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Please keep quality, says Sony chief Executive Briefing By Kate Bulkley & Ann-Marie Corvin The world of multi-screen is now upon us, but Hiroshi Yoshioka, corporate executive officer and executive deputy president of Sony Corporation, called upon the industry to remember that as we move into an increasingly connected world the key to success continues to be delivering high quality pictures. “Our job is to excite people and I think that quality is the key com- Hiroshi Yoshioka: “Our job is to excite ponent to bring up,” said Yoshioka people and quality is the key component san at his IBC keynote. Sony is to bring up”
fully backing the next steps for broadcasters, such as 4K capture, which he describer as “a supernatural experience”. He highlighted Sony’s camera developments including its 8K technology, which he claimed offers higher image fidelity than any other camera on the market today, even superior to film. Sony is also “actively developing” high quality OLED displays that deliver super sharp images. H e p l e a d e d w i t h d e l eg a t e s : “Don’t settle for good enough. Add value to your work by focusing on quality.”
First Alexa M cameras ship to Cameron-Pace Group ARRI By David Fox ARRI has delivered production prototypes of its modular Alexa M camera to the Cameron-Pace Group. The M was developed with CPG for use in 3D rigs. The ARRI team has been amazingly responsive to the needs of the 3D market by creating the Alexa M,” said CPG Co-Chairman James Cameron. CPG will be the exclusive distributor of the Alexa M in its Phase 1 rollout. “The success of 3D will be based on designing technology that supports the creative process of the
filmmaker; we are excited about the Alexa M towards that goal. The team at ARRI has brought to the industry a great step forward toward quality 3D,” added Co-Chairman and CEO Vince Pace. The front-end of the Alexa M transmits uncompressed RAW sensor data at around 18Gbps to a back-end image processor/recorder using a hybrid fibre optic cable that can also power the head. Weighing well under 3kg, the Alexa M head has multiple mounting points. The fibre means the head can be up to 1km from the body, which “allows for some unique and extremely innovative 3D camera applications. We hope CPG will
Head and body in concert: Arri’s Alexa M on a Cameron-Pace Group S3D rig
take full advantage of them in the months ahead,” said Franz Kraus, managing director of ARRI Munich. The feedback ARRI gets from CPG will help develop the f inal product on version expected early 2012. ARRI will also integrate elements of CPG’s 3D rig automation technology into the Alexa M. 11.F21
NewTek increases its family: The TriCaster line of portable live production systems has been extended with TriCaster 450 Extreme and TriCaster 450, writes Carolyn Giardina. NewTek’s TriCaster 450 series is aimed at making HD production available to a wider number of live video producers with a compact, costeffective system. TriCaster 450 Extreme gains Newtek’s IsoCorder multitrack, multiformat video recording technology. “The TriCaster 450 is a breakthrough product that takes our live switching technology to a new level,” said Andrew Cross, NewTek CTO. “We have been able to pack a 14-channel switcher with full HD virtual sets, keying, multichannel recoding, streaming and more into a portable 2RU system.” NewTek is also showing the TriCaster 450 CS, a hardware control surface for the TriCaster 450 series. TriCaster 450 Extreme is available for €7,995 and TriCaster 450 lists for €14,995. TriCaster 450 CS lists for €3,995. NewTek is offering two TriCaster Extreme bundles during IBC. 7.K11
Ki Pro Mini gets DNxHD support AJA Video Systems By Carolyn Giardina The Ki Pro Mini portable video recorder from AJA will soon have support for the Avid DNxHD video codec. “Video producers and editors are always seeking to ease their workflows and improve the quality of their productions while reducing costs,” said Paul Foeckler, VP creative
professional products and solutions at Avid. “With the AJA KiPro Mini supporting Avid’s high quality low bandwidth DNxHD codec, editing can begin more quickly than ever, easing workflows in film, television and live productions.” Ki Pro Mini lists for $1,995. Support for the Avid DNxHD codec will be available within the coming weeks as a free downloadable firmware upgrade.
“One of the most frequent requests we get from the field is for support of DNxHD in our Ki Pro family of products,” said Nick Rashby, president, AJA. “Avid’s commitment to professional editors has been unwavering for over 20 years, and we’re very excited to bring Ki Pro Mini with DNxHD support as a free upgrade for all Ki Pro Mini owners.” Earlier this year, AJA announced support for its Io Express
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Wireless links with the speed of fibre Boxx TV
Boxx shifter: Walker with a Cerulean wireless link
By David Fox Cerulean, a high speed, zero-delay, licence-exempt wireless link that is claimed to perform like fibre, has been launched by Boxx TV. The portable, point-to-point microwave link carries two video streams or one 3D feed, with no errors and no latency, says the developer, making it an alternative to fibre on productions where cables would get in the way. It works with multiple camera feeds, and can also be a redundant hot standby for critical realtime acquisition. The system uses the undeveloped, extremely high frequency band, 60GHz, which has a transport latency below 2ns, similar to the performance of fibre optic networks. At 60GHz, the beam width is very small, so several devices can operate in the same area without interference, and no spectrum licences apply.
Signals are uncompressed, so there is no encoding delay, and one version supports all HD formats. Field tests and live shows so far have shown that it operates over distances of up to about 500m. “We designed Cerulean for critical acquisition applications, primarily OB and sports. It can be set up in under five minutes. All you have to do is plug the boxes in, tilt the transmitter and receiver to line them up, and it will work anywhere in the world,” said Boxx TV CTO Scott Walker. 11.C66
Twin-lens camcorders and the Olympics in 3D Panasonic By David Fox Panasonic’s new HDC-Z10000 is the first integrated twin-lens 2D/3D camcorder that is officially com patible with the new AVCHD 3D/Progressive standard. It will be one of three 3D models used by OBS to cover next year’s Olympics live in 3D for the first time. The HDC-Z10000 has two sets of 3xCMOS sensors recording FullHD 50p 2D and 3D images, manual operation, and is aimed at bridging the gap between amateur and professional in both quality and cost. “It provides a macro function at 45cm distance, which is the closest of any integrated 3D camcorder yet,” said Christian Sokcevic, Panasonic’s director of Professional AV, Europe. The F1.5 lenses go as wide as 32mm for 3D or 29.8mm for 2D, with a 10x
zoom for 3D and 12x for 2D. It records Dolby Digital 5.1 surround sound or stereo and has two XLR audio inputs with 48v phantom power. Also new is the AG-3DP1 HD shoulder-mount camcorder with 10 bit, 4:2:2 1920x1080 AVC-Intra recording to P2 cards, and two sets of three 1 / 3 -inch CMOS sensors. Launched at NAB, it will ship in December, with a list price of €27,000. 9.B42/9.C45/9.D40
in Avid Media Composer 5.5 and Avid NewsCutter 9.5. Following on from August – which AJA President Nick Rashby described as the “most successful month in the history of the company” – AJA is at IBC with a string of new technologies including UDC, a broadcast quality up/down/crossconversion mini-converter which can convert between SD, HD and 3G video formats. I/Os include SD/HD, 3G SDI input and output, HDMI output and two-channel RCA style audio output. The UDC also supports eight-channel embedded audio.
“We’ve managed to package a ton of power into the UDC, a tiny little mini-converter that isn’t much bigger than a deck of cards,” Rashby said. UDC will list for $695 and is again expected imminently. A few of AJA’s additional IBC announcements include the introduction of Kona LHe Plus ($995) with greater performance than its predecessor, the Kona LHe; and the release of AJA Control Room, a unified crossplatform application for controlling selected AJA Kona and Io products to enable capture, conversion, playback, VTR control and output. 7.F11
Eye popping: A visitor checks out Panasonic’s new HDC-Z10000
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‘The traditional broadcaster is coming out of the loop in some cases’
Live digital sports production Conference Analysis By Kate Bulkley Live sports producers are feeling increased pressure to deliver more coverage, faster, and to a growing number of platforms – from m o b i l e t o we b t o t a bl e t s – a s appetites for immediate access to live games and other spor ting events grow, according to the panel at Live Sports Production: From Tape to Tablet yesterday. “The key is to create content that can be delivered to multiple platforms that you never need to reversion or
modify because every time you put another step in the workflow of your content you are increasing the cost,” said Peter Angell, director of production and programming HBS Group, the FIFA host facility company. The desire to keep younger people attracted to live spor ts and (hopefully) to watching TV is also driving how live sports production works: some 70 per cent of people under 25 years old consume TV with a second screen, said Luc Doneux, head of EMEA for EVS. “Each production is becoming a digital media centre, so we are managing the content and working out
better ways to work with other rights organisations (like mobile operators) to distribute to more outlets that can monetise it. The traditional broadcaster is coming out of the loop in some cases.” Sergi Sendra, director of TV production for Dorna Sports said that the next step for live sport is to add another layer of entertainment and interactivity. “We have all added cameras to live sports and then there is also 3D but that is also an advance in the nature of the picture,” said Sendra. “I think the next big step is into virtuality, so for instance in motorsport you would need extra tools to track
Peter Angell (right): “Every time you add to the workflow you are increasing the cost””
the riders’ bodies on their motorcycles or track the ball in football.” Jason Suess, senior technical evangelist Microsoft, agreed: “We are expanding in a number of different directions including bringing digital experiences to Xbox into the
living room. Right now we’re bringing these experiences to the mobile devices but there are interesting things we can do with interactivity, and especially with Kinect, where we can get people to interact with content using motions.”
Hitachi expands into Brazil Satellite operator lands Hungarian deal version, ISDB-Tb, which will be used elsewhere in South America. Linear’s strong sales channels and s er vi ce s uppor t i n t h e region formed an important part of the decision to choos e t hem, sai d Hideyuki Hagiwara, VP & executive officer, general manager, Video & Communication Systems DiviHitachi goes for Linear growth: Nakamura and sion. Linear also makes Hagiwara on the Hitachi stand at IBC ATSC transmission systems, technology that could be incorporated in Hitachi Hitachi products, while Hitachi, which proBy David Fox vided all the transmission equipment for NHK in Japan, will offer Hitachi is to acquire a majority new technology to Linear. share of Brazilian transmission Hitachi has just formalised the manufacturer Linear Equipamentos, agreement to acquire a controlling with an intention to expand its trans- interest in Linear, so the details of mitter business outside Asia for the shareholding and purchase price first time. “Linear is the number one have yet to be finalised, but it should transmission maker in Brazil,” with be completed this month. technology that Hitachi can use Brazil’s full conversion to terreselsewhere as countries in Latin trial digital broadcasting is schedAmerica, Africa and Asia have uled to take place in 2016 – but as it opted to use variants on Japan’s will host the FIFA World Cup in ISDB-T digital transmission stan- 2014 and the Olympics in 2016, this dard, explained Shinji Nakamura, agreement will put Hitachi in pole corporate officer & general man- position to supply broadcast equipager, Global Business Division, ment to the likes of TV Globo, Hitachi Kokusai Electric. which is already a Hitachi customer. Brazil has created a modif ied 11.F51
IBC celebrates innovation (continued from outer cover ) worked with Grass Valley on a network of servers and touchscreen controllers. CNN’s global integrated news production took the award for content management. The Atlanta and New York newsrooms handle as many as 90 HD feeds concurrently, generating 20,000 assets a week. Their solution brought together a large number of technology partners to provide a seamless service for thousands of users. Still in news operations, the BBC was highly commended for its Jupiter
Tools, providing flexible access to the newsroom by journalists working anywhere, using low cost, web-enabled commodity products. The judges liked the way it hides the technical complexity, giving the journalist in the field something that “just works”. Canadian broadcaster Rogers Media came to IBC last year looking for a platform to link its production bases in five cities, providing staff anywhere with access to relevant content. They identif ied the solution in Quantel QTube, and the judges marked its success with a high commendation.
AMOS Spacecom By Ian McMurray A new multiyear agreement worth up to $7m will see Spacecom – operator of the AMOS satellite fleet – supply Magyar Telekom's DTH (direct-tohome) service, T-Home SatTV, with more bandwidth. Magyar Telekom is the principal provider of telecommunications services in Hungary. When combined with a previous d eal val u ed at $ 7 m , T- Ho m e SatTV's total expansion with AMOS in 2011 is valued at nearly $14m. Magyar Telekom currently has over 260,000 T-Home SatTV subscribers, approximately 30 percent of the local audience, according to Hungary’s National Media and Infocommunications Authority (NMHH).
“Since our 2008 service launch with AMOS, we have created an exciting platform and taken TV broadcasting in Hungary to new heights. To ensure the achievement of our future plans, we are adding more bandwidth from AMOS,” remarked Richard Nagy, head of Strategy Development Group, Magyar Telekom. “Working closely with AMOS gives us a distinct advantage as we add more HD channels and bring new services online.” “Signing a new long-term agreement with Magyar Telekom is a strong vote of conf idence in the AMOS brand in Hungary and across Central and Eastern Europe. We look forward to enabling Magyar Telekom’s T-Home SatTV service to meet and exceed their current and future targets as they ramp up their capacity usage on the AMOS fleet,”
Tonight the Auditorium stages a 3D showcase featuring the events of 100 years ago and 100 million years ago. The evening starts with a demonstration and discussion, led by Don Shaw of Christie Digital, on the prospects of high frame rate 3D. Director James Cameron will then take the stage himself, to talk about the challenges in the 3D conversion of Titanic. The showcase ends with a look at Flying Monsters 3D with Sir David Attenborough, which last night won an IBC Special Award. As well as delighting television audiences the programme is also on release in cinemas and in Imax. IBC visitors can enjoy the movie in tonight’s showcase. It is free for all visitors, and starts at 18:30 in the Auditorium. Doors open at 18:15 so arrive early. German broadcaster ProSiebenSat.1 Produktion looked to streamline its content management and workflows to better serve its audience of 78 million households in 14 countries. IBM delivered the project, backed by BFE and Vizr t. ProSieben’s claim that its $17.5 million investment will see a three year retur n of more than 200% was enough to make it the fourth finalist. Finnish broadcaster DNA took DVB-T2 – an IBC award winner last year – and built a spectrally efficient system using single frequency networks, much of it transmitted from cellular sites. Because it builds on this new, open industry standard, DNA also took the IBC2011 Judges’ Prize.
Last year TV Globo from Brazil won an IBC Special Award for its environmental project Flutuador. This year it was highly commended for Metroethernet, linking f ive cities with the latest f ibre technology to provide 40 Gb/s bandwidths. It developed the project with Cisco and Brazilian telco Intelig. Warner Bros. has a vast and continually growing catalogue, from The Wizard of Oz to the latest television hits. It worked with Accenture and AmberFin to create DETE to provide faster delivery times, more consistent quality and greater efficiency, and made it to the IBC Innovation Awards shortlist.
said Eyal Altshuler, Spacecom’s vice president of sales, CEE. “Hungary is a strong and important market for AMOS and as the market continues to expand, we will be there providing our powerful solutions.” 1C65
EDITORIAL Editorial Director Fergal Ringrose Managing Editors David Davies, Melanie Dayasena-Lowe Production Editor Simon Croft 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 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 00 31 (0)61 362 4321 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.
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Xpression boost and compact switcher Ross Video By Michael Burns R o s s Vi d e o i s s h ow i n g l iv e demonstrations of XPression VS, its virtual set system, on the show floor. Developed with Dutch company Unreel Pictures, it adds camera tracking, in addition to ‘trackless’ functionality, to virtual set environments. The system is part of several enhancements to the XPression live graphics platform that are premiering at IBC.The XPression
Project Server is a collaborative creation and media distribution product that allows users to share projects and move media within a facility or across an entire enterprise, while the XPression NLE plug-in for Grass Valley Aurora editing systems adds to XPression’s existing support for Avid Media Composer and Newscutter. Finally, XPression Prime is a new lower-cost version of the main system, with a streamlined feature set designed to fit into tight budgets. Ross has also unveiled the new Carbonite 1M control panel at IBC.
