come at a good time for the electronic media industry? Why? Spacecom is moving ahead with expansion plans as we head towards the launch of AMOS-5 whose high power C-band and Kuband capacities will serve the African markets with connectivity to Europe and the Middle East. During the past year, we have experienced further growth for satellite capacity in our major Central and Eastern European markets. IBC enables us to view all of the newest in HD and 3D and other digital technologies that are the wellsprings of the industry and keep the future bright for satellite operators.

What do you think are the key developments in, or threats to, your market sector? The communications industry has not flagged these past years, despite economic challenges. We see that the demand for satellite services remains strong, particularly in the regions where we compete. We are observing further positive movement in the DTH market whether with the entrance of new players or the merging of existing ones. Spacecom’s technical and service expertise position the company to continue our activities and we look forward to capitalising on market trends, building value for clients and expanding our offerings as we move forward in becoming a multiregional satellite operator.

Why should delegates visit your stand at IBC? Spacecom is gearing up for the AMOS-5 and the beginning of its commercial operations. Visitors will learn about our expansion into new markets and our aim to be a multi-regional satellite services provider. We will be discussing strategic partnerships, long-term satellite programmes and the news surrounding our AMOS-4 and the AMOS-6 satellite programmes.1C36

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Thor fibre family is on the increase Telecast By Melanie Dayasena-Lowe The TR6442i (CommLink), a new product from Telecast Fiber Systems, is a f ibre optic transceiver system designed to carry two intercom channels over a single strand of fibre across distances of more than 40km. Suitable for OB applications, the CommLink features advanced auto-nulling hybrid technology to interface with industry standard party-line and matrix-style intercom systems.

The Thor-CBL-HDMI and Thor CBL-DP join Telecast’s fibre optic interfaces product range

Orchestrating file transfer Aspera By Carolyn Giardina High-speed file transfer business Aspera is showing Aspera Orchestrator, a web-based application and SDK platform for creating and managing automated Aspera file transfer workflows. These include third-party media applications and services – both on-premise or Cloud-based – such as transcoding, quality control and digital marking. According to the company, Orchestrator builds on Aspera’s platform and transport technology to provide application integration through a modular architecture. Content delivery may be partially or fully automated. “Media companies adopting filebased workflows understand the

challenges and benefits better than anyone,” said Jason Goodman, director of product marketing at Aspera. “Despite significant innovations within individual workflow stations (such as production, asset management, and transcoding), the challenge of managing file movements across workflows, both within an organisation, and across locations still plagues the industry. There’s a significant opportunity for studios, broadcasters, online distributors and content aggregators to vastly simplify and reduce the costs associated with receiving, processing, and delivering content. “Aspera’s open partner platform, The Aspera Orchestrator, provides a framework for authoring and integrating predictable, fluid, and rapid content delivery pipelines at global scale.” 7.G11

“Our new TR6442i is the result of several years of research and feedback from SNG, OB and studio operations around the world, and has all of the features these broadcast professionals often need for rapid deployment of communications systems over long distances,” said Steve DeFrancesco, vice-president and general manager of Telecast Fiber Systems. Other products at the show include the CopperHead Pro, Telecast’s latest camera-mountable fibre optic transceiver system, now shipping with a new analogue return video path. Meanwhile, the Cobra II is claimed to be the first technology that permits extension of the industry’s new digital triax-based camera

chains using simple, inexpensive f ibre optic cable. The company says that the system extends Sony’s new high-definition triax camera chains, such as the HXC-100K and HSC-300K, to enable their use over durable, lightweight tactical fibre or within an installed f ibre optic infrastructure. Telecast has also unveiled two n ew m e m b e r s o f i t s r e c e n t ly announced Thor family of f ibre optic interfaces for conversion and handling of DVI signals. The ThorCBL-HDMI is a hybrid cable solution using multimode f ibres for RGB, while the Thor-CBL DisplayPort (DP) provides an alternative to digital display interfaces such as HDMI and DVI. 10.B39

Making media content pay its way TMD By Heather McLean The European launch of Mediaflex Version 4 has taken place. Introduced by TDM, Mediaflex Version 4 provides a portfolio for media-oriented organisations to better create, manage and monetise their media content. According to TMD, Mediaflex Version 4 pushes the boundaries of what MAM/DAM should and can be used for. It includes new userconfigurable screen layouts, along w i t h si g n i f i c a n t d a t a m o d e l enhancements that enable clients to design their own metadata schemes. Workflow developments include new integration opportunities with broadcast technologies, such as AmberFin iCR, Rhozet Carbon

Co d e r a n d Har ris Nexio servers. Fe a t u r e s include a powerful data model for broadcast, media and archives, as well as a critical business reporting platform to enable fast decision Mediaflex Version 4 provides a variety of tools to help generate making across financial returns from media content the media operation. Mediaflex LoadMaster pro- environment. Mediaflex QManager vides load balancing for file-based delivers an intuitive operational user processes such as transcoding and file interface for managing queue prioritransfer, as well as resilience across ties in the content preparation chain. multiple service managers in the SOA 2.C58

Hybrid settop boxes AirTies By Ian McMurray New hybrid set-top boxes based on next generation chipsets from Intel and Broadcom are being launched by exhibitor AirTies. The new STBs are targeted at a variety of markets, including retail and satellite operators. Oriented towards the retail and operator markets, the new Intelbased STB/home media gateways deliver high-definition IP PVR settop box functionality, plus wireless video streaming of IPTV, web TV/OTT, satellite/cable and videoon-demand and content stored on HDD to other connected devices like STBs, smart phones, tablets and connected TVs. The duo of hybrid boxes – named the Air 7410C and the 7410S2 – run on the new Intel CE4200 1.2GHz chipset supporting multi application framework (MAF) and Flash graphics and video. 5.B33

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Nuke software for VFX artists Clear-ed for iPad control

New compositing software like ‘a Swiss army knife for VFX artists’

The Foundry By Carolyn Giardina A new 3D particle system, planar tracking, presets, audio scratch track

and speed improvements are among the features of the new version 6.3 software of The Foundry’s Nuke compositing system. Redesigned spline and grid-warpers, plus a new de-noise algorithm are also available.

The Foundry reports that Nuke’s customer base is expanding beyond visual effects and image processing technologies from f ilm work to commercial work. Certain features in version 6.3 were designed for small and medium companies that use Nuke to create commercials, as well as for movie projects. Nuke Product Manager Jon Wadelton described the new release as a “Swiss army knife for VFX artists across the CGI, film and television industries – each needing different tools to satisfy different demands. “We’ve reached this point by listening to our audience and delivering an assortment of features catering to their unique requirements. This is what makes the 6.3 releases so significant; we’ve tailored Nuke to fit the demands faced by artists.” 7.B21

Prime Focus Technologies By Carolyn Giardina The latest developments pertaining to cloud-based content management system Clear are being showed by its creator, Prime Focus Technologies. The new innovations i n c l u d e t h e l a u n c h o f a n i Pa d application to enable creative and operational staff to remotely access the platform. The Clear app has search and browse functions, enabling the user to complete reviews and approvals and make annotations to video clips. There will be separate versions of the app for dealing with areas including programming, ops and research. “Today, broadcasters and content

Challenges and opportunities in subtitling Subtitling has to adapt to keep pace with the rapid advances in technology, says Gary Glover, sales and marketing director, Screen Subtitling Systems The TV programming market is expanding globally and the growth in payTV across the world is further compounding the demand for greater volumes of content. Combine this with the increase in content being outsourced across Asia and the Middle East and it’s easy to appreciate how

the requirement for localisation and subsequently subtitling is escalating. With a rise in the amount of subtitling languages being used, there is evidently going to be a shift in pattern and a boost in the audience potential. Subtitling is an often overlooked aspect in broadcast but in spite of

this, it is actually a technically complex process and with the rapid advances in television technology and broadcasting per se, the subtitling needs and demands of broadcasters are becoming more challenging. Reliability is understandably a prime focus when sourcing broadcast IT but programme makers, channels and broadcasters alike are insisting on ever higher levels of dependability in equipment and more recently, much greater efficiency. The challenges and opportunities exist chiefly because of the recent video and broadcast technology explosion and the need for those

adopting it to have to seamlessly cope with it all. Regardless of efforts to standardise, the industry has witnessed enormous growth in the number of video formats available and being used, each posing their own individual challenge. There has been a torrent of new TV stations of late. This has been exaggerated by a profound transformation in countries such as Ethiopia who are taking great leaps by offering several new channels showing content made by non-government broadcasters for the first time. And then there are the delivery systems. We are faced with an already vast range of different delivery sys-

owners face many challenges such as the migration to HDTV, f ilebased workflows, multiplatform content delivery and engaging consumers across any device, any place, anytime. Yet they also have to provide increased eff iciencies and higher revenue at lower operating costs, with little or no upfront capita l ex p e n d itu r e ,” s a id R am k i Sankaranarayanan, founder, president and CEO of PFT. “Customers like Star TV have proved that, with Clear, it’s possible to reap the dual rewards of new r eve n u e s t r e a m s a n d r e d u c e d media processing costs,” added Sankaranarayanan. Other customers for the Clear system include the BBC, HBO, Sony, Universal and BCCI. 7.D20