Octopus on tablets Octopus Newsroom By Heather McLean Newsroom computer system specialist Octopus Newsroom has announced its new tablet-based operation. The Octopus Tablet makes specif ic live information from Octopus Newsroom NRCS available on iPads and Android
tablets to provide personnel on the studio floor, including the anchor, with the up-to-date information they need to run news on air. T h r e e s c r e e n s – R u n d ow n , Anchor and Media – display the latest versions direct from the NRCS of the rundown, the anchor’s script and available media in the form of graphics and video footage. When information in these areas is
It can control two full MLE’s via its unique MLE swap function and shares all the same features of its larger Carbonite 2M sibling. “The Carbonite 1M is aimed at anybody with a compact studio who needs to do productions on a budget, such as small news operations and educational establishment,” said Executive VP of Sales & Marketing Jeff Moore. “This product is also ideal for any live situation including sports stadiums, houses of worships, big screen productions and rock concerts.” Moore said there had been a lot
of interest at IBC in the Carbonite product line. “This is our big introduction to Europe with these switch-
ers and the Carbonite 1M is really the icing on the cake.” 9.C20
updated in the NRCS so are the three tablet views, keeping everyone everywhere up to date and in step with the news. Gabriel Janko, senior sales manager at Octopus Newsroom, told The IBC Daily: “This is our key idea for studios to replace paper. They can get all the information they need now on a tablet, with a rundown list, a presenter view that can also replace a prompter, and a media view with low-res versions of video files. The data refreshes from the server and saves to the tablet, so in
case of network failure, operations can continue uninterrupted.” He continued: “Paper doesn’t refresh and it’s hard to keep track of updates on paper. We’ve been asked by many TV stations, who have already started to use tablets, for this product, so we made it for them, asking key and potential customers what they expect from tablets and what they need.” Jan Pulpan, director for sales and engineering, Octopus Newsroom, said: “Joining the power of Octopus Newsroom with convenience of the
latest tablet computers has huge potential for modernising the flow of information where it is most needed. That is at the sharp end of news production, on the studio floor and at the anchor’s desk. At IBC we are showing how this can keep everyone bang up to date with the ever-changing flow of news, and so hopefully herald the end of out of date paper on the studio floor.” The f irst version of Octopus Tablet is scheduled to be available next month. 2.B19
Jeff Moore, Ross Video with the Carbonite 1M control panel
Keeping in virtual communication RTS By Melanie Dayasena-Lowe New from RTS is the VLink (Virtual Linked Intercom), a fully interc o n n e c t e d, D H C P - c o m p l i a n t virtual communications solution f o r RT S i n t e r c o m s y s t e m s . I t enables remote users to interface with RTS matrix intercoms via the internet using a simple PC-based High end content: CVP has placed a €1m order for Sony’s F65 CineAlta camera and becomes the first European rental house to make a purchase, writes Adrian Pennington. In a deal signed at IBC they purchased 10 F65 kits which, for (list price) €75,000 includes: the F65 body, viewfinder and rotary shutter; a SR-R4 SRmaster dockable recorder (which docks directly with the F65); 256Gb SR memory card, and SR-PC4 SRmaster data transfer unit. “CVP are committed to being the premier supplier to the digital cinematography market,” said Phil Baxter, CEO, CVP Group. “We already have huge interest in F65 and have taken many provisional orders from rental companies and high end content producers in the commercial, drama and feature film markets.” Pictured: Adam Fry, director of AV media and B&I, Sony Europe (left); and Phil Baxter, CEO, CVP Group.
SWR buys first monitors Genelec By Paul Watson Genelec has sold the first batch of its new 1238CF monitors to German public broadcasting station SWR. The broadcaster purchased m o r e t h a n 4 0 o f G e n e l e c ’s 1238CFs at the back end of 2010 for its new facility currently being built in Stuttgart. SWR has a longstanding relationship with Genelec and was involved in the development of the
1238CF, which newly appointed Managing Director Siamak Naghian says has been particularly beneficial. “SWR worked with us on the listening tests when we were developing the product,” he explained. “It’s kind of designed for them, really. We have a very strong working relationship with SWR; they were able to come to us and propose certain requirements, and we were able to give them what they wanted,” Naghian concluded. 8.D61
application, while SIP support provides enhanced connectivity. Two RTS VLink systems are available. The basic RTS VLink-LE system comprises a standalone software/server-based intercom providing limited interconnect functionality into any existing audio feed. The premium RTS VLink system offers intelligent trunking links into an RTS intercom matrix to provide full support
f o r RT S i n t e r c o m a l p h a s a n d matrix access for standard communications workflows. Also new is RTS’ Zeus III LE+ compact digital intercom matrix that supersedes Zeus and Zeus II matrix frames. Offering 16 channels in/out and two conf igurable party line interface channels, Zeus III LE+ provides more options for smallerscale applications. 10.D20
Fork system heads for the Clouds Building4Media By Carolyn Giardina P r i m e s t r e a m c o m p a ny B u i l d ing4Media is moving towards offering its Fork production system in the Cloud through new Remote Navigator software. The Fork Production Suite is cross platform production automation s o f t wa r e f o r n ew s a n d s p o r t s reporting. Remote Navigator – available next month – was effectively developed to allow clients remote access to their content. Building4Media will take the model a step further with Fork Xchange, planned for a Q1 2012 launch, which would allow the sharing of content stored in multiple locations. The company is also presenting its Mobile2Air iPhone app, which allows remote contributions of content into the Fork system. “The value is speed and the value is
‘Value’ added: B4M’s Claudio Lisman, Warren Arenstein and Sergio Castillo
adding any amount of people who are capable of acquiring content,” said Warren Arenstein, VP business development. The National Football League in the US is already using the app to enable producers to contribute
content during football games, while ATV in Peru is deploying it for news production. Mobile 2Air is currently available for Mac OS X, and Android support is planned for 2012. 7.D21
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GigaContent proves case for Nevion JPEG2000 platform
Eugene Keane, Nevion, with GigaContent CTO Brian Slott
Nevion By Michael Burns Danish service provider GigaContent has launched its new video content delivery service, GigaEasylink, with the help of Nevion. The service provides broadcasters and media companies with the ability to access and broadcast video content from any event across Denmark in full broadcast quality.
GigaContent chose Nevion’s Ventura VS901 encoder/decoder card, basing the decision on the platform’s low latency JPEG 2000 compression and flexible bit-rate, as well as factors including reliability, modularity, and ease of use. The Ventura system integrates with GigaContent’s GigaBooking service, which allows easy online reservation of connections. The GigaEasylink service also facilitates the way content is accessed, shared and transmitted across the country.
Extracting Linear audio Linear Acoustic By Paul Watson Linear Acoustic has launched AERO.f ile, its f irst ever nonrealtime processor. Historically, all Linear Acoustic’s products have been hardware boxes with realtime processing, but AERO.file, as the name might suggest, works totally in the file-based domain, and is a software-only product. AERO.file takes a file – from a media server, for example – that has not been normalised for loudness, and perhaps is only in stereo, and ingests it and indexes it so that the user can see what’s inside. If it’s a container, like MFX, it will open the
AERO.calm was co-developed with Cobalt Digital
container and extract the audio essence down to a wave file, leaving the video to one side. “This is all about the audio processing,” explained Linear Acoustic’s director for business development in EMEA, Anthony Wilkins. “And with the whole world
“We had extensive testing for over two months in Copenhagen and found this was by far the most reliable product and the most suitable for our new service,” said Brian Slott, chief technical officer for Gigacontent. “We’ve already sold our first GigaEasylink service to a leading Danish broadcaster, so we’re extremely pleased with the results.” “Gigacontent is a great reference customer for our new VideoIPath technology, particularly validating our JPEG 2000-over-IP compression technology in one of the best service providers in Europe,” said Eugene Keane, Nevion president of media networking. “The show has been excellent,” continued Keane. “We’re showing our VideoIPath technology for the very f irst time. It’s unique tech nology that is probably the f irst time that people can protect video services over IP in such a small form factor. Rather than needing lots of big boxes, we do it all on one small card.” 8.B70 going f ile-based nowadays, this product is particularly important for us.” Linear Acoustic is also showing its unique AERO.calm, using Carbon Technology, which was codeveloped with Cobalt Digital. AERO.calm allows broadcasters, through the use of metadata, to allow end users access to their dynamic range processed version of the audio, or the original audio. “It’s sort of a hybrid metadata system really,” said Wilkins. “Effectively, what it’s doing is processing the Dolby AC3 dynamic range parameters in realtime.” Using AERO.calm, the broadcaster can choose at the point of transmission to send audio that is either permanently processed, or so that the dynamic range is recoverable by the end user. 8.D29
High Fidelity HD television launch Evertz By Michael Burns High Fidelity HDTV (HiFi), a Canadian speciality broadcaster, is launching an HD facility based on Evertz’ file-based solutions, which include Mediator, Evertz Media Servers, and OvertureRT LIVE for playout. High Fidelity HDTV broadcasts four high def inition channels (Oasis HD, eqhd, HIFI, and radX) for worldwide distribution on
satellite and cable services. It also provides playout services for other c h a n n e l s s u c h a s G l a s s b ox ’s BiteTV and auxTV channels. High Fidelity is currently completing construction of its new broadcast centre. Project Manager Wayne Scrivens said, “Media servers are a brand new product for Evertz, but my past experience working with Evertz made me confident that they had the dedication and resources to deliver what they promised.” At the centre of this new build is Evertz Media Servers (EMS).
Three EMS Media Ingest clients a r e u s e d a t H i Fi f o r i n g e s t i n g material and the central storage is executed by Evertz’ SuperNAS. I n t h i s c o n f i g u r a t i o n , E ve r t z delivers 140TB of storage utilising enter prise-quality SAS drives, expandable to multiple Petabytes. Fo r c h a n n e l p l ayo u t , H i Fi has deployed 14 OvertureRT Live systems to manage playout for the seven broadcast paths (primary and backup). The system provides H i Fi w i t h c o n t e n t p l ayo u t o f 6.0TB from its on-board storage.
Racing to IBC: See Marussia Virgin Formula 1 driver Jerome D’ Ambrosio on the Quantel stand 7.A20 at 15.30pm today. There will be opportunities for questions, autographs and a competition. The 25-year-old Belgian driver joined Marussia Virgin Racing in 2001 following a season as Team Reserve Driver with Renault F1 and GP2 series driver with DAMS. An up and coming F1 star, at IBC today — don’t miss it!
SMPTE plans for the future By George Jarrett To promote its Forum on Emerging Media Technologies in Geneva next May, SMPTE f ielded a group of heavy-hitters at an IBC meeting to review what might be coming at us five and 10 years’ hence. The forum will be a joint effort with the EBU – and TVBEurope has been named as media sponsor for the planned event. First up was Walt Disney Studios’ VP of digital production technology Howard Lukk: “New frame rates are coming out that need to be supported, and the other issue is, can we get to a standardised file format? It doesn’t do us any good not having standards for transferring content screen to screen. There is a digital ripple all the way through the whole film-making process.” Chris Johns, chief engineer at BSkyB, conjured up ECQ, and said his greatest fear is “a product arriving in the industry to which we cannot deliver. We have to maintain efficiency, choice and quality as we are going through the system. We don’t want Disney to have to deliver us a file we have to transcode and then implement, because movie houses do not like us fiddling with their products. There is going to be a lot of commonality in defining new standards. “The digital age is going to mean that things happen so fast that there I n a d d i t i o n , O ve r t u r e RT L ive allows HiFi to create in-show promotions, data-driven graphics, and other branded looks. For content management HiFi is using Evertz Mediator software t o m a n a g e m e d i a a n d p l ayo u t devices. The standard workflows include bar code management of physical assets, ingest of tape and f ile-based material, quality control, integration with Avid for promotional material, transfer management of assets from central EMS storage to the OvertureRT L ive , a n d u s e o f M e d i a t o r Playtime automation for linear channel playout. 8.B40
will be other huge great steps that suddenly happen, and we can’t even start to imagine them now,” he added. Johns also stated that standardsetting organisations must catch up and keep pace. SMPTE President Peter Lude pointed towards 4K as a next step. “Almost 10,000 movie theatres are routinely showing 4K content, and Sony has introduced a 4K consumer projector, so it is already starting to happen, with spatial resolution far beyond what you get today with HD,” he said. “Bit depth, high frame rates, 3D are all going to be a big part of what the future holds, along with everything we hear about mobile inter active, social connected media,” he added. “We have to think about bandwidth, storage and processing requirements. Consider file-based workflow for 4K 3D movies, shot at 60fps. When you do the math on that you end up with extraordinary requirements for storage, networking, connectivity and processing speeds.” Lude believes manufacturers will leverage IT technologies. “That may be the biggest trend. How can we utilise good work already being done and driven by other industries? We need media specif ic storage and networks to support the metadata, the sustained bit rates and the infrastructure.”
The IBC Daily is online now Today’s IBC Daily is also available online now in a full digital edition version. The online IBC Daily is an ideal reference copy that you can view anywhere, anytime. The entire archive of IBC 2011 Dailies will remain permanently online on TVBE’s website, and stories or pages can be clipped and downloaded or printed for your reference and company distribution. See all of this year’s IBC Dailies online at: www.tvbeurope.com/ ibc-digital-editions
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
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12.09.2011
A prize for vision
The Super Hi-Vision system in test at the BBC earlier this year
The IBC2011 Conference Award was presented last night to Yukihiro Nishida on behalf of his fellow authors K Masaoka, M Sugawara, K Ohmura, M Emoto and E Nakasu of broadcaster NHK (Japan Broadcasting Corporation). The development of NHK’s Super Hi-Vision system has been keenly tracked at IBC over the years. It was f irst shown here in 2006, and in 2008 the demonstration
featured the first international transmission of Super Hi-Vision content, including live broadcasts from the centre of London. This year the demonstrations, located in the Future Zone in the Park Foyer, are once more drawing huge audiences. Yukihiro Nishida’s paper sums up the extensive research and development which has gone into this project. In particular, it looks at the core work on the human perception
of scenes. NHK (Japan Broadcasting Corporation) researchers needed to determine just what factors give you a sense of ‘being there’, before they could identify the technical parameters for the system. The decision to use a screen size of 7680 x 4320 pixels is justified by the work and detailed in the paper ‘Super Hi-Vision system offering enhanced sense of presence and new visual experience’. It was delivered yesterday morning in the conference, in the first of the Cutting Edge Technology sessions, part of the Technology Advancements Stream. The IBC Conference Award is given each year to the paper which most impresses the panel of peer reviewers who make up the Technical Papers Committee. They are looking for rigour and innovation in the science, but also clarity and imagination in the presentation. “This is a particularly impressive paper, explaining complex technology in a clear and concise manner,” said Nick Lodge, chair of the Technical Papers Committee. “It provides a perfect introduction to ultra-high definition television and the highly innovative technology designed to provide audiences with a new and immersive visual and aural experience.”