Opinion

Gary Glover: Market has experienced massive changes

tems that, as with every other area in broadcast it seems, continues to expand. Managing the integration of one aspect is a pretty daunting task in its own right but broadcasters need to cope with any and all of them. It doesn’t end there either. Many studios report that they are close to their allowable limit for electricity consumption and with sustainability and environmental impact at the fore of many broadcasters’ business considerations, power-efficient electronic equipment is always going to be viewed favourably. Just as Screen was when our Polistream Black system was developed, designers and manufacturers are faced more now than ever with the challenge of packing much more functionality into fewer units. The market has experienced massive changes over the past few years, some, such as the advent and adoption of 3D technology have generated some uncertainty, and instigated sudden and testing transformations right across the industry. However discreetly, subtitling technology has also had to adapt to and evolve with the industry changes and the challenges they have presented and IBC2011 offers an excellent opportunity to have a close look at the current, state-of-the-art advances in subtitling. 1.C49

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Focusing on content management MSA Focus. “Users feel more comfortable when they can establish exactly how they look at the system, and when they are confident that the data is linked and accessible all the way through the process.” Non-linear schedule dashboard on ForeTV software packages

MSA Focus By Heather McLean Wi t h c a t ch-up and video-ondemand services growing in popularity worldwide, managing the content within the rights available is becoming an increasingly challenging activity. To help broadcasters maximise their commercial effectiveness, MSA Focus is continuing to extend the capabilities of its flagship ForeTV software package. A t I B C2011 MS A Focu s is demonstrating the new nonlinear and sales traffic modules built on Windows Presentation Foundation. The new environment will be completed across the whole of the software suite by early 2012. “We have already had great feedback on our new nonlinear product,” commented Mark Evans, CEO at

Pro audio streaming Sonifex By Paul Watson The new Pro Audio Streamers range from Sonifex enables audio to be streamed around a building using IP audio and Cat5 cabling infrastructure. Three professional audio IP streamers comprise the range, which is on show at the RAI. Each of the streamers has an Ethernet web server and provides MP3 encoding and decoding. The PS-Send converts an audio input to an IP stream; the PS-Play and PSAmp both read an IP stream and then output to balanced and unbalanced audio line levels and stereo speakers respectively. The PS-Send can receive audio from an array of external sources, including balanced and unbalanced analogue audio and AES/EBU & S/PDIF digital. It will then encode the audio and send it to the network. It has six GPIs which can be used to trigger the sending of the audio stream, and this signal can trigger an output relay on the PS-Play and PS-Amp. Once the audio has been sent to the network, PS-Play and PS-Amp can be used to output audio. The PSPlay does so through analogue outputs and AES & S/PDIF digital outputs, and the PS-Amp outputs through direct speaker drivers via a D-Class amplifier. 8.E61

The tools in ForeTV are designed to help broadcasters manage content effectively across all platforms. Given the number of tasks around acquisition, rights and financing which form the background to business broadcast

management, users need to be able to tune the system to present the information they require in a format which is clear and intuitive. MSA Focus is implementing Windows Presentation Foundation across the system to allow users to establish exactly the look and feel they require. Along with the nonlinear management modules, the commercial

sales module has also been updated. It now offers a clear touch-screen system which allows operators to rapidly book multi-day multi-channel campaigns. It also provides links between the broadcast and nonlinear environments so advertisers can book pre-, mid- and post-roll commercials at the same time as linear spots. 3.B40

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Going with the (work)Flow EditShare By Carolyn Giardina Addressing collaborative workflows is the name of the game with Edit-

Share’s latest shared storage and additional technologies. Xtream and Energy shared storage systems offer Avid and Final Cut Pro project sharing, the ability to scale to petabytes, and integration with EditShare’s

Flow, Lightworks, Geevs and Ark. Features in EditShare’s Flow production asset management system include ‘edit-while-capture’ and ‘bandwidth-controlled’ file-based ingest. According to EditShare, patent-pending EditShare Universal File Technology was developed to give users ‘the space efficiency and convenience of single-format edit-

ing without sacrif icing metadata tracking features’. EditShare is also demonstrating the commercial Lightworks editor and the phase one release from the Lightworks Open Source initiative to enable developers to implement features and workflows. Me a n wh i l e , t h e c o mp a ny ’s Geevs playout platform has a new EditShare’s shared storage solutions include Xtream and Energy

user interface and a new sports application with multi-channel, synchronised recording and playback for up to 16 cameras, including instant playout and slow-motion replay. As well as supporting broadcast codecs including AVC-Intra, Geevs supports post production formats Avid DNxHD and ProRes. The new codec supports integration for Avid and Final Cut Pro editing workgroups, aimed at enhancing media migration from production storage to Geevs. According to EditShare, Ark – which provides hard disk and tapeb a s e d o p tio n s f o r b a c k u p a n d archiving – includes a new partial file restoration capability that supports virtually any codec. This element of the specification is designed to let Ark users move only a portion of their media file. 7.C21

Improved subtitling SysMedia By Heather McLean WinCAPS Q-Live is one of many new developments being showcased by SysMedia, a developer of systems for subtitling, telext and multi-platform digital text services. WinCAPS Q-Live is new software for subtitling live and near-live programmes. T h e n ew la u n c h in teg r a te s speech recognition, a powerful newsroom interface and a simplified user interface, all of which are said to improve speed and accuracy. Its partner product, WinCAPS Qu4ntum, is said to bring significant productivity benefits for offline subtitling, including workflow management integration, an enterprise-level knowledge base, and integration with media ingest systems. Speech and language tools are used for speaker-dependent and speaker-independent voice recognition, as well as text-to-speech synchronisation – all designed to cut the cost of subtitling. 3B.67

Looking good to go at SysMedia

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Dolby software is optimised HHB By Paul Watson Fresh developments in file-based workflow are being shown by HHB, including a new software release for the Dolby DP600 Program Optimiser. The new multi-mono support now enables the six discreet .wav files from a Pro Tools 5.1 surround session to be automatically loudness corrected and transcoded at five times faster than realtime. HHB is also showing TC’s TM9 standalone loudness meter, which includes Dual Radar metering and an emulation of analogue PPMs. Wohler’s new MADI-8 Audio Monitor makes its debut on the HHB stand, a device designed to make it easier for broadcasters to implement MADI within their workflows. Also on show from Wohler is the Pandora loudness analyser, the PRESTO 16:2 3G video switcher, and the AMP2-16V rack-mounted audio and video monitoring toolbox. The new SoundField ST450 battery-powered microphone system is also on display, as are the latest offerings from Rode, Genelec, Mogami, PreSonus, Avid and Rosendahl. “The Audio Hall is full of manufacturers making important contributions to broadcast sound in their particular areas of specialty,” said HHB’s Director of Sales, Martin O’Donnell. 8.D56

Redefining the MAM rulebook

Opinion

Advances in the per-terabyte cost of disk drives are bringing file-based operation within reach of every channel says Graham Day, MD, ATG Broadcast Touring the new hardware and software exhibits on show at IBC2011, it is easy to imagine that every broadcast network now operates in an upto-date file-based environment. The reality is that a substantial minority of television networks are still working with baseband video, transporting content by hand from library shelf to playout room and back again: a workflow that has been in place since my earlier days as a broadcast engineer at Granada TV, Manchester, back in the early eighties. The continuing advances in the per-terabyte cost of data disk drives are now bringing file-based operation within easy reach of every television channel. This has the knock-on effect of redefining the media asset management rulebook. Traditional MAM installations impose a huge overhead on their adopters in terms of ingesting archived content from legacy media. The longer the channel has operated with discrete media, the larger its tape and film library is likely to be. This makes the transition to MAM much more formidable than the routine task of ingesting content on an as-needed basis. An attractive alternative to traditional MAM is the use of intelligent automation in tandem with enterprise servers. This gives producers who feel more at home with discrete media the

freedom to keep their content in that domain right up to the point where it is ingested into the playout server. It also eliminates the need for wholesale digitisation of library content prior to the day or week when a specific item is actually required for pre-playout transfer. At that point, of course, the item is ingested and copied to a permanent digital archive. The majority of ATG Broadcast’s clients have already made the transition to file-based operation and appreciate the freedom this gives them to access content from any workstation on their intranet without fear of a tape being on loan to another department (or, worse, being lost or damaged). The long-standing IT caveat ‘Nothing is safe unless stored in three separate places’ still amuses old-style media librarians though they know better than most people the inherent fallibility of working with discrete media. At greatest risk are the vintage analogue videotapes and cassettes given the rapidly dwindling number of transports capable of replaying them. A subtle ‘heads up’ to those clients that haven’t made the commitment to the digital domain: don’t leave it too late. Another major technology driver in the broadcast systems market is the continued rollout of new HDTV channels in response to the huge popularity of HD displays. The adoption of

Graham Day: Use of intelligent automation

satellite-based and DTT standards has brought HD content within reach of audiences in almost every industrialised country and is particularly strong in emerging markets. HD systems have formed the dominant part of ATG Broadcast’s systems activity over the past year and look set to do so in the foreseeable future. Demand for 3G 1080/50p is also accelerating as this standard allows easy implementation of 3D services as and when these are called for. One kind of win-win for the broadcaster. 8.B51

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New switching technology a safe bet Crystal Vision By Heather McLean In a multi-tiered showcase, Crystal Vision is highlighting the advanced

engineering featured in the company’s latest range of modular interface and keying products, all developed in response to customer requests. Products on its stand include a 2x2 switch with a full framestore

synchroniser on each input, a synchronising up/down/cross converter that can perform two different conve r si o n s a t t h e sam e t im e , a n audio/video delay for correcting large lip-sync errors, and enhance-

ments to Crystal Vision’s modular three layer logo keyer. Safe Switch-L 3G provides 2x2 switching between two 3Gbps, HD or SD sources, with a full framestore synchroniser on each input allowing it to correct for any timing difference between the two inputs, resulting in no disruption to the output picture when a switch takes place.