Starz Ent installs Observer Enterprise ing. It also supports compliance for closed captioning and interstitials run on the Starz Entertainment premium channels. “The Volicon Observer system was the best fit for our operations because it provided the monitoring and recording functionality we
required, along with an interface that we felt was the most friendly By Carolyn Giardina for a broad group of users,” said Greg Luedke, senior broadcast Starz Entertainment has installed engineer at Starz. “The Observer’s Volicon’s Observer Enterprise video web-based interface and easy-tomonitoring and logging system at its use search capabilities allow staff to Colorado, US, facility to monitor 31 find record times or elements such SD and 14 HD channels as closed-captioning. across the company’s B e c a u s e i t ’s p r e t t y premium Starz, Encore well a turnkey system, and Movieplex channels. it requires little interThe company has also vention by engineerlaunched its first Spaning to get users up and ish-language channel, running.” along with two new HD The Observer also channels, again using the enables monitoring of Observer Enterprise. all audio tracks – The Volicon system including Dolby, PCM enables the Starz broadaudio and SAP audio – cast operations group to and allows operators monitor off-air channels to shuffle languages and provides engineers identified as primary with tools for both moniand secondary audio toring and troubleshoot- Greg Luedke, senior broadcast engineer at Volicon system user Starz tracks. 7.J16
Volicon
The Future of TV is here Integrated. Multi-Device. Socially-Enabled. 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. Production: Hall 11.F20 Tel: +44 (0)1904 438 000 EXT 2
Management and Delivery: Hall 1.D71 Email: IBC@KITD.COM
Web: KITD.COM
DTV monitoring now 4.1 Agama Technologies By Ian McMurray End-to-end quality assurance and monitoring solutions provider Agama Technologies is showcasing the DTV Monitoring Solution. With tailored components for head-end, delivery network and in-home monitoring, the Agama DTV Monitoring Solution scales to the largest installations. Implementing this solution
allows users to gain both realtime and historical understanding of the actual service quality from inside the head-end to each individual subscriber. At this year’s IBC, visitors have an opportunity to test-drive the forthcoming version 4.1 of the DTV Monitoring Solution. Some 60-plus cable, IPTV and DTH operators worldwide use Agama’s solutions to control their service quality and to ensure their customers TV experience, says the company. 4.A55
D-VDN is designed to enable a consolidated approach
‘Holy Grail’ found at IBC Edgeware By Ian McMurray Edgeware is discussing and demonstrating its Distributed Video Delivery Networks (D-VDN) strategy, architecture and technology at this year’s IBC. Reflecting the rapid evolution of the network operator’s role, D-VDN is designed to enable operators to take a consolidated approach to video services. Edgeware says a consolidated, IP-based infrastructure with a single video delivery network that allows the management, delivery and monetisation of differentiated high quality video services is the ‘Holy Grail’. Accordingly, Edgeware has announced products and technologies designed to enable operators to move beyond a fragmented
approach to a consolidated infrastructure of video service delivery. These new elements focus on three main areas that affect the operator’s bottom line. The f irst area is scalability. Edgeware says that its new purposebuilt appliances allow operators to rapidly and cost-effectively scale sessions for IPTV and OTT video services. The second area is investment protection. These new solutions, says Edgeware, offer high investment protection and keep operators CapEx low. Finally, there is monetisation, with Edgeware claiming that it provides tools, techniques and technology that give operators the ability to participate in the revenue stream rather than just continue to be a victim of the traffic load. 4.B71
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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 Matrox is a registered trademark and Matrox Convert is a trademark of Matrox Electronic Systems Ltd. All other trademarks are the property of their respective owners.
12 theibcdaily
In brief
12.09.2011
Commercial breaks and business models
ViBE VS7000 announced New for IBC from Thomson is the ViBE VS7000 Video System, which is described as a fully integrated IP video solution for convergent applications such as Web TV and over the top service delivery, traditional IPTV, and IP/cable delivery. The ViBE VS7000 video system combines all major audio/video codecs, the latest adaptive streaming formats, and what Thomson describes as a resilient IT platform for native redundancy and scalability. 5.A17
smartPortal launches The smartPortal platform from Smart Electronic is designed to bring media such as videos, pictures and music, internet services and service provider media centres to end-users. The portal uses hybrid receivers CX10, VX10 and ZappiX HD+. Employing the smartPORTAL red button functionality (HbbTV) allows users to access the media centres of their service providers in order to receive a variety of internet-based programme offers directly to the TV in the sitting room without the need to turn on a PC. 3.A24
Octopus welcomes all IPTV specialist Vianeos is showcasing and demonstrating product lines based on its Octopus middleware to professionals in the IPTV and creation, management and delivery of content arena. The company is welcoming IBC visitors to view full demonstrations of its IPTV solutions for the telco, OTT, hospitality and corporate sectors. 2.B39D
Dimetis pressed into use Dimetis has announced that the German Federal Press Office is a user of the Dimetis Boss Stream Recorder. The FPO employs the recorder for the documentation of regular news, political magazines and other politically relevant television programmes. By integrating the Boss Stream Recorder for transport streams (DVB ASI/IP) into existing media technology, Dimetis says that easy and quick application via an intuitive GUI is possible even by nonexperts. It allows definition of the recording period to the nearest second with a permanent error analysis of signals. 4.B77/1.B11
OMD Worldwide CEO Mainardo de Nardis is one of today’s keynotes in the Forum
Despite the recent rapid rise in subscription-funded television, adver tising remains a critical source of revenue for broadcasters. The good news is that, while all adver tising markets were suppressed in the recession, television is returning to health a little faster than other platforms. How can we build on what little growth there is in advertising? How
can the inevitable fragmentation across platforms be harnessed to provide continuing funding for high quality content? Does the answer lie in new business models, developing technologies or increased creativity? These questions and more will be debated in a full day of conference sessions on advertising. It opens with a plenary session The Challenges for Adver tiser Funded Broadcasting at 9:00 this morning, in the Forum, including a keynote presentation from Sir Martin Sorrell, one of the world’s leading figures in advertising and CEO of the WPP Group. He will offer his thoughts on some of the central questions, talking about how the connected TV and multi-screening offers the chance for a new relationship between advertisers and consumers. Also keynoting the session is Mainardo de Nardis, the CEO of agency OMD Worldwide.
It will set up a debate on the future of advertising, questioning whether free to air television has a future or if some form of direct payment model is inevitable. Joining the panel will be representatives of adver tising agencies, business analysis and technology suppliers. The connected TV and multiscreen debate is picked up in the second session, How Does the Second Screen Change the Advertising Paradigm? a panel debate at 11:00 in the For um which includes Mascha Driessen, head of YouTube and display at Google. Will users engage with interactive and multiscreen advertising or is this a technology in search of an application? If so, how can its success be measured, and how can its return on investment be evaluated? Or is the traditional 30-second television spot still the best way of reaching an audience? Google certainly thinks so, investing millions across Europe, on television and billboards, at the beginning of this year. After lunch, representatives of new and old media and agencies discuss creative and commercial trends in advertising, and if the lead of internet companies is a sign of the
health of television as a commercial platform. The session Dead, Dying or Rejuvenated? TV Ads are Back and the Internet is Booking TV at 13:30 in Room E102. Emphasising that the future of television advertising is a complex q u e s t i o n wh i c h w i l l o n ly b e answered by concerted action, the day ends with two parallel sessions, one in the business of broadcasting stream and one in technology advancements. The first session, What Business Metrics are Needed to Enable New Business Models in Room E102 at 15:30 looks at the business metrics which need to be put in place to track the new, multi-track, multi-screen world. The second session, Targeted Advertising – Services Targeting Individuals and Individuals Targeting Services in the Emerald Room, also at 15:30 looks at the latest developments in targeted advertising, looking to the future with potentially powerful tools like set-top boxes capable of identifying who is watching the television and automatically delivering commercials to suit them. All this and more throughout the day in the conference, as IBC debates the prospects for advertising.
Workflow: promised but seldom delivered Opinion Tobias Soppa, CEO, Ceiton Technologies shares reflections on workflow and efficiency Content production is far more complex today, and needs to be more efficient than ever. Buzzwords like workflow and process optimisation have appeared and many software systems seem to come with an ‘embedded workflow engine’. Marketing promises perfect and streamlined workflows with nice graphical editors – all simple and easy to implement. Efficiency all over! But is that reality? Why are most of the business processes still controlled manually by Excel and documents stored on Sharepoint? Why is communication with clients and suppliers driven by e-mail and Jira? Why is accounting not automatic and why do we not get actual numbers on SLA’s, utilisation or for forecasting? Why are people always
overloaded and busy with firefighting? What you often hear on the tradeshow floors is ‘Now that we have an archive we do not know how to get our content in or out efficiently’ or ‘We have customised our solution over two years yet it still does not support our processes as required.’ That is what buzzword usage does: overpromise. If you are interested in the workflow and efficiency topic, I would like to give you some background information to reflect on: 1. Workflows are typically driven by people. Until we have intelligent robots this will not change, no matter how much automation we implement. That means a workflow system must be able to design forms for employees, freelancers, customers and suppliers. When designing these custom forms, lists and screens, they must be flexible and dynamic in order to support the process steps. 2. Workflows need to integrate systems as well. However, integration between systems, via fixed web services as APIs is not modern at all: it leads to high costs and ends in complex dependen-
cies. Data exchange on backend as well as frontend needs to be centralised in an EAI (Enterprise Application Integration) system if you need to integrate more than three systems. 3. Whole production processes, or extended supply chains cannot be managed by specialised sub-systems. A dedicated, managerial workflow system needs to coordinate the different aspects of a workflow, like human tasks, and automated tasks for technical and business systems. The automation of coordination is definitely a complex and separated task for a specialised system only. 4. If you believe process transformation and optimisation into systemdriven workflows is easy and possible with simple editors you are wrong. Reality is more complex than a graphical tool can cover. Workflow design, at least at the beginning, needs experienced consultancy, and powerful and dynamic functionality in a variety of advanced disciplines. This is not to say that workflow capabilities of sub-systems are not useful. They are – within their scope of
Tobias Soppa: Workflows are typically driven by people and need to integrate
function. However, only a real workflow management solution can deliver true efficiency, transparency, and operational excellence. Together with major clients, Ceiton has pioneered workflow management in the media and entertainment industry for 10 years. Learn what is possible for your organisation at www.workflow.tv or visit Ceiton. 3A60
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Tour de France uses 27 video feeds Globecast
Vietnamese broadcaster extends channel capacity
By Ian McMurray GlobeCast was on-site at the Tour de France to provide the French national broadcaster France Télévisions with a complete solution to broadcast every stage of the race. On each day of the event, GlobeCast delivered 10 hours of satellite transmission and f ive hours via microwave for France Télévisions. The mobile units responsible for these transmissions were spread out along the entire course, involving about 30 professionals and technical experts for the length of the race. GlobeCast’s mobile units – 21 in total – were stationed on the starting line as well as at intermediate points on the course. For the final few kilometres, a digital microwave transmission truck, also operated by GlobeCast, broadcast coverage of the arrival at each stage. In addition, footage from helicopters and motorcycles was received at the finish line from the Atlantic Bird 1, Atlantic Bird 2 and Atlantic Bird 3 satellites. The infrastructure put in place by GlobeCast allowed the broadcast of up to 27 simultaneous video
Ericsson By Ian McMurray
Mobile units were stationed all along the course for continuous coverage
feeds to the ‘hub truck’ used by GlobeCast to offer coverage of the race in its entirety. Beyond the sheer technical performance, the implementation of this operation was the result of close collaboration between teams from GlobeCast, outside broadcast production company SFP and France Télévisions. “Signal transmission is an essential element in the coverage of the
Tour de France,” said Yves Dumond, who, as the vice-president of sports for France Télévisions, is in charge of production. “For many years, GlobeCast has been a loyal partner for France Televisions; this close collaboration has allowed us each year to improve the technical means that we put in place, until finally arriving at the one we have today, which is world famous.” 1.A29
Vietnam Television Corporation (VTC) has extended channel capacity across its HD and SD services through the deployment of Ericsson compression products. Ericsson’s solutions have enabled VTC to roll out a further 20 MPEG-4 AVC HD channels and an additional 70 MPEG-2 SD channels to its satellite customers across Vietnam. “We continue to make a strong commitment to quality, both in terms of the programming on offer and the way in which we deliver it to our viewers,” said Dr Thai Minh Tan, CEO, VTC. “High definition content is becoming increasingly
popular among our subscribers, and we have therefore responded to this by increasing the number of HD channels we can provide. We have experience in working with the Ericsson team to provide enhanced TV services in the past, and were therefore confident that Ericsson could once again provide us with the reliability and performance levels we required.” Ericsson has supplied VTC with a solution comprising the Ericsson Video Processor Chassis (VPC) and its EN81XX MPEG-2 SD and MPEG-4 AVC HD encoder modules. The VPC is offered as a high density, multi-functional, video processing platform that the company says meets the requirements of today’s broadcasters. 1.D61
The Vantage range is featuring at this IBC
DSLRs go under cover during storm Petrol Bags By David Fox Although some high-end DSLRs have weatherproofing, most video DSLRs do not. Now, Petrol Bags is offering a way for DSLR owners to work safely in bad weather in the form of the new Transparent DSLR Plus Rain Cover. The new cover has been designed to safeguard DSLR cameras equipped with video accessories – for example, a viewfinder, follow focus or camera plate – on or off a tripod. Constructed from transparent polyurethane for visibility and black waterproof nylon, it offers quick and
easy access to all camera features. The one-piece design makes the cover easy to install while shooting. A front section of ripstop fabric and transparent polyurethane that attaches to the cover using Velcro provides an additional shield to protect a telephoto lens. The rigid front hood section comes with a hot-shoe connector that stabilises the raincover on the camera. On top of the hood, a 6inch/15cm polypropylene track allows for the addition of an oncamera light and/or wireless receiver. At the rear, a tight auxiliary cord anchors the cover around and protects the viewfinder. The Rain Cover (PD510) has a list price of €85/£75. 11.D61
Triple management launch Telestream By Carolyn Giardina Whatever the weather: Petrol’s new DSLR Plus Rain Cover
Partnership brings added Cool to signage Haivision By Anne Morris Haivision is highlighting its partnership with Kodak by demonstrating the integration of Haivision’s CoolSign digital signage solution with the Kodak JV1000 and JV700 Digital Frames. The relationship between the two companies, it is claimed, is helping to drive signage to an affordable and personal level The combined Haivision/Kodak solution is suitable for delivering scheduled content to any retail queue or checkout within franchises,
Digital signage gets personal
as well as to hotel guests, across campuses, and anywhere Wi-Fi is available. Haivision’s CoolSign digital signage solution boasts features and functions to satisfy a wide variety of signage needs, from smaller installations to sophisticated multiscreen landmark displays and large-scale
global networks. Launched in 1998, CoolSign says it has a long legacy of innovation, pioneering many aspects of digital signage technology, including n-tier architecture, native multicasting support, realtime connectivity, full-edge device monitoring and control, flexible media scheduling, closed data architecture, bandwidth usage controls, and many others. The system is in use for retail, government, financial service, corporate and pure-play DOOH networks around the globe. 13.451
Three new enterprise-class system management products have been introduced to Telestream’s Vantage video workflow family. Vantage Enterprise Control, Vantage Master Control and Vantage Team Management are all being featured at IBC. The company has also highlighted the release of Vantage 3.0 software, which adds support for new video and audio formats, wrappers and systems, and new video workflow design and automation features. Vantage server-based software automates tasks including content ingest, transcoding, video file interoperability and multi-channel distribution for users including content owners and creators, as well as broadcast, cable and new media companies. The new Vantage products expand our capabilities in video transcoding and workflow automation with the proven large-scale media production and system management expertise gained from our Agility group, said Barbara DeHart, VP of marketing at Telestream. Vantage products now provide systems from
single-server transcoding to very large and highly-complex systems. Vantage Enterprise Control is aimed at maximising workflow capacity with automated response to fluctuations in processing or media loads, customisable task scheduling, and tools for analysing system bottlenecks and throughput. Telestream suggests that Vantage Enterprise Control could help a user to save money and conserve power. The second product, Vantage Master Control, adds dashboard views and historical reporting to provide visibility of the workflow and underlying systems involved. It also integrates Telestream Agility 2G transcoding services directly into Vantage, providing Agility 2G users with access to Vantage tools such as automated QC, and input and output analysis. Finally, Vantage Team Management allows the creation of user accounts and custom web-based job status views for any Vantage installation. With multiple operators, administrators and departments performing transcoding and video workflow automation tasks, this technology is aimed at providing user permissions and visibility management. 7.D16
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Thinking inside the Morpheus ICE box Snell By Michael Burns A redefinition of the ‘channel-in-abox’ model and enhanced content management modules are among S n e l l ’s p r o d u c t s h ow c a s e a t IBC2011. Specific items include playout offering Morpheus ICE Version 2.2, which is said to deliver the full range of functionality users require while reducing overall system cost for a fully capable playout solution. The channel-in-a-box offering introduces additional branding tools for visually enhancing HD and/or SD channels. Operators can generate vertical and horizontal crawls via automated URL or RSS feed, or from manually created source information. Multiple DVE per mixer effects allow them to squeeze different on-air content while inserting graphics and audio effects. ICE also meets any head-end requirement with its ability to set specific VANC packets (such as SCTE-104) in the outgoing video path for each on-air channel. With Morpheus Version 2.3, Snell introduces BXF functionality that facilitates enterprise-level integration with business systems. It thereby enables greater efficiencies and maximises the overall value of automation. At IBC2011, Snell is demonstrating three of these modules: BXF Import Content, BXF Media Change Notifier and BXF Schedule Query. These modules provide a continuous loop
DETS pays off in an emergency Radioscape By Paul Watson DETS II, the second generation voice break in system (DETS) from Radioscape, is being debuted at IBC2011. DETS has been in operation since 2004, providing a safety system to tunnel operators by solving one of the challenges of digital voice break in: reconfiguration. Without a switch, when receiving a break in signal, the time it takes receivers to search for a new signal can take a number of minutes, during which they are silent. Radioscape claims that its DETS technology eliminates that waiting time, allowing the emergency message to be transmitted instantly and seamlessly, helping tunnel operators save lives in potentially dangerous situations. The latest iteration of this new technology (DETS II) is based on the Tritium platform. 8.D90
between the Morpheus database and all conf igured third-par ty BXF-compliant systems. Whether media metadata is being created upstream or downstream, all systems can automatically access the
same up-to-date information, ensuring facilities are better equipped to manage their content seamlessly and accurately across multiple distribution platforms. 8.B68
Snell’s ‘channel-ina-box’ has tools for visually enhancing HD/SD channels
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3D in depth at IBC Compelling case for disk archive
MTV World Stage filmed in 2D and 3D by Presteigne Charter and MTV in July
Today a vital Hot Topic in the conference moves into the Auditorium. Once again, IBC is not just talking about stereoscopic 3D, it is demonstrating it. Some of the world’s leading authorities are presenting their research and experience and showing what works – and what does not – on the IBC Big Screen. That is very much the theme of the first session – 3D Live at the Big Screen: Movie and Programme Makers Show How it Works in Real Time at 13:30. 3D cinemas are looking for additional content, including sport, opera and theatre. What do you need to do to deliver good 3D live? How do you manage the depth budget, avoid dwarf ism and achieve immersive results? The panel will also look at the tricky issue of how far 2D and 3D equipment and editorial decisions can be saved, leading to a debate on controlling the costs of live production.
If the content is not live then you have the possibility of fixing it in post. The presenters in the day’s second session - Stereoscopic 3D: Fixing it in Post at 11:00 will argue that, while it is dangerous to leave too much to be sorted out in post production, today’s technologies do have remarkable facilities to enhance content. Some of that functionality will be demonstrated and the pros and cons will be discussed by creatives, vendors and post producers. After lunch the debate moves on to delivery and in particular the challenges that multiple screens add to the 3D production process. If your programme is going to be seen on everything from a tablet to an IMAX screen, what fine-tuning do you need for each resolution, and how practical is this work? A panel who have been there and done it will suggest best practice on framing, graphics and more in the session Delivering 3D to Multiple Screens at 09:00. Having spent three sessions looking at the state of the art in creating, managing and delivering stereoscopic 3D, the final session of the day at 15:30 gives you a Glimpse into the Stereoscopic Future. Will advanced technology in 3D glasses drive bigger audiences, or can autostereoscopic screens deliver enough quality? Perhaps stereoscopic 3D is just a stepping stone towards holographic projection – it may be closer than you think! 3D@IBC is taking place in the Auditorium from 9:00 this morning. If 3D is your special interest, do not forget the EDCF open meeting tomorrow at 10:00 in Room E102.
The media archive is the last stronghold of tape in an increasingly tapeless world, says Alan Hoggarth, managing director, Disk Archive Corporation With TV, IPTV, internet TV, mobile TV and games consoles all offering viewers many more ways to consume factual programming and entertainment, the pressure is on to produce and deliver more content, more cost effectively in the case of public service broadcasters and more profitably in the case of commercial services. File-based tapeless workflows and MAM systems are delivering efficiencies, in production, post production, and content delivery, but what about the archive? In virtually every broadcast and professional media company the media archive is the last stronghold of tape in an increasingly tapeless world. Most archives are being migrated from videotape to data tape, which is a step in the right direction, and a step towards standardisation – but it falls short of what could be done to make the media more accessible or commercially viable. For 40 years or more, data tape has been unchallenged as the logical choice for backing up hard disks and the only affordable alternative to videotape for media archives. But within the last two years, the economic arguments in favour of data tape have been overturned and today, high-capacity, green, disk drives are available with 3TB capacity at a comparable cost if not
lower than an equivalent capacity data tape. So a disk-based archive offering random access to a virtually unlimited number of users should be possible – if only it was possible to adequately guard against drive failure and provide secure removable media. Simple RAID offers barely adequate protection for today’s very large storage arrays. Clustered storage and replicated RAID arrays both provide excellent protection, but with higher capital outlay, and even higher power consumption. They are well suited to more demanding online and nearline storage applications but somewhat unnecessary for archive use where longevity, security and total cost of ownership are the primary concern and the speed advantages accrue from random access disk performance instead of linear access to data tape with robotic tape handling and queuing for shared tape transports. For archive applications an even simpler approach can be based on writing complete data files in multiple locations on an array of independently controlled disk drives, each of which can be spun-down and stopped when not reading or writing, saving power and extending the life of the disks. This offers a solution in with userselectable security, superb environ-
Opinion
Alan Hoggarth: There are tangible business benefits
mental credentials and the much sought-for removable media. Finally, disk archives and content libraries have become a practical proposition, delivering faster access to media assets for many more users and at the same time, reducing maintenance costs and downtime. Disk archives offer tangible business benefits and help to meet corporate environmental goals as well as enhancing the appeal of news, sports and factual programming with easier access to archived assets and delivering programming more cost effectively in tandem with today’s channel-in-a-box solutions. 8.B38g
New HD Voice phones clear Glensound By Paul Watson A new generation of broadcasters’ mobile phones has been introduced by Glensound. The new GS-MPI004 HD and GS-MPI005 HD versions add the AMR-WB codec – commonly known as HD Voice . The 3.4kHz audio of a 2G mobile call is replaced by 7kHz bandwidth audio, improving lower frequencies and providing a much clearer audio connection. Glensound HD Voice connects as a 3G voice call, not a data call; if 3G is not available, the call will connect as a standard 2G GSM call. Both ends of the connection must be AMR-WB compatible, hence the introduction of the HD Voice rackmount broadcasters’ mobile phone (GS-MPI005 HD). The idea is that the rack-mounted version could be in a studio or OB truck, with multiple GS-MPI004 HD portable units in the field. 8.E89
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12.09.2011
Cure for audio loudness violation Going mobile with the Emotion Systems By Carolyn Giardina Emotion Systems has launched EFF (Emotion File Finish), software designed to automatically analyse and fix audio loudness violations in f ile-based media. The software applies the accurate modelling of analogue PPMs (Peak Prog ram Meters) and loudness detection parameters, to ensure files comply with the ITU-R BS.1770, BS.1771, and EBU R128 standards. Also under the spotlight is Venera Pulsar, a software tool for providing quality control analysis of both video and audio f ile based media. The software is recommended for both post and broadcast
EFF is part of Emotion Systems’ line-up
applications. Meanwhile, from Emotion Systems partner Blue Lucy Media comes Miura, a range of softwarebased video signal processing tools for broadcast and professional video applications, including video to file-
TV Everywhere’s milestone RGB Networks By Ian McMurray Strong worldwide demand for RGB Networks’ TV Everywhere solutions has propelled the company’s lifetime product shipments past $200 million, says the organisation. It adds
that the pace of RGB’s growth is accelerating, with the company earning its second $100 million in shipments in two years compared to over three years for its first $100 million. “Achieving $200 million in lifetime shipments is another significant milestone for RGB and our accelerated pace of growth clearly shows
based ingest with metadata logging, and MXF Tailor for cutting and splicing of MXF wrapped media without decoding. Emotion also represents Abekas products and is presenting Mira, a four or eight-channel live production server for instant replay, multiVTR replacement or clipstore. Emotion reports that, with an eye toward OB environments, Mira’s 3RU design offers more than 100 hours of storage. Other highlighted developments include Air Cleaner, a RAM-based video and audio profanity delay system for live broadcast with the ability to provide up to 70 seconds of delay and switch to a static display or clean source. 6.A23a
that we have the right TV Everywhere solutions at the right time, as service providers around the world are striving to deliver live and on-demand programming to TVs, tablets, PCs and mobile devices,” said Jef Graham, CEO of RGB Networks. “We have now achieved the size, revenues, profitability and broad customer base that position RGB for a successful public offering.” 4.C78
miniCaster H.264 unit TV1.EU By Ian McMurray Described by TV1.EU as the world’s f irst hardware-based H.264 live streaming encoder, miniCaster is on show at IBC in the form of the digital (SDI-IN) and analogue (Composite/S-Video Y/C-IN) models. Visitors can also take a look at the ‘One-to-One’ scenario that enables broadcasters to send an SDI signal directly to the newsroom via public internet using two miniCasters. According to TV1.EU, miniCaster can talk to the leading CDNs like Akamai and Limelight or platforms like Livestream.com, while European customers can use the CDN of TV1.EU. One-to-many streaming is now, according to TV1.EU, as easy as a phone call and cheaper than ever before. Streaming settings can be changed via remote access and are also editable directly on the device itself. While encoding and delivering several streams, miniCaster is able to record at the same time. TV1.EU says that miniCaster works
miniCaster can talk to leading CDNs
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What’s new in production Resolved to enhance Da Vinci At 15:30 this afternoon in the Forum there is a creative workshop on new production techniques – What’s Up with Digital SLR Cameras, 360 Degree Production and CrowdSourced Production. This gives delegates a chance to look at, and comment on, some hot topics. The use of digital SLR cameras for video acquisition has rapidly grown over the last couple of years, because movie-makers like the filmic depth of field, not to mention the very affordable price tag. For many this was enough to overcome the technical challenges of recording formats and capturing and synchronising audio.
In response, the leading camera manufacturers have rushed out large sensor camcorders, using the socalled 4/3" format, to try to eliminate the technical angst while retaining the creative potential. This session takes a look at the state of the art and debates the advantages and disadvantages of shooting on DSLRs. The session also takes time to look at other new developments, including crowd-sourcing content for global interactive projects, and the latest in 360° recording. A must for active videographers looking for innovations in production techniques.
Six SpycerBoxes bolster Postique’s workflow
Thai SpycerBoxing a hit DVS By Carolyn Giardina Bangkok-based post production facility Postique has turned to DVS for a storage upgrade that includes four SpycerBox Flex systems for online storage, two SpycerBox Ultra as a central staging area to interconnect multiple departments, and a DVS-SAN with 140 TB near-line storage. All workstations and grading nodes can access the SpycerBoxes as SAN or NAS systems. As part of the shared storage system, Postique’s legacy SAN components have been integrated into the DVS-SAN infrastructure. The standalone defragmentation tool Mephisto handles defragmenting and descattering. The DVS software Spycer is
used for facility-wide, cross-platform data management. Users can search the entire network for image data and their metadata, and move the content where it is currently required. Three Clipsters are at the heart of Postique’s DI workflow, offering features including realtime conforming, realtime processing of RAW files, and faster-than-realtime DCI mastering. “As we faced increased bookings and tighter schedules, we chose DVS as a reliable partner to upgrade and enhance our system backbone, said Bobbie Wong, president at Postique, which is an extension of Oriental Post. “Our new DVS equipment completes our DI workflow and will help us exceed our customers’ requirements.” 7.E25
Blackmagic Design By Carolyn Giardina DaVinci Resolve 8 is a major update to Blackmagic Design’s widely-used colour correction system. New features in DaVinci Resolve 8 include multilayer timeline support with editing, and XML import and export with Apple Final Cut Pro 7 and Adobe Premiere Pro. OpenCL processing allows use on Apple iMac and MacBook Pro computers, while advanced processing tools have been added for realtime noise reduction, curve grading and advanced multi-point stabilisation, as well as automatic stereoscopic 3D image alignment. DaVinci Resolve 8 also supports the Avid Artist Color, Tangent Wave and JL Copper control panels, as well as offering ALE expor t to relink graded DNxHD f iles back into Avid editors. Blackmagic suggests that the new XML import and export combined with the multilayer timeline allows complex sequences from Apple Final Cut Pro 7 and Adobe
STB goes OTT AirTies By Ian McMurray AirTies has integrated BeeSmart middleware with its own set-top boxes to create a design that offers support for live video streaming and video on demand.
Multilayer timeline support with editing is among the new features contained in DaVinci Resolve
Premiere Pro to be imported, colour graded and then exported directly back into Final Cut Pro 7 or Premiere Pro, with all of the new graded shots and the layer structure intact. The company reports that if the edit is changed, DaVinci Resolve 8 will automatically relink all the clips so the grades are preserved.
Advanced OpenCL image processing allows a broader range of GPUs to be used for realtime processing up to 1080 HD resolutions, according to Blackmagic. DaVinci Resolve 8 star ts at $995. The update is available as a free download to existing customers. 7.H20
The integ ration work was, according to AirTies, primarily initiated in response to customer demand for a set-top box to offer support for live video streaming for the OTT market, facilitated by AirTies support for adaptive bit-rate technology, ensuring uninterrupted video broadcast with high image quality even in the face of varying data rates and jitters inherent in the unmanaged internet. It also incorporates Scalable
Vector Graphics technology from specialist developer Ekioh. In addition to providing support for Apple HTTP Live Streaming and Microsoft Smooth Streaming, the BeeSmart/AirTies platform’s other key features are said to include AirTies’ patented mesh-based wireless networking, fast channel change, simple one-step user set-up, support for Pause Live TV, PVR and Media Sharing using SAMBA or Universal Plug and Play. 5.B33
Nice Shoes takes a shine to Scanity DFT By Carolyn Giardina New York-based post facility Nice Shoes has purchased a Scanity 4K/2K film scanner from DFT Digital Film Technology. The Scanity, installed at Nice Shoes in August, supports current f ilm projects as well as new f ilm archiving and
restoration services. “We have relied on DFT Digital Film Technology systems for many years and found them to always be at the forefront of technological innovation,” said Chris Ryan, Nice Shoes partner and colourist. “Scanity not only provides us with a highspeed workflow, it also delivers us with a flexible toolset to manage our existing f ilm business as well as
explore the film restoration market.” Nice Shoes is shaping its business model to include protection of national film assets. The company has already worked on digital restoration of Frank Sinatra’s 35mm film performances for New York’s Carnegie Hall. Scanity offers a number of features that are aimed at the archiving market. DFT relates that its precision roller-gate and touch-free optical pin registration make it a gentle and safe scanning system for delicate, warped or shrunken archive f ilm. In addition, it asserts that Scanity’s IR camera scans dirt and scratches separately from the RBG image; this extra infrared scanning channel provides a dirt matte for the restoration team, which may streamline the dirt and scratch removal process. “Our engineering team designed Scanity to capture the full resolution and dynamic range of film all while ensuring the steadiness of images,” said Stefan Kramper, managing director of DFT Digital Film Technology. 7.E21
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22 theibcdaily
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Studio technologies and workflows Television relies on creative talent, who in turn rely on technology which allows them to turn their vision into reality. The latest research into equipment for studios is always going to be central to the industry, and IBC marks this with two conference sessions, bracketing lunch today. The first session, Production I – New Technologies in the Studio in
the Emerald Room at 11:00 looks at a broad range of new technologies, including a new generation of digital triax camera connections and an exciting wireless HD camera system which delivers very high quality images over a 320Mbps link with less than one frame latency. A paper will also detail a new digital projector designed specifically for
the post production environment. The last paper questions whether the colorimetry of high efficiency lighting has been sufficiently considered. A special presentation will demonstrate how disturbing colour interactions can be created, and will go on to show how they can be predicted and eliminated in future generations of light sources.