Safe Switch-L 3G looking good on Crystal Vision’s stand

Suitable for planned maintenance switches to manually re-route a good signal around broken equipment, it can also be used as an emerg e n cy tr a n sm is s io n sw itc h by e n g in e e r s wh o d o n o t wa n t to restrict themselves to timed inputs. There is the opportunity to select from 16 different video and audio fault conditions to automatically trigger the switch, including incorrect input video standard, active video black or frozen, EDH errors, a specified audio group missing, and audio silence in a selected group. Up-Down-S 3G is a synchronising up/down/cross converter with signal timing functionality, allowing engineers to synchronise sources timed to a different reference or correct any processing delays while up- or downconverting. Available in five versions to suit a variety of applications, UpDown-S 3G allows flexible up, down and cross conversions between 3Gbps, HD and SD sources. 2.B11

Down from the skies Chyron By Carolyn Giardina The AXIS World Graphics Cloudbased graphics creation platform is being launched to the Europe, Middle East and African markets. The system, which was developed by Chyron, is already being used in North America. Aimed at broadcasters, AXIS World Graphics has been designed to allow reporters, production assistants, news producers and other staff to access prebuilt templates via a web browser to quickly create graphics for multiple outlets, including websites and mobile devices. Accompanying the EMEA launch of AXIS are several new services, including tools for news graphics creation, electronic order management and asset management. These services will be followed in 2012 with new tools to create high-resolution maps, 3D charts and financial graphics. 7.D11

Head in the cloud? Chyron unveils versatile new graphics platform

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Bridging the SDI gap File-based workflows are inevitable but for a while yet, we need solutions that can bridge file and SDI environments, says Peter Jones, general manager, FOR-A (UK)

Peter Jones: More practical file-based solutions are required

As ever, the technology that powers television is changing. Over recent years we have seen the continuing growth of the use of file-based technology in the industry. At IBC2011 there is no doubt that this trend will continue as its extension into clouds will be a big feature at the show. As

the file-based success continues we will see new tools to improve and broaden its workflow, which, in turn, will redefine business models. Currently the main area of filebased applications continues to be in post production and playout – and not in live production. The attractions include exploiting the technical advances and commodity pricing that drive the computer industry, and to use it as a platform for TV operations with the potential of more features for little money. Online media storage uses hard drives and Ethernet is popular for connectivity with network switches providing the routing. While these big changes are in full swing, production, and especially live production, is where everything has to run absolutely dependably. And it remains SDI and will probably be its last bastion. So for a while yet we need solutions that can bridge the file-based and SDI environments, and to manage them efficiently. File-based operation creates

Opinion ‘tapeless’ workflows but it also raises as many questions as it answers. How do you take your file-based video clips with you to an OB and load them onto the equipment there? And how do you deliver finished programmes to the playout suite next door? Also, what happens to the existing video archives and what format should they be in? What’s needed is more practical file-based solutions, and that will be a feature of IBC. On the show floor there will be recorders using the LTO-5 computer tape format, supported by the likes of IBM, that has the data speed and capacity to handle video and, alongside, its LTFS filing system that includes indexing and drag-and-drop simplicity to move files. This is a start but adding SDI I/Os then bridges the SDI/file-based gap and reintroduces the convenience of moving bulk media by tape. With LTO5 supported by the big names in the computer industry it is assured a long active life – making it a very useful archiving medium. File-based workflows have been evolving, bit-by-bit, for years. IBC2011 will show further progress with more ‘bricks’ put into the ‘wall’. 2.A51

The Hi-Motion II system can capture more than 10X high-speed images at Full HD

Slomo moves beyond HD NAC Image Technology By Michael Burns Th e H i - M o t i o n I I U l t r a S low Motion Camera System, says NAC Image Technology, is the only 3chip HD Ultra Slow Motion Camera System in the world capable of capturing more than 10 times normal speed in Full HD (1920 x 1080). The result is said to be improved light sensitivity, as compared to the existing Hi-Motion. The new product – on show at IBC2011 – also implements technology for enhanced flicker correction. Based on its Emmy Award-winning Hi-Motion technology, NAC

claims it has addressed the challenges facing producing sports on HDTV by allowing the broadcaster to exactly match the workflow for the Hi-Motion II to that of the standard sports broadcast environment. The system’s Operation Control Panel provides the user with the ability to adjust image quality with the same look and feel as provided by the ‘high-painting functions’ available from other standard broadcast cameras. Operation and control are available from the Hi-Motion II dedicated controller, as well as an industry-standard EVS XT-LSM s e r i e s s e r ve r f o r s l ow m o t i o n replay and live editing. 9.A14

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The theory of evolution Cabletime By Anne Morris Full support for Consumer Electronic Control protocol on all Medi-

aStar Evolution 780 DMDs (Digital Media Decoders) is among the ‘enhancements’ being highlighted by Cabletime for its MediaStar Evolution range. This product line encompasses MPEG encoders,

LAN-Casters, DMDs and Media Manager software. The Consumer Electronics Control protocol support enables the DMDs to turn screens on and off via the interconnecting HDMI cable. In addition, signals from any IR remote control can be now be received by a MediaStar Evolution 780 DMD at the screen location and then routed

Cabletime’s MediaStar Evolution range has been updated

back through the IP network to drive the encoder’s IR blaster function. A further enhancement is that the Evolution Media Manager enterprise software gives full drag-anddrop control of all Evolution IPTV system hardware and screens, as well as enabling system managers to configure and schedule play-out of all their digital media, video and signage assets. “We are displaying all of the new enhancements to the Evolution range at IBC, which is the ideal showcase,” said Nick Bradford, managing director, Cabletime. 13.373

One server flexibility Etere By Michael Burns Master control enhancements to the MTX IT-based broadcast playout system are among the latest developments from Etere. Building on the virtualisation technology in the Etere Automation product line, MTX now makes it possible to have one server handle such tasks as playout, switching, fade/dissolve, logo insertion and CG functionality.

Etere’s MTX software can increase channel counts without traditional scaling constraints

As well as common preset and preview bars, accessible via touchscreen graphic interface, MTX includes eight logo layers of unlimited size, a CG Crawl facility, audio shuffling, audio control, Dolby E pass-through and video transitions. The system handles both SD and HD, while the touch-screen interface allows control of multiple channels from a single panel. MTX can also form part of a global Etere MAM solution, allowing it to use the same metadata and interface available for ingest, content management, transmission control, traffic, archiving and monitoring. Implementation requires only a card with one input and two outputs to deliver full Master Control capabilities. 8.B89

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Marrying form and function The creative desire for 3D, greater image quality and higher-frame rate capture require manufacturers to respond, explain ARRI Managing Directors Dr Martin Prillmann and Mr Franz Kraus

Opinion

Kraus (L) and Prillman: Software updates continue apace

Here we are at IBC2011 – two years on from our announcement of Alexa and an entirely new roadmap of ARRI digital filmmaking tools. Since then, both the initial Alexa model and the subsequent Alexa Plus have proved phenomenally successful. Adoption of the system has been widespread and swift, with the cameras in use on every possible type of production, from episodic TV shows and documentaries to big-budget 2D and 3D feature films, as well as

prestigious, international drama series. The growing Alexa family is the state of industry; they are one and the same. Just as Alexa and Alexa Plus were studied responses to the needs of the industry, the new models being showcased at IBC – Alexa M and Alexa Studio – are further responses to the changing landscape of digital production. The M is a compact camera head designed for tight shooting situations and optimised for 3D rigs, while the

studio, with its rotating mirror shutter and optical viewfinder, is a direct response to the requests of cinematographers – a camera that perfectly combines cutting edge digital image-making with traditional elements of the film cameras they have known and trusted for generations. Software updates continue apace, with new features such as ARRI Look Files, in-camera DNxHD recording and full quality 120fps expanding Alexa’s functionality. The call for higher frame rates echoes the opinions of filmmakers such as James Cameron and Peter Jackson, whose detailed research has led them to share our view that temporal resolution is the intelligent route to improved image quality. Shooting at 48fps rather than 24fps creates a fluent image with less motion blur, heightening the perception of resolution in the viewer.

With Alexa, this advantage is combined with the exceptional dynamic range we have achieved by not placing disproportionate emphasis on spatial resolution, resulting in images of staggering quality and beauty. 48fps is especially beneficial for allowing greater freedom of camerawork on 3D productions, which are particularly susceptible to pan strobing at 24fps. In lighting, as well as in cameras, we are combining new technology with proven form and function. This concept is manifest in the recently launched ARRI L-Series, a range of LED spotlights that truly integrates the tried and tested versatility of conventional Fresnel lighting fixtures. Making its debut at IBC is the ARRI M40, a new fixture in the Max Technology range that narrows the gap between the 1800 W ARRI M18 and the 18 kW ARRIMAX. Since its launch in 2005, the ARRIMAX has revolutionised the lighting industry; its unique reflector concept for beam control, which eliminates the need for spread lenses, has changed the way lighting professionals work. The M40 shares this Max Technology and offers the same benefits: ease of use and intensity of light output. Finally, the focus of ARRI’s DI Systems department is also on the perfect marriage of past and future, with the ARRISCAN and its various archive accessories preserving and restoring precious, historic film materials for generations to come. 11.F21

In brief COD boosts data delivery This year’s IBC is providing a venue for Signiant to showcase its Cloud Optimised Delivery (COD) solution. The COD system is said to be trusted for a wide variety of mission-critical public and private applications across multiple vertical market segments.The solution enables companies deploying Cloud computing to accelerate, automate, and control the movement of data to/from/between Clouds. COD is said to facilitate seamless connectivity between Cloud applications and cloud infrastructure, and fosters B2B relationships between enterprise and Cloud service providers. 13.341

Increasing ad revenue It has become more important than ever for publishers and content owners to be able to monetise content. In view of this demand, video advertising specialist smartclip has developed an advertising technology, the Universal Television Adserver Interface (UTAI), that is being showcased at IBC. UTAI is designed to simplify video advertising on hybrid TVs such as Philips NetTV, Panasonic VIERA Cast and Samsung Internet@TV, enabling content producers and owners to achieve an effective monetisation strategy on connected TVs. 13.412

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Introducing the Omnia.9 Telos Systems By Paul Watson The latest addition to Telos Systems’ Omnia processing family, Omnia.9,

is receiving its European debut. Designed by Leif Claesson in association with team Omnia, Telos Systems believes that Omnia.9 will be the single most versatile audio processor in the world.

A 3RU unit with two independent power supplies, Omnia.9 is the fourth processor in the Omnia family, which is tailored to fit the needs of any FM broadcaster. The new product has separate processing cores for FM and HD-1 as well as (optional) HD-2 and HD-3, and supports encoding to MP3, MP2, AAC, HE-AAC (including RTSP/3G for

Omnia.9 is the fourth processor in the Omnia family

streaming to mobile phones), Ogg Vorbis and WMA Pro formats.

Fe a t u r e s o f t h e p r o c e s s o r include ‘Undo’ technology, a source de-clipping algorithm and prog r a m m e - a d a p t ive m u l t i b a n d ex p a n d e r t h a t c o r r e c t s ove rprocessed CDs, and the Psychoacoustic Composite Embedder, which allows 100% audio peaks in stereo (potentially up to 140%) within 100% total modulation. HTTP push support for automation, such as dynamic RDS and streaming song titles, is also standard. 8.D29

Mistika gets selected for The Hobbit SGO By Carolyn Giardina New Zealand-based Park Road Po s t P r o d u c t i o n h a s s e l e c t e d S G O ’s M is tik a s y s tem f o r th e majority of stereo and DI work for production and post-production workflows on Peter Jackson’s new version of The Hobbit. The twof ilm adaption of J.R.R. Tolkien’s epic is currently in production. The Mistika system is a part of the stereo 3D production pipeline at Park Road, where it is being used to produce daily rushes for editorial, finishing and grading. It is also being employed for stereo adjustment and EDL conforms for screening. Park Road purchased an additional four SGO Mistika 4K systems earlier this year, including a Mistika Software License Agreement for the Weta Group, to meet the demands of The Hobbit’s production. The facility currently has a total of six Mistika 4K workstations. Weta Digital, which is handling the visual effects on The Hobbit, also has a Mistika workstation. “After seeing the Mistika last year and hearing about SGO and the development team, we decided to go down a path of using the Mistika as the hub for our new digital rushes workflow,” commented Dave Hollingsworth, head of picture at Park Road. “There was no other system that could deal with turning around stereoscopic Red Epic high frame rate material in the timeframe and with the quality that we needed. Working very closely with SGO alongside developing our own proprietary software we have achieved something that is quite incredible,” explained Hollingsworth. 6.A11

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A broader view of the Cloud the Cloud, they often initially think of it from the perspective of using external infrastructure as a service – effectively either outsourcing the media processing itself, or running their owned or licensed applications on an

Mike Nann: In-house deployment resonates with media organisations

Digital Rapids By Anne Morris Ask a sampling of IBC attendees what the hottest topics are at this year’s show, and it’s likely that ‘the C l o u d ’ w ill be one of the top responses, said Mike Nann, director of marketing and communications at Digital Rapids, which is exhibiting at the event this week. “Ask them to describe what the Cloud and its benefits mean to them, however, and you may get many different answers,” added Nann. That speaks to both the broad applicability of the cloud and its benefits, but also to the potential confusion for customers considering how to best leverage the potential of Cloud technologies. “When people start talking about

Encode this! Extron By Heather McLean New from Extron Electronics is the SME 100, a live H.264 encoder for streaming audio, video, and computer-video signals. The SME 100 employs standards-based H.264 / MPEG-4 AVC encoding, and outputs an IP stream that can be decoded and viewed on desktop or laptop PCs. The encoder is designed specifically to address the input requirements common to pro-AV applications. It supports RGB or DVI input signals up to 1920x1200 as well as standard definition and high definition video up to 1080p/60. The SME 100 features an integrated three-input switcher with audio and buffered loop-through connections to simplify integration, and offers a range of compression and bit rate controls. “There are a wide variety of video encoders on the market, but not one that fits the needs of pro AV applications,” said Rainer Stiehl, vice president of marketing, Europe for Extron. 3.A51

outsourced infrastructure platform,” said Nann. “We see it a bit differently. That ‘external’ view is most certainly fundamental to what the Cloud offers, but it’s not the only value. For large media organisations, we see the value

of the Cloud model starting in-house, and then extending outwards.” According to Nann, deploying Cloud technologies in-house takes virtualisation to a new level. “You can elastically ‘spin up’ new resources to expand on an asneeded basis using existing underutilised infrastructure that isn’t dedicated to the task, without sig-

nificant investment to meet those peaks in demand,” he said. T h e d e p loyme n t o f a n “ in house” Cloud resonates with customers that already have large media processing infrastructure investments, or whose security requirements make them reluctant to cede any level of control outside their walls, Nann concluded.

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Symphonic software for camera control Power control demos

Orchestral manoeuvres: Telemetrics’ CPS Symphony Control System user interface

Telemetrics By David Fox An upgrade has been announced for Telemetrics’ camera control

software for multi-camera live productions, par ticularly of symphonies and other orchestrated shows. The new CPS Symphony Control System is a flexible system for controlling camera positions,

CCUs and peripherals, offering efficient, single operator control of operations. The system can control up to 16 cameras/devices per show with flexible transmission capability. Its panel interface allows for manual trim and preset recall of pan, tilt, zoom, focus, track/pedestal, dolly, iris and master pedestal controls. Users can create a storyboard of camera shots where clusters of shots can be recalled simultaneously, or a show can be scripted using shots from the shot bank. The visual presentation of sequential shots is simultaneously timed for on-air pan/tilt/zoom/focus converging moves. When recalling a s h o t , a l l a xe s b eg i n a n d e n d simultaneously. The system offers a wide variety of position presets, which are stored in shot banks of up to 160 per camera and/or 99 clusters of shots. 11.F45

Packet monitoring for quality assurance Sencore By Ian McMurray The VideoBRIDGE products – including the new VB330 – are among the items being shown by Sencore at this year’s show. Sencore produces a wide range of monitoring, measurement and analysis tools. The Sencore VideoBRIDGE family monitors transport packets on IP, ASI and RF interfaces for

continuous quality assurance of streaming media in a variety of compression schemes, including MPEG-2 and MPEG-4. The product line includes advanced core monitoring systems for national networks, edge-specif ic, and even customer-premise applications. New for IBC, the VB330 Dual Port probes add 10GbE analysis capabilities to Sencore’s 1GbE offering. Two new products help enhance and expand this product line: the VB12-RF featu r e s

The VB330 VideoBRIDGE from Sencore is new for IBC

QAM/VSB, ASI, and IP analysis in a compact, portable chassis, as well as the VB242 ASI blade, offering the capability of 13 inputs in a 1RU chassis and bringing high-density ASI monitoring to existing infrastructures. The TSM 1770 transport stream monitor enables engineers to monitor compressed audio, video and data services on any network. With full support for ASI, QAM A/B/C, and IP physical inputs, the TSM 1770 reports transport stream status on the physical layer, protocol a n d a u d i o / v i d e o l ev e l s . T h e advanced IP monitoring option delivers IP layer testing and MPEG layer monitoring on 250 IP services simultaneously. 1.C36

Quality monitoring by multiviewer Universal multiviewers are simplifying master control, playout, and headend operations, says Michel Rudelle, EMEA regional manager, Apantac Multiviewers and flat panel displays are replacing legacy CRT-based and discrete under monitor displays (UMDs) for most refurbished monitor walls or when a new broadcast control room is designed. The benefits of this approach are now well known and include; reduction in space and power consumption, higher flexibility in the size and placement of ‘virtual monitors,’ integrated interfaces with tally and label management systems or general computer-based systems, integrated clocks and counters, availability of various layouts that can be easily recalled from a panel, and more.