Technology to catch the eye
After lunch, Production II – New Working Practice in the Studio in the Emerald Room at 13:30 takes some of the new technologies and shows how they can be used in practical applications. The first of three presentations demonstrates an autonomous production aid, using artificial intelligence to assemble web and television archive content for a news programme. The second develops a cloud-hosted media platform, showing how collaborative production can take place across a
Opinion
Patrick Zucchetta, president of Doremi Technologies, presents technologies to watch at IBC – including 4K and super formats One of the great attractions of working in this industry is that its technology never stands still but rapidly moves forward. It never stops. Nor do we. It is not surprising that new eye-catching technology or a big technical theme always receives a lot of attention at the IBC show. And then rightly, every time, people are divided about its practicality, cost and scale of possible future importance. Digital TV and HD are recent examples. Both took years to become widely available and many people needed convincing of their viability – especially about HD. Right now 3D has been a ‘big thing’ for three years but currently a growing number of people think its technology is flawed and the appeal to the public is flagging. Unlike DTV and HD, 3D has been around before, several times, and each time has faded away – mainly
due to the inaccuracy and inconsistency of film and huge costs. Now 3D is digital, the approach and technology is far more advanced and that’s why this time it’s here to stay. One area we are heavily involved with, besides the television and events markets, is digital cinema, which already has a proven 3D business model. Over the last year the digital cinema rollout with 3D screens has continued at a very high rate. By June 2011 over 47,000 digital screens have been completed with 3D penetration per country ranging from 40 to 100%. 3DTV is working but will take longer to become widely viewed. Although there will be plenty of people at the show ready to bury 3D, the reports of its death (again!) are greatly exaggerated. From acquisition to screen, IBC will be a rich feast for those seeking new 3D equipment that will enable
making good 3D (which it has to be), easier and cheaper. No doubt there will be some ‘glasses-free’ screens but I think, unfortunately, no major breakthrough. Another area to watch is what could be called ‘super’ formats - bigger and faster than current TV and cinema that can display around 2K-sized images at 25/30 and 24fps. But we know that more spatial definition and higher frame rates make even better pictures. That has become clear from NHK’s must-see demonstrations of its Super Hi-Vision television system with 7680 x 4320 pixel images at up to 60p frame rate. First seen at IBC in 2006, it looked like pie-in-the-sky technology but now it’s taken seriously. And don’t forget the 22.2 sound. Of more interest today is 4K - now available. As far more detail is presented in the images this is a new
variety of locations and consumer communication devices. The session closes with a look at the practicalities of shooting Super Hi-Vision with its resolution 16 times that of today’s HD. It will look at how production workflows use the latest generation equipment, then it will move on to what is sure to be one of IBC2011’s highlights, a case study on the Super Hi-Vision filming of the Nasa space shuttle launch, capturing the majestic 120dB sound as well as the stirring sight as it soared skyward.
Foxton in bigger role Chyron By Carolyn Giardina
Patrick Zucchetta: IBC a rich feast
type of viewing experience and well worth watching. There is a huge wealth of technology needed to capture and replay this format in a practical way but it now exits and will be on show. We depend on more new technology. These ‘super’ formats are continuing to drive the developments that will eventually make them widely available, probably even for consumers we may well see some moves towards that at IBC2011. 10.B10
Joe Foxton has been appointed to the newly-created position of VP of strategic product architecture at Chyron. In this position, he will work with the company’s product management and product engineering teams in guiding the strategic direction and tactical implementation of all Chyron products.
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DECIMATOR 2
MD-QUAD
ͻ ƵƚŽ ĚĞƚĞĐƚƐ ϯ'͕ , Žƌ ^ ;Ϯϲ &ŽƌŵĂƚƐ ƐƵƉƉŽƌƚĞĚ ŝŶ ƚŽƚĂůͿ ͻ ŽǁŶͲĐŽŶǀĞƌƚĞĚ ŽŵƉŽƐŝƚĞ ŽƵƚƉƵƚ ǁŝƚŚ LJŽƵƌ ĐŚŽŝĐĞ ŽĨ ĞŝƚŚĞƌ Ed^ Žƌ W > ͻ ^ŝŵƵůƚĂŶĞŽƵƐ ƐĐĂůŝŶŐ ŽŶ ďŽƚŚ ƚŚĞ , D/ ĂŶĚ ŽŵƉŽƐŝƚĞ ŽƵƚƉƵƚƐ ǁŝƚŚ Ă ŵĂdžŝŵƵŵ ĚĞůĂLJ ŽĨ ŽŶĞ ŝŶƉƵƚ ĨƌĂŵĞ ͻ &Ƶůů ϭϲͲ ŚĂŶŶĞů ƵĚŝŽ ŵĞƚĞƌŝŶŐ ĚŝƐƉůĂLJĞĚ ŽŶ ƚŚĞ , D/ ŽƵƚƉƵƚ ͻ ĚũƵƐƚĂďůĞ 'ƌĂƟĐƵůĞƐ 'ĞŶĞƌĂƚŽƌ ŽŶ ƚŚĞ , D/ ŽƵƚƉƵƚ ͻ dĞdžƚ KǀĞƌůĂLJƐ ĚŝƐƉůĂLJĞĚ ŽŶ ƚŚĞ , D/ ŽƵƚƉƵƚ ͻ ĞͲ ŵďĞĚĚĞĚ ŶĂůŽŐƵĞ ƵĚŝŽ ;ͲϭϬĚ ƵͿ ŝƐ ŽƵƚƉƵƚ ŽŶ Ϯ dž Z ĐŽŶŶĞĐƚŽƌƐ ͻ ϯ'ͬ, ͬ^ Ͳ^ / ĐƟǀĞ >ŽŽƉͲdŚƌŽƵŐŚ KƵƚƉƵƚ ͻ ^ŝnjĞ ŝƐ ϯ͘ϱ͟ dž Ϯ͘ϴ͟ dž Ϭ͘ϵ͟ Žƌ ;ϵϬŵŵ dž ϳϭŵŵ dž ϮϯŵŵͿ ͻ džƚĞƌŶĂů ŝƉƐǁŝƚĐŚ ŽŶĮŐƵƌĂƟŽŶ ͻ h^ ƉŽƌƚ ĨŽƌ ĐŽŶƚƌŽů ĂŶĚ ĮƌŵǁĂƌĞ ƵƉĚĂƚĞƐ
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
MINIATURE (3G/HD/SD)-SDI QUAD-SPLIT with (3G/HD/SD)-SDI and HDMI Outputs
sŝƐŝƚ ƵƐ Ăƚ ƚŚĞ / ^,Kt͕ KKd, ϳ͘ ϰϬ
ǁǁǁ͘ĚĞĐŝŵĂƚŽƌ͘ĐŽŵ FUTURE-PROOF SOLUTIONS
24 theibcdaily
12.09.2011 other than in the past. Besides IP we see that DVB has been established worldwide – now already with second generation standards.
Q&A
Why should delegates visit your stand at IBC?
Ernst Freese, managing director, Blankom Digital Has IBC come at a good time for the electronic media industry? Why? Primarily IBC has come from a broadcast approach, but IBC is turning nowadays also to typical broadband applications such as IPTV or Cable TV. Therefore Blankom Digital’s theme this year is ‘Serving Broadband and Broadcast’. We think we have
excellent solutions for both approaches in our portfolio. We are presenting our solutions in Amsterdam now continuously since six years.
What do you think are the key developments in, or threats to, your market sector at the
current time? The media world today speaks ‘IP’ – whether it is distribution or contribution. This is a dramatic change in technology. Telcos, broadcasters and cable-operators are still operating as competitors but from the technical point of view they are today closer to each
This year Blankom Digital is highlighting the newest products of the successful B-IRD family. Our Quad-Multistream-Processor Falcon as well as our multipurpose IRD Eagle (with MPEG-4 decryption) are trend-setting products for applications in broadcast stations. We are showing our compact and modular headend platform B-Nova for CableTV and IPTV networks and our third highlight will be our edge devices (e.g. IP to PAL) of our BEdge family.
1.F51
Camera fibre Neutrik is showing opticamSwitch, a new fibre optic camera routing system, billed as the ultimate solution for fibre optic camera routing within broadcast studios. The system allows switching of unlimited camera positions between several rooms, eliminating the need for matrix patch fields. The device works on silica-based Planar Lightwave Circuits equipped with thermo-optic switches; and the patent pending design is said to guarantee a rugged and safe non-blocking fibre, plus camera power switching without any moving parts. It features LANbased remote control software. 8.C94
Journalists are armed with Octopus Delaying tactic fixes Octopus By Heather McLean Newsroom computer system specialist Octopus Newsroom is showcasing its Octopus6 NRCS product here in Amsterdam. The scalable, platform-independent newsroom computer system links broadcast, online and mobile news environment together. From now on, journalists can create content for broadcast production on computers with Linux, Mac OS X or Windows platform, send stories from their iPhones or Android phones directly to Octopus6, and publish up-to-date posts
The Octopus6 NRCS links broadcast, online and mobile news together
online on any social networks (eg. Twitter, YouTube, Facebook). Online data from social networks can be
also used as new sources for their stories, with reporters able to take advantage of the story-orientated workflow that allows work to be undertaken on a story regardless of the output. The system is the subject of ‘constant improvement’, and new this year is Octopus6 Mobile Client, which fully integrates smartphones into newsgathering workflow. Octopus Mobile is suitable for any mobile phone with Android operating system and iPhone. Journalists can browse wires, create content and attach media such as video, images or sound. When finished, the story is simply sent to Octopus6. 2.B19
large lip-sync errors Crystal Vision By Heather McLean Making its exhibition debut at IBC2011 is AVdelay 3G, an audio/video delay designed for correcting large lip-sync errors by eye on incoming 3Gbps, HD or SD signals. The delay is one of multiple new/recent products on display from Crystal Vision. The audio and video delay are adjustable independently, allowing the user to change the relative
AVdelay 3G smacks lip-sync errors into place
audio/video timing in either direction, with up to 10 seconds of video delay available in SD, five seconds in HD, and two seconds in 3Gbps, along with 10 seconds of AES audio delay. The video delay is adjustable in frames, while four delay controls can be assigned to the audio on a mono channel basis. AVdelay 3G is shipping this month and was apparently developed following a request from a broadcaster who knew of Crystal Vision’s video delay expertise, as demonstrated in the range of ViViD video delays. IBC also f inds Crystal Vision announcing enhancements to the MultiLogo logo keyer, a modular solution for HD or SD station branding. This multi-layer logo keyer provides three layers of keying from a variety of internal and external sources, including a nonvolatile eight port 8GB video store with DRAM and Flash memory which can hold up to 500 still or animated logos. The new MultiLogo software being demonstrated at IBC allows the control of multiple logo keyers and includes a simple text insertion function which allows the operator to type in text for internal use. Also new for MultiLogo is the ML-GP18, an add-on board ideal for broadcasters who work by recalling presets and who want a manual back-up in case the automation system fails. 2.B11
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As TV goes mobile SIs respond High Dynamic Range Multiscreen Systems Integrators add real value to a broadcaster’s delivery strategy, argues Tomas Petru, CEO, Visual Unity
Tomas Petru: Few traditional systems integrators have the expertise
As we go through this IBC, the market is facing the most significant paradigm shift in the last decade, with traditional linear broadcasting unable to meet the demands of the emerging multi-screen audience. Let’s be frank: if you’re managing your broadcast operations in the same way as you were in 2007 (when the iPhone first hit the market) and have not yet implemented a TV-mobile strategy, you’re missing out on more than 50% of today’s potential audience and a demographic of future big spenders. An effective TV-mobile strategy calls for more than simply delivering online services to enhance your brand offer-
ing. The global proliferation of mobile devices (as high as 70% in emerging markets alone) is changing the very nature of content consumption and is forcing broadcasters to develop innovative strategies to attract users, maintain existing subscribers and secure new revenue streams to deliver their digital dividend – from social media engagement to the development of apps for a diverse range of mobile devices. From a delivery perspective, undoubtedly there are challenges to be overcome in reaching this mobile audience, including lack of bandwidth access. Moving TV into the Cloud will enhance the experience for some, but as Cloud coverage does not extend beyond the US and Western Europe, the majority of the world’s mobile audience will not benefit. Broadcasters will still need to rely on bespoke Content Delivery Networks (CDN) to provide effective local streaming. From an operational perspective, the publication of online and mobile content is too often a labour-intensive process, disjointed from the broadcast workflow. In many organisations worldwide, the selection and preparation of online content, assignment of metadata and reformatting for various mobile devices, is still performed manually. This fragmentation of the publishing/new media group from the broadcast operation means that broadcasters often lack the agility to
Opinion respond to the ever-increasing demand for speed-to-market. Considering these challenges, it is clear that the successful delivery of TVmobile strategies rests on true integration of web and mobile into the broadcast workflow, whether in the Cloud or CDN. However, in this environment, where the key players are software developers not broadcast engineers, few traditional Systems Integrators have the expertise or indeed credibility to win over the stakeholders. This is where Multiscreen Systems Integrators (MSIs), such as Visual Unity, add real value. Blending CDN and streaming expertise with an inherent understanding of traditional broadcast operations, this new breed of solution provider supports broadcasters to optimise their existing workflows and effectively deliver new mobile content from the point of content creation. Visitors to IBC are looking to exhibitors to deliver clear direction on how to reach new audiences on new screens in new ways. The broad base of technology providers, offering out-ofthe-box applications or bespoke solutions, cannot be relied upon alone to deliver a truly integrated mobile solution. It is the role of MSIs, such as Visual Unity, to bring about videobroadcast-mobile convergence and enable broadcasters to secure their place in the connected device era. 3.C35
WMG, University of Warwick By Adrian Pennington A world’s first High Dynamic Range (HDR) acquisition to display pipeline is being shown in Hall 8’s Future Zone. HDR imaging has the capacity to record the highest dynamic range similar to the human eye with potential applications in sports, documentaries and feature films. The demonstration is being given by the WMG – which is part of the University of Warwick – and its spinoff company, goHDR. They are showing live and recorded HDR video content displayed via a special Media Player on an HDR display, as well as on standard low dynamic range displays, including a TV and laptop. Whereas the HDR display is showing a true HDR image, the laptop and LCD TV are displaying tone-mapped versions and the ability to show up to 20 separate exposures per frame. The HDR imaging system includes a camera manufactured by SpheronVR which captures 20 stops at 30fps. HDR cameras and displays are appearing on the market from various sources, but the missing ingredient has been a compression technology that binds a full workflow together. That is what WMG’s researchers claim to have solved. “We are capturing 42GB a minute – or a CD second of data – so without compression HDR is unpractical,” explained professor Alan Chalmers, head of the Visualisation Research group, at WMG International Digital Laboratory. At IBC, the
HDR data isn’t compressed out of the camera but dumped to a 24TB array, although Chalmers says direct from camera compression is possible. “We want to preserve data along the pipeline and to work with existing infrastructure,” added Chalmers. “We have worked very hard to get the codec perceptually lossless, at a 100-1 ratio, but part of our exposure to IBC is to look further into this.