Surprisingly, there are still some areas that do not fully benefit from this approach when monitoring systems are being designed. Master control, playout, and headends are examples of applications where a mix of video and computer signals needs to be monitored together on the same display or group of displays. Although multiviewers are used to display video signals on large flat displays, it is still very common to see control rooms desks crowded with an alignment of small fixed size flat displays attached directly to a computer

or via a KVM switch. Universal input multiviewers accepting a mix of video signals (from composite to HD-SDI or even 3G-SDI) and computer signals (mainly VGA, DVI, HDMI) are now available to solve this problem. For example, large flat displays are used to collectively show the On Air and Off Air video signals as well as the main and backup automation computer outputs of several channels in a control room. Due to the high processing quality of computer signals, simultaneous checking of the playlist and relevant video signals can be accomplished efficiently. Different display layouts can be easily recalled by the operator from a simple control panel. For example; one generic layout can be recalled or other layouts that offer a focus on one of the channels can be recalled i.e. larger display window for the focus channel and smaller display windows for the

Peak Communications By Ian McMurray A host of new products and product enhancements are being shown by Peak Communications at this year’s IBC. The company is also conducting a number of demonstrations as well as showcasing existing products and services. Demonstrations include the company’s Automatic Uplink Power Controller, while new products featured include the 70/140MHz to LBa n d c o nve r t e r s sp e c i f i c a lly designed to interface iDirect and Lband modems with existing ‘legacy’ 70/140MHz infrastructures. Kaband Test Loop Translators, SHF Line Amplif iers and a ‘modular’ multi-channel expansion unit for the Automatic Uplink Power Controller are also under the spotlight.

Peak Communications is showing its new L-Band converters

The company says that, when installing L-Band Modems or iDirect Evolution Routers into existing installations with legacy 70/140MHz based infrastructure, the integrator is often faced with the dilemma of either replacing the IF infrastructure or using conversion to overcome the interf ace incompatibility. The P7000i unit is designed to provide a practical solution for integrators when replacing the IF 70/140MHz infrastructure is impractical. 1.B10

Furnace becomes even hotter

New advanced recording and publishing features have been added to Haivision’s Furnace IP video system

Haivision By Anne Morris The sixth revision of the Furnace IP video system from Haivision adds a variety of fresh elements. New advanced recording and publishing features enable clients to capture and distribute synchronised multistream video content.

The VF Recorder module is enhanced to support recording and review of up to four simultaneous video streams associated with a combined video asset. During the recording, HotMarks (realtime metadata) can be applied to all streams either through the user interface or as triggered by third-party control systems. HotMarks enable viewers to search for and jump to specific tagged events quickly. The VF Publisher module establishes automated ingest and publishing of content. After a record process, users can instantly assign content to specif ic groups, make the content available within the web portal, email links to specific users or groups, or deposit the content into third-party systems for further editing. 13.451

Opinion other channels. The ease at which layouts can be recalled allows the operator to work comfortably and switch instantly between different layouts corresponding to a variety of situations. These types of Universal Multiviewers can be easily interfaced to computers via a simple protocol over IP. Recalling layouts, controlling counters, passing information to the user via labels (story names or warnings) are a few of the capabilities that this protocol allows. The Apantac series of Tahoma-DE mUniversal and Tahoma-DL Hybrid multiviewers provide the features to visually monitor video and computer signals on a single display. Apantac is an adopter of HDMI and HDCP, and the Tahoma-DE and DL Series of multiviewers accepts HDMI sources with

Michel Rudelle: Layouts can be easily recalled

HDCP protection. Most current HD settop boxes’ output signal is available as HDMI therefore it is an ideal toolset for a multiviewer to accept HDMI signals for high quality off-air monitoring. 7.K21

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11.09.2011 Challenges to be overcome for gaming on connected devices

Connected TV: Game changer? Android-based

In brief

Android’s Mercury Ultra Slim DVR

STB launched EchoStar Europe By Ian McMurray Showcasing its new range of connected devices for pay TV operators is EchoStar Europe. Highlights include the second generation Mercury Ultra Slim DVR, which EchoStar says is the thinnest ‘connected’ DVR in the world, and which now has increased hard disk drive capacity of 320GB – providing consumers with greater recording space – and HbbTV for portal services. Launching at IBC is EchoStar’s new Android-based set-top box, the HDX-200. With the vast array of Android application developers, EchoStar believes this will enable operators to embrace IP- and internetdelivered services by placing a world of apps at their customers’ fingertips. Also being showcased are operator-centric TV Anywhere solutions, including integrated SlingLoaded technology in the HDS-600RS DVR launched on the UK’s Freesat platform earlier this year, and whole home DVR solutions. Visitors are also getting a sneak preview of Move Networks’ (now part of EchoStar Corporation) IP contact delivery platform, featuring adaptive bit-rate technology, set to enhance the delivery of IP-delivered services across both managed and unmanaged networks. 1.F76

Entertainment creation suites demoed: Applications of 2012 software release and the latest version of the Entertainment Creation Suites are being demonstrated by Autodesk, writes Carolyn Giardina. Among other developments, Autodesk is offering IBC visitors a look at the latest version ofAutodesk Smoke for editing, colour correction and visual effects on the Mac; realtime colour grading and compositing in the latest extension of Autodesk Flame Premium; and a node-based 3D compositing workflow combining Autodesk Maya and Autodesk Flare software. In the latest extension releases, Flame Premium includes RED Epic HDRx media support, while the Smoke extension on Mac OS X adds export support for Apple ProRes. One demo shows a motion graphics and finishing workflow between the 3ds Max Entertainment Creation Suite and Autodesk Smoke.

7.D25

All systems GO

Conference Analysis By Ann-Marie Corvin Pay TV may be where the mass gaming market is now, but the connected TV market is where the growth is according to games developers, production companies and service providers all looking at creating new revenue streams from the platform. In the IBC session Game On! The Convergence of Gaming with TV, Michael Lantz, managing direct o r o f g a m e s s e r v i c e p r ov i d e r Accedo Broadband, predicted that the number of casual game offerings running on connected TVs would increase 10-fold by this time next year. Fellow panellist Stuart Walsh, COO of Pay TV gaming service Play Jam, added that his company was keen to exploit the global footprint of connected devices that is “set to total 1 billion by 2015”. Even high-end console-based games developers are looking to produce “casual” mass market games for a wider market than their cur rent consumer base — which Simon Protheroe, online

Simon Protheroe: “We’ve been successful in getting our customers in front of the TV”

publishing director of Square Enix, acknowledged was “roughly 90% male”. The Tomb Raider publisher said: “We’ve been very successful in getting our customers in front of the TV – the challenge now is taking that online and using interactivity.” TV production companies have already experienced some success on this platform. Endemol’s Managing Director of Games Jurian Van Der Meer said 12% of all viewers

watching UK game show Million Pound Drop now play along while watching the show. However, all panellists acknowledged that there were challenges to overcome before gaming on connected devices became a game changer. “Most electronics manufacturers have not created pay mechanisms, which means there’s no good way of charging the consumer which leads to quite low transaction rates,” said Lantz.

Hiero shot management IBC launch The Foundry By Carolyn Giardina Hiero – a new shot management, conform and review tool from The Foundry – is being previewed at the show. Slated for November avail ability, Hiero is a desktop application for collaborative VFX workflows. It provides a scriptable timeline tool for Nuke that conforms EDLs and parcels out VFX work to Nuke artists. Close Nuke integration allows shot progress to be viewed in the context of the edit, which The

Foundry suggested would free up finishing systems for finishing. The Foundry also suggests that Hiero will reduce the infrastructure work required to keep a VFX team up and running. “Nuke is already a powerful compositing tool, but it’s missing a component many artists need. Hiero provides the missing link functionality currently dealt with either by expensive tools, in-house scripting or a cumbersome manual process. Hiero’s the bridge tool our customers have been asking 3 for,” said Bruno Nicoletti, CTO and founder of The Foundry.

A d d e d c o m p a ny C E O B i l l Collis: “There are no products right now aimed at the commercial and short-form houses with a direct one-to-one match of the Hiero feature set. This release is the f irst step on a very exciting f irst-year roadmap for Hiero. As you would expect, we’re working very closely with our customers – the evolution of Hiero is a highly collaborative process.” Hiero will be available on OSX and Linux in November. A Windows version will follow. 7.B21

Battery links to increase runtime and versatility PAG By David Fox The new PAGlink system of smarter, linkable batteries is claimed to have greater energy density than any other system marketed so far. PAGlink V-Mount Li-Ion batteries link to multiply capacity and runtime, and can be taken on passenger aircraft without quantity restriction. The system will power all classes of camera and allows users to link multiple batteries. Three linked batteries weigh less than

2.2kg but can create a single unit of nearly 20Ah (288 Watt-hours), extending run-time and allowing up to 12A current to be drawn. The batteries incorporate heavy duty contacts designed for high-drain applications, says the manufacturer. PAGlink also creates an intelligent network, enabling batteries to communicate with each other and operate as one. This allows batteries to be charged as well as discharged while linked. Charging can take place on any V-Mount Li-Ion charger. There is a choice of on-battery displays. The PL96T has a numeric

Malta’s GO has chosen the VCAS 3 multinetwork security solution from Verimatrix to protect GO’s revenue streams. GO is Malta’s first quadrupleplay operator and is now offering an integrated telecommunications package including digital television and enterprise services such as data networking solutions, business IP services, and managed and co-location facilities. “Our vision for delivering a wide range of high-quality video services required a state-of-the-art security solution to protect revenue streams across high definition TV, on-demand, time-shift and web applications,” said Kelvin Camenzuli, senior manager at GO. “The close integration of the Verimatrix VCAS solution with the technologies of other partners in the project enables us to rapidly expand the scope of operations and introduce further new services without complicated upgrades or otherwise having to disturb our customers. It also enables deployment of network PVR features for the benefit of the consumer.” At the core of GO’s deployment is a VCAS for IPTV software-based content security solution, which is said to eliminate the vulnerabilities related to smart card-based architectures through the leverage of proven two-way internet security protocols. 4.B54

Staying Alert worldwide Alert FM - the new emergency audio and test-based warning system from WorldCast Systems – is being introduced to the European market. The company believes the new product to be the perfect complement to its established range of Audemat RDS encoders. Already extensively deployed in the US, Alert FM enables managers to reach large numbers of the population with mass notifications sent via terrestrial radio stations, voice, SMS or email. Christophe Poulain, group VP of sales for WorldCast Systems, said that recent tragedies such as the earthquakes in Japan and Spain had highlighted the need for prompt and wide-reaching emergency notifications. “To implement such a scheme requires the involvement of government, broadcasters and system integrators throughout the world,” he said. “Alert FM is the perfect approach to bring these groups together and implement a fully integrated comprehensive and reliable solution capable of reaching millions of citizens within a matter of seconds.” 8.B50

OnTheAir in the studio

Triple play: Showing a multi-battery PAGlink system in use

run-time display, while the lowercost PL96e has a five-LED indicator. The multiple batteries can report their collective state of charge infor mation for display in the camera viewfinder. 11.E20

OnTheAir Studio 2.0 – a new version of Softron’s radio playout application – is now available and aimed at broadcasters that are interested in Mac applications. While graphically similar to OnTheAir Video, Softron’s video playout application, OnTheAir Studio 2.0 sports some features that are specific to radio. Enabling integration with third-party traffic systems, OnThe Air Studio can play out predefined playlists 24/7 unattended; play presets to start jingles and other user-triggered sound sources, and detect the end of the sound in order to perform automatic fade-out. 7.H01

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TV Centre moves to 3G ATG Broadcast By Michael Burns IBC2011 has brought news of a major upgrade of Studio Three at Television Centre in London currently being delivered by ATG Broadcast. Since mid-July, the company has been working towards a scheduled early September com pletion, in partnership with BBC commercial subsidiary BBC Studios and Post Production (BBC S&P). “This project is comparable with the Studio Six upgrade which we completed at Television Centre in September 2010,” said ATG Broadcast Managing Director Graham

ATG’s Graham Day (left) with BBC S&P’s Danny Popkin

Day. “A crucial element of both operations was the need to install, fully test and commission the system in August when the studio’s

activity is lighter than during the rest of the year.” “The upgraded system will be fully equipped for 3Gbps HD-SDI

Take control, monetise your content network

Prototype to tap LED potential Ianiro By David Fox A prototype Fresnel-lens LED light using newly-developed arrays is being shown by Ianiro. The 180W device uses three Ianiro custom assemblies: Solaris LED C (cool white), Solaris LED W (warm white) and Solaris LED WT (tuneable white). Ianiro has been cautious about adopting LED technology, believing it “has been the victim of inflated expectations”, and suggests that its potential is only just starting to be realised. Many LEDs can now be powered up to 3A (compared with earlier 350mAh and 700mAh units), but most are powered at 1A/1.5A for greater stability. To balance perform-

ance and efficiency, Ianiro’s prototype does not push drive current to the maximum. As multidiode assemblies, LEDs can suffer from shadowing, depending on distance from subject and placement of individual LEDs. To counter this, mono-chip arrays, with LEDs mounted closer together, reduce shadow fragmentation as well as improving uniformity and control. Improvements in lenses and hoods to limit shadows enable switching from par-type lights (multi-LEDs with small lenses of different angles) or simple panel units, to true single-front-lens projectors that allow for changing the angle from spot to flood. LED assemblies are also becoming available with better CRI characteristics, suited to TV and

Broadpeak By Heather McLean

A potential design for Ianiro’s prototype Fresnel-lens LED lights

film. Ianiro says it will market-test its early models before final technical data is announced and ergonomic designs released. 11.B55

Sturdy camera cine baseplate OConnor By David Fox The new OConnor Universal Camera Baseplate is designed to adapt small to medium-sized digital cine cameras with on-centre mounting threads to the thousands of standard professional accessories available in the industry. The product provides a sturdy camera platform that is engineered to allow optical axis centring of the lens to the correct rod measurement, says the manufacturer. The baseplate also offers the ability to interface with standard studio bridgeplates for set-ups where large and weighty zoom lenses require solid support. It can adapt any camera to a studio 15mm or 19mm bridge plate by changing out the four vertical 15mm rods. Custom size rods available for specific cameras can be ordered. 11.D617

operation,” added ATG Broadcast Projects Manager Dave Whitaker. “The main vision mixer will have fibre optic feeds from Sony HDC 1500 cameras. Other infrastructure to be incorporated includes a Snell Cygnus router, Crystal Vision signal conver ters and additional glue equipment. Several of the existing production control desks will be modified to incorporate additional equipment panels. We will also be reworking some of the custom consoles LCD-panel monitor stacks.” BBC S&P Head of new business and entertainment Craig White summed up: “With BBC One HD and ITV HD now ful ly up and running, customer demand for HD production facilities is increasing. The investment in 1080 50p for Studio Six last year and now Studio Three enables both to handle all current HD broadcast formats.” 8.B51

Explorer takes off with BGAN: Thrane & Thrane has upgraded its flagship vehicular BGAN terminal, the Explorer 727, so that it can now use Inmarsat’s premium IP streaming service, BGAN X-Stream, writes David Fox. X-Stream means “you can go from 128kb streaming, up to 450kb streaming,” explained Morten Rishoej, its market development manager. “Now it can be used by broadcasters to stream live video. At 128kbps it is essentially audio-only, with occasional pictures.” Depending on the image content and the encoding/decoding system used, the system will now give “very good images for talking heads”. Inmarsat can also bond two uplinks together, to give 750-800kbps from two Explorer antennae, which gives good broadcast quality. Not only are the systems small and usable on the move, the on-demand Inmarsat service has the considerable advantage of not needing to be booked in advance. OE202

The consumer appetite for high quality video over the internet is larger than ever and growing Broadpeak CEO and President Jacques Le Mancq told The IBC Daily. As a result of this growth in demand, Le Mancq said that there is a burden on the network operators who have to deal with the unprecedented quantity of video on their networks: “As recent industry disputes have pointed out, network providers often find themselves held hostage by their content delivery network (CDN) partners. With the growing amount of content being pushed through the internet by CDNs, who often do not provide adequate compensation for the bandwidth usage, service providers are left with little money to finance the necessar y infrastr ucture investment to continue handling the heavy traffic.” To address the situation, operators resort to one of multiple options, continued Le Mancq: “They bite the bullet and upgrade the infrastructure with additional investments. Or they resort to traffic shaping with the risk of degrading the quality of service. The third option is transparent caching, which is rejected by content providers as they do not want to lose control over their content. None of these solutions work effectively, and more importantly, these approaches prevent the operator from generating additional revenues.” What operators need now, said Le Mancq, is a one-stop, effective solution. “Companies like Broadpeak can make this a reality by enabling the network provider to create its own CDN and provide a competitive offer to content providers for delivering video content, and they can guarantee quality of service,” he said. 2.C40b