World’s first HDR workflow on display in the Future Zone, adjacent to Hall 8
“There are applications in golf where cameras find it notoriously hard to track golf balls at speed against sky and trees. You just get far more detail and a very rich experience in shadow and shade. Wildlife filming is another genre that would benefit because of the bright contrasts when filming outdoors.” Other manufacturers addressing HDR include Dolby (an HDR display), Italy’s Sim2 (HDR display) and Texan firm AMP, which has a new three sensor HDR camera, AMPII. “One problem is that few people are aware of HDR so IBC is a great chance for us to educate the market,” said Chalmers. 8.G41
A matter of timing: A SprintCam Vvs HD covers a Real Madrid-Barcelona match in last season’s La Liga championship
Putting on a Sprint to show ultra-slow-motion I-Movix By David Fox I-Movix is showing the latest version of its SprintCam Vvs HD, the shoulder-mounted, portable, ultraslow-motion system for live HD production. It operates at up to 2,700 frames per second in 1080i50 or up to 5,800fps in 720p60 (200 times slower than live action), and provides instant
replay at native HD resolution and image quality. New features include: a totally new operational control panel with a more user-friendly design and extra functionality; a 3D slow-motion capture option; and a dual output that allows users to shoot and record at the same time. The specification also features segmented memory, ramping of speed within a replay, and integration of both live- and replay-view on the viewfinder.
The SprintCam Vvs HD system is based on the latest Phantom technology from Vision Research, with: an OCP that provides broadcastquality colour matrix and control of frame rate choice; a slow-motion remote that allows the user to select a video sequence and instantly replay it with an HD-SDI output for live broadcast or storage on any HDSDI recorder for a later use; and the camera control unit, which provides control of the slow-motion instant replay, camera control and data interface between the camera, EVS server or SDI recorder. I-Movix is also intending to show the prototype of a totally new system that it says “will be a f irst in the ultra-slow-motion market”. 11.E60
G&D DIGITAL KVM systems Modular solutions designed to grow with you
DP64
NEW DVI CENTER
WITH
64 DYNAMIC PORT TECHNOLOGY
G&D AT IBC HALL 4 STAND B74
Leading the way in digital KVM www.gdsys.de
When it comes to digital KVM, G&D thinks of your future. Our systems can be combined and cascaded, allowing them to fit and expand to any sized installation through an infinite number of versatile modules. So you can keep growing without having to constantly reinvest in new systems.
Our new DVICenter DP64 matrix switch has 64 dynamic ports to allow flexibility in connecting either a computer or a user console to each port. Hence, multiple computers and platforms can be controlled by teams of users simultaneously. The system provides crystal clear digital images with transmission distances of up to 560m using CAT cables or up to 10 km with fiber optics. It also comes with a superior user interface, easy intuitive configuration and the extra assurance of a built-in monitoring function. With digital KVM systems from G&D, your future’s looking good – and geared for growth
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The preservation of digital media The industry should demand an archiving format that will last a century Executive Summary By Carolyn Giardina The industry should shout from the rooftops and demand an archiving format that will last a century, urges industry veteran Rob Hummel who is concerned about preservation of media in the digital age. “We had a vendor (Kodak) that for the last century always did the right thing and created a medium (film) that would last, if taken reasonably good care of, for 100 years. Optical disks and hard disks are not accepted as archival media by the archival community and that community recommends migration of magnetic tape archives every five years as standard practice.” On the popular LTO format, Hummel argues: “LTO is not compatible more than two generations. Now LTO5 is unveiled, and (the players) will read LTO 3 tapes but they won’t read LTO2 tapes. It is ridiculous that we are accepting that.” Hummel is president of Group 47, a start-up in the archival space featured in the IBC Future Zone. It recently acquired from Eastman
Kodak a technology dubbed Digital Optical Technology System, or DOTS, which Hummel suggests will last at least 100 years. He asserts that it is secure, suggesting that it was developed to withstand extreme temperatures, and even exposure to electrical or magnetic fields. And he notes that
LTO is not compatible more than two generations. Now LTO5 is unveiled, and [the players] will read LTO 3 tapes but NOT LTO2 tapes. It’s ridiculous that we are accepting that
the DOTS format can simply be stored at room temperature, meaning that it is an option that could be both green and cost effective compared with managed digital storage systems that involve migration. With an eye toward ensuring long-term availability, Group 47 wishes to license DOTS to all manufacturers who would be interested in making and selling the format and players. “The users need to start to build a g roundswell of protest and demand that manufacturers need to provide an acceptable digital archival system, whether it is DOTS or something else.” Hummel is also president of Legend3D, whose 2D-to-3D conversion credits include work on Transformers: Dark of the Moon. He believes the decision of whether to shoot in 3D or to convert from 2D should be treated as a creative choice. “3D is not the way human beings see the world,” he declares. “The proper term is stereoscopic illusion. One way to create the illusion is with two cameras for a left and right eye and project it on a screen. Another way is to take a 2D image
Rob Hummel: “Users need to build a groundswell of protest”
and manipulate it so that it triggers stereo depth cues. “The images from the two processes can become indistinguishable,” he suggests, relating that “close to 90 minutes of (Transformers 3) was converted from 35mm anamorphic film to 3D, and the balance was shot with stereo native equipment.” He says both techniques were in some cases used in the same scene.
“It is checkerboarded throughout the film.” If you are going to do it right, he advises, you must use a stereographer from day one, “to help design the composition of shots and be sure you are not violating positions that make it more difficult to view the 3D images, no matter which way you choose to create them.”
Three-pillar architecture for video Envivio By Ian McMurray Envivio, a provider of live and ondemand multi-screen IP video processing and delivery solutions, is demonstrating the next generation of its three-pillar architecture. The technology was designed specifically for multi-screen services. The growing variety of powerful
devices such as smartphones, tablets, connected TVs and PCs that are capable of high quality video playback is fuelling consumer demand for new services, according to the company. The shift in consumer demand for TV anywhere and anytime has put multiscreen content delivery in the spotlight as a key topic at this year’s show. Envivio is showcasing video architecture that allows broadcasters to deliver live and on-demand services
for mobile, internet and SD/HDTV screens with what the company says is the highest Quality of Experience (QoE), all from a single platform and head-end simultaneously. According to Envivio, this architecture provides broadcasters and PayTV operators with the flexibility needed to deliver TV everywhere, as well as scalability that enables support for new devices and fast networks required by subscribers. 1.D73
Architecture for multi-screen services
www.fujinon.eu
That about wraps it up for stiff thumbs Ergonomic grips for DIGI POWER HD ENG lenses
Please visit us at booth 11-C20
Now long takes are nothing but a pleasure: loads of space for your thumb, a particularly comfortable grip, less energy consumption and backlash, easy operation and less zoom noise. Fujinon. To see more is to know more.
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Q&A Nico Lewis, senior sales manager, RTS Telex
Has IBC come at a good time for the electronic media industry? I see the IBC as the best opportunity for the EMEA broadcast industry to introduce new technology and to meet with all levels of partners and
Support for LTFS format expanded Cache-A By Carolyn Giardina At last year’s IBC, Cache-A demonstrated the new LTFS (Linear Tape Film System) format in product form. At this year’s show, all of Cache-A’s LTO-5 based products offer LTFS capability, including flagship product Pro-Cache5, the new high-perfor mance PowerCache, and desktop Prime-Cache5. Based on open source software, LTFS was developed to let users interchange content across different operating systems, software applications and physical locations. LTFS is now integrated into the Cache-A appliance. Customers can select the tar format or the new LTFS format on a tape-by-tape basis, says Cache-A. The company also reports that all existing Cache-A LTO-5 customers using tar can download Cache-A’s free software update and start using LTFS without additional cost or the need to transfer their existing tapes. Like Cache-A’s tar based format, LTFS provides a self-describing file system on an LTO cartridge. 7.G16
customers. We certainly use the IBC period for new product launches and combine it with a huge partner event the day before the show.
What do you think are the key developments in, or threats to, your market sector at the current time?
We are in the intercom, audio and communication sector. This sector is not changing as fast as the video sector. Still we see that network technology will be more integrated. Our answer to that this IBC is the strategic introduction of OMNEO and a new Wi-Fi wireless intercom, the BTR240.
Why should delegates visit your stand at IBC? RTS Telex is introducing this IBC a new media networking solution to provide open public standardsbased media networking technology to promote device interconnectivity. This technology – called OMNEO – has two components: (1) an
audio programme transport protocol suite that offers lowlatency, high-quality multichannel audio stream exchange; and (2) a robust control protocol suite that provides reliable and secure system control for pro networks of all sizes, from small to intercontinental.
10.D20
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New features for content distribution management Signiant By Anne Morris Version 9.0 of Signiant’s Content Distribution Management (CDM)
software includes two new software modules that allow media and IToriented enterprises to manage their content even better. Signiant is demonstrating the new release throughout IBC.
The new Media Gateway module streamlines the transfer and sharing of large files between individuals and organisations, while the Resource Management module adds powerful new capabilities for queu-
ing delivery of assets and managing network bandwidth. Operations can now prioritise the delivery of assets based upon attributes such as revenue, margins, service level requirements, and news Through the gateway: Signiant is showing its latest CDM software
On Air! Broadcast solutions for reliable network coverage. Our solutions provide you with a consistently strong signal everywhere. On our transmitter solutions for strong, full-coverage signals our customers around the world have been relying for more than 75 years. Always a step ahead with the solutions from Rohde & Schwarz. www.rohde-schwarz.com/ad/onair/ibcd
deadlines with either automated or manual delivery to B2B partners or to buyers, and can match internal business rules and workflows. Additionally, version 9.0 expands integration with directory systems utilising enterprise-level authentication servers, resulting in enhanced security and allowing Signiant to be used by up to tens of thousands of employees within an organisation. 13.341
IBC, Amsterdam Please visit us: Hall 8, booth D35
Globecomm thinks FAST ASC Signal By Ian McMurray Antennas from ASC Signal Corporation have been chosen as a critical component of Globecomm Systems’, Forward-Deployed-Asset Support Terminal (FAST) system to enable rapid set-up of disaster recovery communications solutions. The ASC Signal antennas will help support tens of megabits of uplink connectivity in the C- and Kuband frequencies. This will allow FAST users to create multi-purpose hubs for local communications, including mobile services, ready for use anywhere around the world shor tly after arrival at a disaster recovery site. Globecomm is being provided with four-metre, low-cost earth station antennas that are said to be capable of global operation in the most adverse weather conditions, including high winds. The antenna’s rugged, aluminium structure and multi-piece panel reflector are said to offer extremely accurate surface contour, high gain and superior efficiency. Keith Buckley, president and chief executive officer of ASC Signal, said: “Organisations everywhere require quick and reliable communications restoration, whenever environmental or other emergency- related disruptions occur. The strength and unique capabilities of our antennas, especially their rugged structure and flexibility in deployment, make us a strong complement to disaster recovery systems like Globecomm’s FAST. In places that have experienced massive destruction, our satellite earth stations can help ensure voice, data and video communications during the critical recovery process.” 1.C51
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IBC2011 exhibitor list and floorplan Future Zone incorporating New Technolog Technology gy Campus & NHK (Japan Broadcasting Broaadcasting 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
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C229 C29
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D59 Eutelsa Eutelsatt
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B71 B70 Humax Co. Ltd
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C55 F56
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Screen Subtitling Su ubtitling Systems
23
C50
B53
B54
A55
A50 A49
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B51
F51
D51
C227 C27
B28
B50
A51
A46
C221 C21
B20
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C36
A41
F34
B40 C61 C6 61
24
C39
C30
D30
B67
A21
C37 B33
B37 C30
B31
B11
B30
A29 GlobeCast
C60
B61
B16
C33 C35
A30
Media M edia G GeniX eniX
A18
C26
F33
F31
B60
B10
C29
B26 B25
C5 C599
A15
C20
A21
D31 D331 Motoorola Motorola
B28
B62
A10
C25
B20
C29 B55
A61
F29
A27
B51
B566 B5
C27 SSea ea Change
B20 Harmonic
B26
B500
B15
F21
C511 C5
C48
B43
A68
A24
B04
F11
Prodys Prody ys
A51
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G003 (1st flo floor) or)
A60
A11
A16 A16
B19 Pace plc p
A18
KIT Digi Digital ital
VCS C44
B40
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A58
A1 A100
C06
Annova Anno va Systems
A42
A54
B05
A03
A1 A122
C30
B31
A40
A52
A01
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Sumavision Su mavision C11
B11
B10
B B16 Kaon Media
A10
C35 C
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A31
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A15
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G002 (1st flo floor) or)
ee E02
B23
A35
A38
C29
B09
A03
A11
A20
A30
A36
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C28
WC
B144 A26
A29
WC WC
C20
B21
A25
D01
AB on Air A19
A20
AA28
A27
B20 C20 C2 B22 C22
C1 C177 A01
A22 A24
A26
A21 Omnitek
A05 A066
C11
C10 A16
W WC
C19
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C18
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C72 B75
A59 C339 C39
C71 Guntermann Gunter mann & Dr Drunck unck
A41
Logiways Logiw ays
C441 C41
C61 AAppear TV
B40
Demonstration Area
B41
A47
A46
C449 C49 B49
A48
Publitron A49
A50
A51 FOR-A UK
B59
C50
TMD C58
F71 D69
A62
C5 C53 53
C78
C79 C81
F75 C83 B80
B81
B84
B89
C85 C88
A80
B71
C89
C57 C5 57 A71 NDS
A74
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A76
D71
F70
C71 Intelsa Intelsatt
A91
B79
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D73
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EchoStar Ec choStar Europe F80
A80 A81
C81 Na gra Kudelski Kudelski Nagra
D81 F86
SVP Broadcas Broadcast st Microw Microwave ave A91
OR G ORG
Floorplans correct as of 28 July 2011
B78
KIT Digital/iok Digital/ioko o
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Visitor Visitor Registration Registration & Exhibition Entrance Entrance
A75
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C55 C555
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B51
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C93
C95 C97
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08-13.09.11
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theibcdaily
08-13.09.11
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 International/Studer) 8.D60 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 ASTRA (SES ASTRA)) 1.B51 ASTRA Platform Services (Co-exhibiting with ASTRA (SES ASTRA)) 1.B51 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 13.373 Cabletime Limited – IPTV 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
Pesa P esa A09 A11
A10
B10
A12
Digital Nirvana Nir vana
D10
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A21 A01
A03 A05 B02
B08
B06
C01
B14
B12
D15
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D21
D20
F20 D25
A24
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Clear-Comm Clear Comm
A0 04 A04 A29 A08
A17
B16
B17
C15
A0 06 A06
L
D10
A10
A19
B18
A28
F25 B31 A30
D20
B25
A31 A Riedel Com Communications mmunications GmbH & Co. KG
WC C
WC W D26
C25 AA16 16
F23
Norwia Norw wia
B19
B20
F22
F31 F32 F344
TTrilogy rilogy
A1 A14 14 A20
F24 F26 F288 D29
C20 Ross Video Ltd A1 12 A12
F21
B29
B20
D30
F30
F29
D31 F38
B39
F33
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D30
F35 TSL
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A41
D42
B44
A33 A3 32 A32
A40
B30 Christie
A36
A3 34 A34
C45 PPanasonic Marketing Europe GmbH
A46
A4 A48 48
B48 F51
D40
A4 42 A42 A40
D46
A49 A42
A35
A3 A38 38
A4 44 A44
F39
D41 Professionaal JVC Professional Europe Ltd
C449 C49
B41
A30 A3 30
A45
ORG ORG
A44
C51
D55
D57
B42
B40
E577
E59
Conference Conference
A47
E51
A5 50 A50 A51
A53 A55 A57 A59 B41
B43
C47
B45 B47 B49 B51
C49
P
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Holland H olland Restaurant R estaurant
WC
A10
A14
B10
B12
E10
D10 D11
C11
Passage P assaage to to Halls 1 & 1-7 12 17
F04 F02
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F11
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Vortex V or tex Communications o Communica ations A20 D21
A28
C20 C2 20 Fujinon (Europe) (Europe) GmbH
A21
C21
D20
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G21
F21 ARRI
E21
E28 Draka
WC
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G25
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1
Exhibition Entrance E trance En & Visitor Visitor Registration Reg gistration
G29 B31 B331
C31
C30
A30
D30
G33
D31 F31
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B B39
A34
D36
C37
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D35
D39
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G35 G37
Thales Angenieux A
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C40 A40
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A54 C61
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A58 A60
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Autoscript
F61
G60
Autocue C71 C73 C74
G70 E60
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E61
F71
F70
G72
D75
A70
F73 F72
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C81 D80 D81
IBC CP Production roduction V Village illage
IBC TV NEWS
C84
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D86
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A80
F74
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VI
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 2.A21 F.A.Bernhardt, FAB 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 10.A38 G&G Tape Check 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 9.D10 Hamlet 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 9.B20 I.S.P.A. – Group 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
Communications) 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
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 8.D82b Lacie 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 8.A14 Magix 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 9.A14 nac Image Technology 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 6.C28a Object Matrix 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 1.B19 Pace 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 8.B34 Radio Frequency Systems 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 Thomson) 5.A17 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 7.B25 Ultimatte Corporation Unique Broadband Systems 8.A28
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VIII theibcdaily
08-13.09.11 ĂœBERFILM 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 – that’s the maxim of P+S TECHNIK, the Munich-based manufacturer of high-end, professional ďŹ lm equipment.