In brief GlobeTrekker goes SNG Pro An HD (H.264/MPEG-4 AVC) capable version of the GlobeTrekker system is now available from Norsat International. The HD GlobeTrekker SNG Pro is the latest in a series of ultra-portable auto-acquire terminals. Features include Norsat’s LinkControl software (available for Mac, PC or smartphone) and the ability to transmit broadcast quality MPEG-4 and MPEG-2 video. The HD GlobeTrekker SNG Pro is said to be fully DVB-S/2-compliant and to support low-latency MPEG-4 AVC video, analogue/digital audio input and 4:2:0/4:2:2 coding. “This new system represents Norsat’s response to increasing demand from our broadcast customers for innovative HD video solutions,” said Dr Amiee Chan, Norsat’s president and CEO. “The system is ideally suited to the needs of TV stations, mobile news teams, expeditionary groups and integrators. With this system, you can achieve a broadcast quality SD or HD video uplink without any additional A/V capture, encoding or channel upconversion equipment - just plug in a camera.” 1.F75

All routes lead to IP? The Penta 725 IP audio router is an addition to NTP Technology’s range of broadcast-quality audio routing and control systems. It enables audio routing over IP-based Gigabit Ethernet with linear PCM quality and sub-millisecond latency, says the manufacturer. The 1U unit has a capacity of 1024x1024 cross points and can accommodate 64 bi-directional channels via IP. It can also be populated to handle 64 AES3 I/O channels, six optical MADI channels, and optional sampling rate converters interfaces. IP audio entering or leaving the unit can be interfaced on a PC platform using a dedicated Ethernet sound card or its virtual equivalent. The VCM control software is used to select a monitor source which can be made directly available for high quality, low latency monitoring. Two RJ45 Cat6 connectors are available for fully redundant connection. Control and IP data are transmitted on the same IP connection, enabling in-band control of additional IP audio nodes as well as control via RCCoreV3 on the same network. Also new for IBC are NTP’s new router control applications, the VMC II Control software, PPM Panel V2 and 615 remote control panels. 8.B51

Mobius is redesigned The newly redesigned Mobius online web platform is being exhibited by SmartJog. Mobius provides realtime information on deliveries and a unique tool to prioritise file transfers. Shortly before IBC, SmartJog announced that it had deployed servers in over 1,600 locations in 65 countries, providing clients with what the company says is the largest and most extensive network community to send, receive, archive and re-purpose files. SmartJog’s independent network of dedicated servers are configured, deployed and monitored 24/7 by SmartJog Operations. In other recent news, SmartJog introduced a new media streaming solution to connected terminals in France called MediaConnect. 1.B79

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theibcdaily 85

11.09.2011

Multiscreen systems integrator joins IBC

Tomas Petru, president at Visual Unity and owner of it and sister company, Unity Mobile

Visual Unity By Heather McLean Visual Unity makes its debut at IBC

this year. The company is demonstrating how its MSI (multiscreen system integrator) services help broadcasters to integrate web and mobile delivery into existing work-

flows and improve operational perfor mance, to meet the content demands of today’s audiences and secure future revenues. It is also presenting its vuMedia platform. “Broadcasters who haven’t yet implemented a multiscreen strategy are missing out on more than 78% of today’s potential audience and a demog raphic of future big spenders,” said Visual Unity president Tomas Pet r u. “For t hose already providing multiscreen services, the process is too often labourintensive and disjointed from their main workflow, with the selection and preparation of nonlinear content still performed manually.” Smartphone growth is moving faster than any technology in histor y, claimed Petr u. “The f irst iPhone launched just four years ago, but can you imagine life without a

smartphone today? There has been nothing to grow so dramatically. This very new technology has rapidly come to market, so you need knowledge of not only the TV world, but the internet world and mobile world. Broadcasters should have a balanced multiscreen approach; those that do will make money, as that’s where the eyeballs and money is going.” Petru continued: “However, in this dynamic environment, very few traditional broadcast systems integrators have the IT skills to deliver a truly integrated multiscreen platfor m. As an MSI, Visual Unity offers extensive IP video expertise combined with an inherent understanding of traditional broadcast operations. This allows us to optimise existing broadcast workflows to eff iciently deliver web and mobile content, from the point of content planning and creation to distribution and audience engagement.” 3.C35

Qvest Media realises new TV channel Wellen+Nöthen By Heather McLean The Qatar-based news broadcaster Al Jazeera is further expanding its international portfolio, going on air with a news channel for the Balkan region in the Bosnian capital of Sarajevo. As a systems integrator, Qvest Media has announced it has been commissioned by Al Jazeera to handle the implementation of all the associated technical studio, production and broadcasting capacities. “Following the implementation of an SD/HD live infrastructure for Al Jazeera Sports and the realisation of the technical media infrastructure of the Al Jazeera Media Training & Development Centre in Doha, we are particularly delighted that Al Jazeera has again put their trust into

our work and have assigned us the responsibility for one of its international projects,” said Peter Nöthen, managing director at Qvest Media. As par t of the Ger man Wellen+Nöthen Group, Qvest Media has already undertaken various projects for Al Jazeera at its headquarters in Doha, and will now take on responsibility for the further technical expansion of the broadcaster’s international network. As well as the technical design, planning, systems integration and commissioning of a new TV infrastructure, the company will also implement an IPTV solution for distribution and data exchange within the worldwide Al Jazeera network. Once construction is complete, Al Jazeera will report live in the local languages with about 100 staff on-site from a glass studio. At the end of last

Studio project for Ethiopia: Grass Valley finalised a deal at IBC worth $4m to build two studios for Amhara TV in Ethiopia, writes David Fox. It will build two complete greenfield studios for the new regional TV station, which is due on air next year. Grass Valley will provide all the technical equipment, including LDK3000 cameras, switchers, routers, modular products, etc, and manage the entire project, which will include training once the studio is set up. Celebrating the deal on the Grass Valley stand were (left to right): Grass Valley’s CEO, Alain Andreoli; Worku Mengesha, Broadcom, Ethiopia; and Philippe van Walle,Thierry Martin and Jeff Rosica, of Grass Valley. OE301/1.D11,/1.E02

year, Al Jazeera took over the Sarajevo-based station NTV 99 for this project, and this station is now being integrated into the Al Jazeera network as a pan-regional news channel. Qvest Media has been commissioned to set up the entire production and broadcasting platform. This includes equipping the recording studio with camera technology from Sony and a Snell Kahuna HD video mixer, as well as the implementation of a cross-functional studio automation from Mosart. For the production and editing of news reports, Qvest Media is setting up an Avid iNews editing system for more than 40 journalists, a video and audio post production system, a Vizrt graphic system for channel branding as well as for news and info graphics, and a central archive. Solutions from MediaGeniX are

In brief Liquid cooled TV The TLE6800 high-power transmitters from Egatel are designed for broadcasters who want to deploy or extend an analogue or digital TV network. The transmitters feature liquid cooling and flexible configurations. The TLE6800 products contain a modulator that covers the main digital and analogue TV systems, and can operate in MFN and SFN digital networks. They feature power amplifiers based on LDMOS-50V technology with high power density, says the manufacturer. The transmitters offer high N+1 redundancy to ensure maximum reliability, as well as high energy efficiency to minimise consumption and operating expenses. The liquid-cooling system ensures reliable cooling of highpower RF stages in the transmitters while also improving their efficiency. There are multiple options for local operation including through the display of the exciter or a PC connected to the USB port of the modulator using a GUI. 8.C16

From SNG to IPTV

Peter Nöthen, managing director at Qvest Media

to be integrated for content planning and scheduling, while a central playout platform – consisting of in- and outgest video servers from Omneon and a PebbleBeach automation – will facilitate the material exchange. The ingest and news playout is to be controlled using Avid Interplay solutions. The overall production format will be XDCAM HD at 50 Mbps. 3.A35

Dejero Live steps up a level: As exclusive EMEA distributor for Dejero Labs, IDX Technology is showing the latest updates for the Dejero Live Platform 2.0, writes David Fox. Dejero Live is a wireless ENG system that transmits SD or HD video over multiple 3G and 4G wireless cellular networks. Newly added is Store and Forward, which enables news crews to transmit live while simultaneously storing the footage at HD resolution for later transmission back to the studio. Operators can also now choose to transmit in SD or HD using the control panel on the transmitter, as well as upload graphics or finished pieces as files to the transmitter from USB for subsequent transfer. Together with a stationor studiobased receiver unit, Dejero’s new Video Manager provides an online interface to capture, manage and control incoming video sources and their destination. 11.C21