P+S TECHNIK SCREENING “Inspirational Tools for Exceptional Images� ON THE BIG SCREEN Saturday, 10th September, 15.30 to 17.00
www.pstechnik.com Traditionally reliable. Daringly innovative.
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W B40 B42 WASP3D 3.B62 8.A44 Wave Science Technology Unitend Technologies 3.C51 ee e 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 A06 6 A04 A05 A14 Well Buying Industrial Co 8.A22 B2 A25 C111.D39 C10 A16 A15 WellAV Technologies Limited A20 1.F11 Utah Scientific 2.B20 The Israel Export & A29 A24 A26 A27 A28 A23 A Wellen+Noethen 3.A35 A18 International International Cooperation Cooperation C16 C177 C1 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 C21 B21 varavon A19 C221 Sumav Su mav A24 WireCAD B111.F57 C1 A15 A11 B144 B10 VBOX COMMUNICATION 3.A15bi A26 (Co-exhibiting with Broadcast Solutions) Wireworx 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) Pace plc p 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 with AWEX) 10.D31 WNM (Co-exhibiting 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 byEntropic PPM 1.F29 Sea C Prodys ys A48 B20 Work Microwave Prody 4.B63Sea C511 VianeosCommunications 2.A30f C5 C48 Harmonic B43 B26 Working Easy 11.A50 VidCheck 10.A09 A50 A51 B500 C533 World DMB A27 9.D30 Videobewerken WorldCast SystemsB28 8.B50 A52 B51 (Co-exhibiting 11.F90 A55with Zacuto) B566 B5 Wowza Media 13.121 C A54 VideoPropulsion 5.C25 B55 C56 A30 wTVision – Software for TV 3.C61 A58 Videosolutions Group 7.A06 C5 C599 Wuxi Huaxin Radar Engineering Co 1.C97S&TT 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 5.B07a C3 XCRYPT 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 15 C15 Group) 11.D61 C1 Vinten (Co-exhibiting with VitecOctopus 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. B20 11.F71 C2 21 C21 A41 A21 Xilinx 10.D25 B41 Vision Research 11.F60 C23 C B21 C28 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 Subti ubti Screen Su YoSpace 13.242 Visual Unity 3.C35 You/Com Audio 8.E74 C A28 Vitec Group 11.A70c/11.D61 Viaccess V iaccess B31 C30 Yuvsoft 11.F74 31 C31 Vitec Multimedia 7.J31 C3 B51 A51 Zacuto 11.F90 C5 33 C33 ASTRA Vivesta 2.A46 C3 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 Zhengzhou KEMA MOVIE-TV Logiways Logiw ays C4 41 C41 Recording) A41 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.G39Jßng Jßnger ger A48 Publitron Zoran Corporation 5.C06 DTS Aud io Audio 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 Zylight (Co-exhibiting with C508.A10 VTE Microwave Technologies B51 A54 C5 53 C53 Nila LED Lighting) 9.A19 Amos s– VTS Studiotechnik 8.A03
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42 theibcdaily
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The key to DTT success Santiago Rey, TRedess general director, explains how DVB-T2 Gap Fillers can help DTT network operators achieve full and cost-effective coverage DTT consumers are demanding more and more content with a higher picture quality, and it is also expected that there will be an increasing demand for DTT services to be available to 100% of the population, so everybody can benefit from the TV services. All DTT network operators want to meet this demand, but the question is how. From a technical point of view, this is leading DTT operators to select DVB-T2 for most of the new network
developments, so they can introduce HD and more services per channel, and also requesting from the authorities the assignment of new multiplex so they can cover users’ demand. At the same time, now that the broadcast industry is emerging from the doldrums of the global economic crisis, high in the agenda of DTT network operators is the need to achieve important cost savings. To make DTT available to all the population, the
Opinion extension of coverage based on low power Gap Filler technology will help DTT operators to achieve that cost reduction, as it is a more cost effective alternative than a network based on transmitter equipment. This allows a single transmitter to feed a constellation of low power Gap Fillers, covering large areas keeping the SFN alive. In this scenario, cost effective low power DTT transmitting equipment is becoming increasingly important to make DTT services available to the entire population. In order to gain a competitive edge, low power equipment manufacturers need to offer the DTT operators fully compatible DVBT/T2 solutions with the capability to
Versatility for video signal delivery The MRD 3187B receiver/decoder’s modularity lends itself to a host of monitoring, decoding and retransmission applications across broadcast and satellite markets
Sencore By Ian McMurray The MRD 3187B receiver/decoder from Sencore is said to adapt to almost any contribution, distribution or backhaul environment. The device’s modularity, it is claimed, enables the user to deploy it for a diversity of monitoring, decoding and retransmission applications.
Sencore is showcasing the new PID and service filtering feature on the MRD 3187B, which is said to be ideal for IP turn-around applications. Other elements of the specification include: genlock and an automatic primary/backup failover; DVBCommon Interface for conditional access; multiservice descrambling; and advanced DVB-S2 capabilities such as 16ASPK demodulation and multistream VCM input support.
“Sencore continues to expand upon our successes across new and emerging broadcast and satellite markets in Europe,” commented Thomas Stingley, executive vice-president, sales and marketing at Sencore. “We’ve also established several key partnerships with leading distributors across this region, with more expected in the months ahead. At IBC2011, we are pleased to be highlighting our high-quality, cost-effective solutions for video signal delivery and monitoring, including the newest enhancements to our MRD 3187B receiver/decoder, which were designed specifically for IP turn-around applications.” 1.C36
WE ENSURE THE WORLD’S “NEWSFLOW” OpenMedia is a true end to end news management application for TV - RADIO - WEB www.annova.tv
host an increasing number of multiplex in a reduced space, and do it at a very competitive price. TRedess has identified this gap and at IBC2011 we are presenting the Compact Series of low power transmitter and Gap Filler solutions, fully DVB-T2 compatible and capable of hosting up to seven multiplex in a 19”x5HU subrack. The COMPACT Series Gap Fillers can optionally incorporate a very high performance Echo Canceller (DEEC) capable of canceling Doppler effect and echo levels up to 24dB higher than the signal. This is also an important source of cost reduction for the DTT operators: it saves important installation costs as it reduces the required isolation between the transmitting and receiving antennas. In addition, at TRedess we do the integration of the full system at the factory, which significantly reduces onsite installation time. All this, together with the experi-
Santiago Rey: Cost effective low power DTT kit is increasingly important
ence TRedess has already accumulated providing equipment to main DTT network operators worldwide (more than 10000 transmitters and Gap Fillers on the field), puts TRedess in the role of a strategic partner for digital switchover. 8.C10
A plethora of premieres Pilat Media Global By Heather McLean A variety of business management software solutions for content and ser vice providers in the media industry are being exhibited by Pilat Media Global. Specific innovations on show include the IBMS Operational Cockpit, IBMS:InTouch, IBMS Traff icCentral and IBMS Workflow Orchestrator. IBMS Operational Cockpit is Pilat Media’s IBMS end-to-end broadcast management software, which has been enhanced by the addition of an advanced Operational Cockpit. The Operational
ME IBC ET U SE S P (3 AT AM T 9 th .A31 : ST to ) ER 13 th DA M
Cockpit ties together workflow processes and business information to monitor and display the stat u s o f a l a rg e n u m b e r o f k ey business processes. IBMS:InTouch is a tablet-compatible order and account management console for the company’s advertising sales management system, IBMS Sales. IBMS:InTouch enables broadcast sales and marketing professionals to access advertising campaign information from iPads, Android tablets and other devices supporting HTML 5. I B M S Tr a ff i c C e n t r a l i s designed to support hundreds of channels or networks across a large number of regions, a task that requires hundreds or thousands of p l ay l i s t va r i a n t s , c o m b i n i n g national and regional programming, national and local advertising, and low and high content bandwidths. Traff icCentral provides a single point of control to drive business and traff ic operations from schedule creation to reconciliation. IBMS Workflow Orchestrator is an advanced enterprise-scale workflow integration hub for the company’s IBMS:Adapt set of customisation tools. The Workflow Orchestrator includes a comprehensive toolkit for assembling complex integrations using file and web services, customisable control logic, direct access to the full repository of metadata, and integration with IBMS dashboards, reporting and analysis functions. Avi Engel, CEO of Pilat Media, commented: “The new business dashboards and management consoles we are introducing can help small broadcasters as well as large multichannel operations improve workflows and profitability. “We look forward to meeting with IT and business professionals at IBC this year to discuss these and other product developments,” Engel continued. 3.B14
Hall 1, Stand D40
44 theibcdaily
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Scaling fibre to HDMI Extron By Heather McLean
NewTek’s TriCaster 850 Extreme HD portable live production system
FoxBox SR HDMI is the name of a new high performance fibre optic to HDMI scaling receiver from Extron Electronics. The new launch – the latest addition to the Fox Series of fibre optic transmitters – is being highlighted at this year’s IBC. The product accepts a fibre optic signal with audio, RS-232 control,
and HDCP-compliant HDMI, DVI, VGA, or YUV video, scaling the video to the optimal output resolution for the display. Resolutions up to 1920x1200, including HDTV 1080p/60, are supported. Available in multi-mode and single-mode models, FoxBox SR HDMI also provides integratorfriendly features such as Key Minder for continuous authentication of HDCP compliance, audio deembedding, Auto Input Memory,
internal test patterns, and a compact enclosure for discreet placement. “AV system designers and integrators now have a simple solution for scaling high resolution video in fibre optic systems,” commentated Rainer Stiehl, vice-president of marketing, Europe for Extron. “The FoxBox SR HDMI scaling receiver ensures the highest quality image is perfectly matched to the display, independent of the source resolution.” The FoxBox SR HDMI is compatible with the Fox Series HDMI, DVI Plus, DVI, VGA and VGA/YUV transmitters. 3.A51
Going to extremes – live from anywhere New features for production system NewTek By Carolyn Giardina TriCaster 850 Extreme from NewTek is an HD portable live production system designed to enable live broadcasts from any location. The system is one of several recent developments being showcased by NewTek at this year’s show. The TriCaster 850 Extreme includes proprietary NewTek IsoCorder multi-track recording technology, which provides the ability to record up to eight channels of video from either inputs or outputs. Additional features include direct support
for any Apple AirPlay-enabled app or device, and EQ and compressor/limiter capabilities on every audio input and output. Also featured at the NewTek stand is the company’s 3Play 820, an HD/SD 10-channel slow motion system that was developed for simultaneous display, recording, and instant replay of up to eight video streams, each with up to quad channel audio. The system uses NewTek IsoCorder technology. 3Play 820 is being presented as an affordable option to deliver instant replay and slow motion for broadcast, webcast and arena scoreboard displays. 7.K11
Mosart By Ian McMurray Newscast Automation 3.0 is among the developments being showcased by Mosart at this year’s IBC. This latest version offers a host of new features and functions, including a redesigned graphical interface with full user configurability. Story elements such as cameras, clips and graphics can be assigned easily to buttons for simple and quick access. A range of interface overviews can also be allocated to buttons, making the GUI a shot box for touch-screens and adaptable for
The Newscast Automation GUI has been redesigned and is user configurable
any TV production. Story scripts from the newsroom computer syst e m a r e s h ow n d i r e c t ly i n t h e Mosart GUI, and system operators can store clips and graphical ele-
ments in a pool ready for execution on request. Content repurposing/reuse and MAM integration are enhanced with the Mosart delivery of news as-run information to continuity control systems such as Snell’s Morpheus. Mosart is also said to offer simplif ied operations in multi-gallery, multi-studio environments through one-time broadcast template creation, while open system compatibility is extended with new support for Dalet News and Annova’s Open Media, in addition to ENPS, iNEWS, Octopus and NorCom. 5.C26
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Boosting video transport T-VIPS By Ian McMurray Video contribution and distribution solutions provider T-VIPS is launching new products as well as announcing increased functionality across its video transport, monitoring and switching, and transport stream processing and remultiplexing ranges. The company says that new solutions in the T-VIPS nSure range will provide 24/7 monitoring, advanced analysis and redundancy
switching to safeguard the delivery of high-quality video content. T-VIPS is also drawing attention to new products in its cProcessor processing and multiplexing range which the company says address the requirements of network operators, TV studios and broadcasters. The company’s video gateway solutions are said to offer compact, robust and cost-efficient products for real-time contribution and distribution of professional video over IP networks. 1.B71
T-VIPS is showcasing its video contribution and distribution solutions
Innovate or Die To thrive as a hightech company in the broadcast and production markets, a focus on innovation is key, says David Ross, CEO, Ross Video Innovation is important for both technology suppliers and our customers in a rapidly changing world. At Ross, innovation is core. It is the reason that we have continued to grow and prosper through challenging market conditions.