The revised Iocast range of MPEG-4 H.264/AVC HD encoders/decoders and multirate encoders is being displayed by Mayah Communications. More than 10 products make up this family, which is aimed at a wide range of applications covering SNG/ENG to distribution, and web-streaming to IPTV. As well as point-to-point RTP unicast streaming, the Iocast video encoder family provides content distribution applications with RTP or MPEG-TS over IP multicasting, or with 3GPP for traditional mobile video platforms. Additionally, there is an optional Adobe Flash/RTMP streaming feature available for WebTV and all types of streaming servers. Locast encoders support both SD and HD video resolutions up to Full HD 1080i/1080p, while H.264/AVC bit rates range from 78kbps up to 16Mbps. All Iocast devices provide HD SDI inputs and outputs for video and embedded audio, along with the additional audio, video and sync connectors via breakout cables. 8.B94

Audience participation in realtime The latest releases of the NeoGroupe application software portfolio are being showcased at this year’s IBC, including many new features and enhancements. The company is also highlighting the creation of a custom applications division dedicated to tailored development services for media industry clients in ‘interaction application’ areas such as programming, sales, production, broadcasting, verification and notification. Offering realtime text to screen, NeoScreener TV – which was developed in partnership with Media Broadcast Technology (MBT) – enables the reception of audience reaction in realtime. 8.D29

86 theibcdaily

11.09.2011

In brief

‘I wish everyone in Hollywood would stop trying to be a prophet’

Debut for SNG matrix

Conference Analysis

Making its first major public appearance is the new sat-nms MX L-Band mini matrix for satellite ground station applications from SatService. The matrix is designed for use in SNG applications in transportable stations and small teleports. RX/TX-chain routing or redundancy switching applications are also feasible. According to SatService, the sat-nms MX provides the user with an unlimited routing and configuration capability because it is a fully non-blocking matrix that allows switching any input via local and remote control to any number of outputs. With eight L-Band input ports, an SNG operator has the ability to connect the four LNCs of a fully-equipped SNG terminal and to route the inputs of additional transmit chain and modulator test loops – and even of a second receive-only antenna. On the output side, the operator can route these input signals to eight different IRDs, spectrum analysers or other measurement devices. 1.F47

Motorised switch enhances reliability The 60000 Series standard coaxial fourport motorised switch from SPX Communication Technology is intended to be used to automatically patch a transmitter’s output to a dummy load, between main and standby antennas, so bypassing intermediate RF systems. The device utilises single pole, double throw-type limit switches for readout and position indication, ensuring that the switch is always in the correct position. For simple system set-up and maintenance, the 60000 Series switch can be operated locally with no customer input wiring, says the manufacturer. Switching for the device is accomplished using a motor drive with a 115/230 VAC, 60/50Hz operating voltage. A manual option is also available, which is especially useful in emergency situations. The 60000 Series switch is available with 12/24VDC or 115/230VAC control voltage options with no field modifications, in addition to remote control options. The spec includes low VSWR of d1.05 and impedance of 50ohm. 8.E93

Control and content Celebrating its 25th anniversary this year is Universal Electronics (UEI). IBC2011 finds the company highlighting an interactive demonstration of its programmable remote control technologies to provide a detailed look at the changing nature of a remote control’s relationship with content and platforms. The demo includes multiple remote control platforms with different functionality sets, such as Infinity, which features an integrated QWERTY keyboard, a capacitive touchpad for easy scrolling and navigation, and simple multiple device set-up. Also included is support for multiple connectivity options, such as traditional infrared and RF. All of the demonstrated features and capabilities are driven by the Universal Remote Control API (UAPI), a turnkey unified control framework designed to ease development from OEMs and operators. 1.C41

Resolution to natural stereo David Stump: “Native complicates post, but improves your pipeline”

By George Jarrett IBC’s masterclass on comparing the costs and impacts of both native 3D shooting and 2D conversion was a high calibre tutorial that ended with the chilling warning, “3D is here to stay unless we kill again.” Speakers David Stump ASC and Jonathan Banta have been working together on the conversion of the 11.11.11 release Immortals, but went out of their way to use their comparisons to paint conversion and native shooting as different tools. Stump handled the summary of stereo native shooting. “It is heavy on set cost and technical problems, but resolves to natural stereo,” he said. “Native complicates post, but

improves your pipeline. It has a better reputation for the moment, which makes for better box office. “If stereo native is broken, it is hard to f ix,” he added. “It slows down your production to gain better results, and it is expensive.”

Banta summarised 2D conversion. “It does not slow down on-set production, and it can be cost-effective. It is labour intensive, but procedures are fixed. Conversion is an animated movie drawn by hand. And that adds cost to your budget,” he said.

Barcode goldmine for broadcasters

manner. Konecny said it is changing the way that businesses connect to the entire mobile ecosystem, providing a mobile-friendly web presence with interactive marketing tools to harness the potential of audiences on the go. Deployed by clients including AT&T, Parallels and Hostopia, Unity Mobile’s platform provides a robust, cost-efficient multimedia delivery tool, offering end-to-end publishing, marketing and content delivery optimised for any mobile device, network or operating system, via a cloud-based hosted solution. QR codes are becoming an integral part of traditional and digital media campaigns, allowing businesses to directly connect with potential customers, said Konecny. As broadcasters and content owners look for new ways to reach an increasingly tech savvy audience, the deployment of QR codes is growing in popularity. 3.C35

Unity Mobile By Heather McLean Unity Mobile is demonstrating its cloud-based platform for mobile website creation, management and mobile video delivery at its first appearance at IBC. The company is also highlighting the deployment of interactive quick response (QR) codes – barcodes that can be scanned by smartphones – to engage TV audiences in new ways. The focus from Unity Mobile is on helping broadcasters bridge the divide between the TV screen and mobile devices. Dan Konecny, business development manager at Unity Mobile, told The IBC Daily: “Broadcasters engage the consumer on the screen, and we help them take that same experience to the mobile device.

Dan Konecny, business development manager at Unity Mobile

You cannot ignore all these users with their different devices; we are now in a true multiscreen environment.” The company provides a platform that enables broadcasters to build mobile websites and to distribute them in the most marketing-efficient

Touch environment technology draws exceptional response Christie By Michael Burns Christie is demonstrating a unique ‘Touch Environment’ system as one of the main attractions of its stand. The technology preview takes the form of a scrollable video tool on a broadcast studio set, which illustrates football highlights and plays as the match is in play. Player and m a t c h s t a t s a r e d i s p l aye d o n demand, with on-the-fly annotation able to be added at any time. Based on Christie’s MicroTiles technology, the presentation aims to show how interactive multitouch can be used to bring a new dimension to sports commentary. “The response during the first two days of the show has been

exceptional,” said Joe Graziano, market development manager, MicroTiles, EMEA. “We’ll have product ready for market by early 2012. At this stage our target market is anyone considering interactivity as a development tool going forward. An obvious market is for broadcast sets considering the way that business is being driven in terms of interaction. Corporates, retail and education are also big target markets.” The Christie Interactivity Kit differs from other gesture and touch based systems cur rently on the market by offering much faster responses times and up to 16 gestures pointing across the canvas at any one time. The system combines Christie’s MicroTiles reconfigurable seamless

Joe Graziano demonstrates the Christie Interactivity Kit on its ‘broadcast studio set’ stand

display technology using tr ue multi-touch 2D and 3D position sensing, developed exclusively for use with Christie MicroTiles by Baanto International. “It not only offers a stunning visual solution, but also a solution that is exceptionally simple to put together,” said Graziano. “It’s very receptive and very immediate to the touch.” 9.B30

“Conversion is subjective and needs more time, otherwise it will alienate the audience and cost box office,” he added. “Conversion is also prone to error, and crucified by press and public when done poorly.” The way forward, Stump concluded, is to use hybrid methods, “as each challenge is better solved by the proper application of the toolset”. Asked if the time will come when producers choose to shoot natively and conversion drops away, Stump said: “I would say ‘no’ because there are infinite numbers and kinds of directors, some who will embrace shooting natively in 3D and some who will not, as [with Tarsem Singh for Immortals]. And it’s a different kind of movie, a different style of movie. Unless the technology of acquisition changes, there is room for both.” Wrapping up, Stump added: “I wish everyone in Hollywood would stop trying to be a prophet. As long as the studios make money from 3D productions, and as long as audiences appreciate what they see, it is here to stay in both guises.”

Regional architecture for DVB-T2 comes to Africa

World’s largest DVB-T2 roll out Enensys By Heather McLean Multichoice, the multichannel digital television operator across the African continent, has selected Enensys equipment for the deployment of the world’s largest DVB-T2 network over Pan-African countries. After the decision by the Southern African Development Community to select DVB-T2 as the terrestrial transmission standard for the region, Multichoice is rolling out a full pan-African DVB-T2 network with a total bouquet of more than 50 different channels in various languages over 15 countries. In addition to becoming the world’s largest DVB-T2 network, the Multichoice project is also said to be the most innovative, featuring Multiple Physical Layer Pipes, SFN and regional content delivery. The manufacturer is providing the key DVB-T2 elements, including DVB-T2 gateway, local DVB-T2 adapter – T2EdgeTM – and DVBT2 modulators. “Enensys is a great innovative partner,” said Collins Khumalo, president at MultiChoice Africa. “As far as DVB-T2 technology is concerned, they are able to provide a solution to our complex roll out in Sub-Sahara Africa.” 3.B20a