We aren’t just talking about innovation for innovation’s sake though. It has to be relevant to our clients. Our corporate mission statement puts things simply: 1. We make cool practical technology and 2. We provide a superior customer experience. The first statement ‘Cool practical technology’ indicates three instructions for our product managers and engineers: Cool – We want to create something unique that customers can get excited about, something that gives you a business advantage and allows you to innovate by deploying our products. Practical – Whatever we do it has to directly relate to key needs in the marketplace, be easy install and use and be affordable. Technology – As a technology company we must stay on the leading edge, ensuring that we offer up to date
Content (management) is king Evertz By Michael Burns IBC2011 is providing a venue for Evertz to introduce Mediator SC to the European market. This content management and automation system for f ile-based workflows aims to help facilities that are looking to start new HD/SD services, expand existing facilities or build new disaster recovery sites. The Evertz Mediator turnkey system includes ingest media clients and storage from the Evertz M e d i a S e r v e r ( E M S ) f a m i ly. Channel playout and branding are provided by Over tureRT Live, while Mediator SC serves as the content management and automation system. Mediator SC enables the delivery of content to multiple platforms while tracking and managing a system’s media assets. The userfriendly interface is said to allow for easy desktop ‘search and browse’ of content and metadata. For its part, Evertz Media Server (EMS) is a scalable and flexible solution for media server and stor-
Mediator SC offers an innovative approach to file-based playout services
age, offering multi-channel I/O and content processing, file ingest capabilities, and a fully distributed storage model when coupled with the core server. OvertureRT Live, meanwhile, is designed for cost-effective, multi-channel playout with integrated master control and advanced channel branding features. It’s a channel-in-a-box solu-
Opinion technology using the latest chips, programming techniques and so on. With Innovation, timing is key in more than one way. Choosing that magic time to create a new product – when the market is ready, the technology is capable and affordable, and the engineering effort is on a reasonable scale – is critical to the success of an innovation. Get one of these things wrong and your great idea is doomed. Innovation means more that just cool products and great timing, it comes in a variety of other forms and often includes business methods, manufacturing techniques, service and support offerings and corporate policies and structure. It isn’t enough just to have great technology or to be delivering the status
David Ross: Make your productions sizzle
quo in some areas, to succeed as a technology company, constant innovation across all of these fronts is required simultaneously – or you’ll get left behind. We can all think of many companies that have come
tion, with multiple video inputs, an internal video server, A/B mixing and advanced graphics capabilities. Over tureRT Live offers a combination of still g raphics, multi-layer advanced graphics and character generation, enabling users to create dynamic lowerthirds, weather, and dynamic text graphics. 8.B40 and gone over the years, they just didn’t keep up and ended up dying due to lack of innovation. IBC is all about innovation, providing a venue for suppliers like Ross to showcase our unique prospects for your organisations to innovate in key areas of your business. If you drop by the Ross booth you will learn things like how to: automate productions to save cost and improve consistency with OverDrive; simplify system complexity with our Vision production switchers built-in multiviewers; have more options and better pricing with openGear; make your productions sizzle with leading edge XPression graphics and workflow solutions; manage and automate content creation for the web and social media; and how a radical new production switcher like Carbonite changes the game with unprecedented live production power at an incredible price point. At IBC this year ‘Innovate or Die’ is more relevant than ever. So let’s get busy and innovate together. 9.C20
46 theibcdaily
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Insight(ful) approach to content Net Insight By Ian McMurray Net Insight – which provides scalable transport solutions for media, IP
and broadcast networks – is demonstrating its latest products for contribution and distribution network access. The company is also discussing the latest trends transforming the world of video transport.
New developments include solutions for contribution and distribution network access. These products will, according to Net Insight, extend the reach of the Nimbra platform further out in the media networks
JPEG2000 Video Access Module has ‘unique’ SDI and ASI capabilities
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* in stereoscopic Dolby 3D and Dolby 7.1 ‘Courtesy of Paramount Pictures International’
Scan for more information
ÜÜÜ° LV° À} IBC Fifth Floor International Press Centre 76 Shoe Lane London EC4A 3JB UK / +44 (0) 20 7832 4100 Ê +44 (0) 20 7832 4130 ÊÊ Ê v J LV° À}
The TG3 Teleglide Camera Track System can be floor- or ceiling-mounted
Keeping a low profile Telemetrics By David Fox Telemetrics has redesigned its TeleGlide Camera Track System. The new TG3 low-prof ile trolley and track minimises space requirements, making it ideal for applications including studios, conference rooms and indoor sports events. The system has a fixed platform trolley for increased stability. The track frame comprises easily-assembled lightweight aluminium, with steel rods for bearing contact. The fully servo-controlled system permits location feedback for accurate pre-set positioning and repeatable motion control, while soft electronic endstops help ensure smooth movement. The straight-track system can be floor- or ceiling-mounted, with custom lengths and cable management systems added. The TG3 works with all Telemetrics’ pan/tilt heads, extendable camera mounts, telescoping camera mounts and control systems. It can suppor t up to a 109kg payload capacity with a maximum speed of 30cm per second. “Because of its size and design, the TG3 TeleGlide Camera Track System opens up a wider range of installation possibilities,” said Anthony Cuomo, VP and general manager, Telemetrics. 11.F45
Identify | Manage | Monetize
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In brief Virtual studio prototype A prototype virtual studio that allows realtime production and switching of IPbased audio and video sources is being shown by Canada’s Ryerson University in the Future Zone. The studio is designed to act as a test bed for research and development that lowers the barriers to developing realtime multicast applications. The institute is also showing new tools for collaborative media production. These are said to offer an HD, low bandwidth, streamlined experience for transmedia content creation. A practical implementation of these tools would allow post houses to receive instant feedback from participants while working across geographical areas. 8.F41
Low-power LED light The new XD-H56S/P/EX LED oncamera light from Pro-X is designed to provide uniform light for shooting, 2000Lux/1m brightness and low power consumption (16W). Other features of the specification include: dimmer control from 0% to 100%; 10,000 hours operating life; 5600K/3200K colour temperatures; power by DV battery or the camera; low voltage warning; and shoe-mount. 11.G60
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Change and growth beyond broadcasting Developers need to provide an efficient solution for the change from VGA to DVI, says Annette Haebel, press officer, Guntermann & Drunck Q: How does the KVM sector look from G&D’s point of view? For more than 25 years, VGA was the leading video technology in the computer and therefore the KVM sector. Several months ago, however, the leading manufacturers in the videochip sector announced the end of VGA. Its successor, the DVI port, however, has long been implemented into computers. Taking a closer look, you’ll discover the so-called DVI-I interface. It transmits analogue (VGA) and digital (DVI) video signals in combination. So users can decide whether they prefer applying an analogue or digital monitor. Developers need to provide an efficient solution for the change from VGA to DVI. KVM manufacturers realised this development already
years ago and focused on DVI. Now they are faced with the challenge of bridging the time until the final change to DVI. Therefore high-quality KVM portfolios need to provide the possibility to extend or switch both video signals. Q: What is the most important technology for future business developments? Today, KVM devices offer more functions than just extending or switching video signals, since they need to serve as management tools. Providing Dynamic Port technology, access to network, web interface and monitoring functions, a KVM device is now control centre and communication platform rolled into one. Being integrated into the network, offers further possibilities for KVM, such as using services such
as authentication, SNMP, and Syslog for monitoring and maintaining remotely. Q: What are the key technologies for customers? In dynamic environments, broadcasters need to be able to react to new and unexpected conditions. New technologies, new configurations, new employees – all this requires innovative hardware and adaptability. Enterprise KVM devices such as the DVICenter by G&D are designed to assign the connection ports either as computer or user ports thus guaranteeing unique flexibility (Dynamic Port technology) for growth of the installation. If customers want to expand their existing installations, KVM devices can simply be cascaded. The cascade accesses the existing system and adopts existing hardware and configurations. When it comes to safety, the most important aspect is to detect errors and downtimes before they even occur. KVM manufacturers like G&D provide devices that not just extend and switch but also take over monitoring tasks. They continuously monitor the system status and automatically detect errors that can be queried over web interface or SNMP. Q: How does IBC add to these technical developments? IBC offers the possibility to directly
Opinion
Annette Haebel: Broadcasters need to be able to react to unexpected conditions
communicate with broadcast specialists. There, we would like to discuss their requirements, worries, and projects and find solutions based on our customer’s practical experience with KVM technology. Instead of just writing about it, we offer our customers the chance to experience our devices’ capability live on-site. That way, IBC visitors can tell us directly their needs, which gives us the knowledge to develop our products with our customers in mind. 4.B74
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Thunderbolts increase Sonnet Technologies By Carolyn Giardina A host of new products designed for Thunderbolt-equipped computers are being shown by Sonnet Technologies at this year’s IBC. Specific products include Thunderboltenabled RAID storage and the Echo Express PCIe 2.0 expansion chassis. Sonnet’s Echo Express PCIe 2.0 expansion chassis enables users to plug in PCI Express 2.0 adapter cards – for example, full size video capture cards, 8Gb Fibre Channel cards and 10Gigabit Ethernet cards – to any computer with a Thunderbolt port. The chassis is available in two sizes: the standard Echo Express PCIe 2.0 expansion chassis supports one half-length, double-width, x16 (x4 mode), PCIe 2.0 card, while the XL model supports one full-length card. Two Thunderbolt ports support daisy-chaining of up to six devices to a single port on the host computer. Sonnet’s Fusion D800TBR5 8drive RAID 5 desktop storage system featuring Thunderbolt technology includes an internal RAID controller that supports RAID 0, 1, 5, 6 and JBOD. Fusion D800TBR5 is aimed at HD video editing and is available in 8, 16 or 24TB conf igurations. Sonnet claims this system is fast
enough to handle a single stream of uncompressed 10-bit 1080 4:4:4 HD, or multiple streams of ProRes 422, uncompressed 8-bit 1080 HD, DV, HDV and DVCPRO video. Again, the storage system is equipped with two Thunderbolt ports. Other items featured at Sonnet’s stand include the Fusion RX1600 Vfibre high-performance workgroup shared storage system, the Fusion F2SSD portable two-SSD RAID storage system, DIO pro CompactFlash and SDXC media reader, Qio professional universal media reader/writer and eSATA host controller. 7.G03
SC2100 is a high-density bulk descrambler
Head-ends can provide full flexibility Appear TV By Ian McMurray Appear TV, a provider of next-generation head-ends for broadcast and IP television, is showcasing its universal distribution head-ends. According to the company, the head-ends can now provide full flexibility over inputs, outputs, encoding and transcoding, with a head-end
capable of taking any input and providing any output. Appear TV says that this industry first is enabled by its new realtime, high-quality video encoding modules for its head-end chassis. The company’s products are said to provide broadcasters with total flexibility that can handle all the functionality required for distribution over cable, IP, satellite and terrestrial networks.
Also being demonstrated is a high-density bulk descrambler module that allows broadcasters and operators to descramble up to 250 services using a single 1RU chassis, and the new MPEG-4 HD decoder module, which enables up to 30 HD channels to be decoded in either SD/HD or MPEG-4 AVC/SD/HD format, including HD to SD down-conversion. 1.C61
Focus on Connected Home ADB By Ian McMurray
Sonnet’s Echo Express PCIe 2.0 expansion chassis
In a future where multi-media content will come from multiple sources, ADB believes that an opportunity has arisen for pay TV and broadband operators to seamlessly move between multiple screens and devices – and at the user’s preference.
solutions, which are on show at IBC. Following the acquisition of Pirelli Broadband Solutions in late 2010, ADB now offers a full range of broadcast and broadband devices and software, which, according to the company, work together to provide a complete multi-room, multiservices experience. The ADB stand at IBC features a number of demonstrations, including ADB’s multi-room pay TV platform, which has enjoyed a successful field implementation. 5.B48
They can become the providers of multiple services to the Connected Home, simplifying the experience for the consumer, making the home network hassle-free, and ensuring that all the connected devices and services work together effectively. To make this future a profitable reality for pay-TV and broadband operators, ADB says that it has developed a comprehensive set of
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Building a distributed intercom network Opinion Intercom solutions that provide connectivity alternatives resolve the challenges of wider communication within broadcasting, says Bob Boster, vice president worldwide sales, Clear-Com One major trend emerging in the broadcast industry within systematic studio facility updates is that studios are abandoning their centralised infrastructure for a distributed one. In the past, broadcast teams worked within a single communications network in one building. However, media outlets are spreading to other locations and coordinating productions across distant sites. Since these teams of experienced professionals are scattered throughout separate regions, the broadcasting studios need extended communications over long distances. This multi-site structure enables reporters to capture local news in a timely, economical and more effective
manner. When broadcast studios were centralised, staff often travelled far to gather news. Now that studios are dispersed, regional bureaux easily report on local stories and transmit them back to station headquarters. Additionally, broadcast stations have developed workflows in which people of similar disciplines are gathered together to increase productivity. Clearly, engineering a practical communications framework over many sites such as this has become increasingly more complex. One of the biggest challenges in rebuilding a distributed infrastructure is figuring out how to easily and effectively join several facilities within a larger campus or link multiple sites across a city, region or country. Basic
communication capability is insufficient for connecting these far-off sites, especially since the number and distance between them is significant. Intercom-over-IP solutions bridge this communications gap between remote locations. For instance, a field production site, mobile production unit or an OB van can connect to studio headquarters with two system frames over an IP interface. Another alternative is having IP-enabled control panels or a software client on a desktop PC connect to an intercom facility over the internet so that productions can be monitored from any place around the world. At IBC, Clear-Com will demonstrate to attendees how our intercom
products can help the broadcasting staff, stationed at several locations, successfully collaborate with one another. Our strategy has been to leverage internet protocol technology to develop intercom systems that streamline communications management and extend interconnection opportunities. Two such solutions will be on display at IBC, including Concert 2.0 and Concert for Newsroom software. Both solutions offer costeffective means for connection over IP. In addition to IP intercom, we will present our offering with Optocore, which enables users to intelligently route audio across the Optocore network to intercom panels at any location over fibre and CAT5. These intercom solutions are useful for achieving reliable remote interconnection as well as easy to deploy, operate and manage.
Bob Boster: Intercom-over-IP bridge the comms gap between remote locations
Clear-Com is always creating new products that not only resolve existing communication challenges, but are scalable for each user. We look forward to continuing this discussion with IBC attendees and collaborating together to devise breakthrough innovations. 10.D29a
Manage digital V-Mount makes connection assets faster PACS allows users to control video and distribute video from browsers on a network
Control for RS-232 and IR-equipped solutions Gefen By Carolyn Giardina The company has unveiled a new Professional Automation Control System (PACS), which provides access to audio/video devices equipped with RS-232 or IR control over any network system. PACS is designed so that users can select sources, control volume and distribute video from any browser on the network. Existing systems can be accessed from anywhere, including home or office computers for 24/7 access. Gefen explains that the PACS can therefore be used to control HDTV displays, add-on switchers, distribution amplifiers, scalers and additional A/V devices from a
central interface. Configurable Ethernet inputs can be programmed to store and remember IR commands to centralise and automate audio/video access. Access is supplied through five IR blasters, four RS-232 and five phoenix connectors (positive and negative) for audio/video distribution. The PACS operates through an Ethernet 10/100 BaseT connection and comes with a locking power supply to prevent disconnects. When not in active use, the PACS automatically powers down to standby mode. “The new Professional Automation Control Systems is a great product for anyone who wants to extend their control of standard audio/video functions,” said Hagai Gefen, president and CEO, Gefen. 7.B30
Nativ By Ian McMurray According to content services company Nativ, today’s broadcasters and content owners face the challenge of getting their digital assets organised in order to quickly reach audiences on all platforms and devices at a low cost. At IBC2011, Nativ is showcasing the latest release of MioEverywhere, which the company describes as a total video logistics solution that helps some of the biggest content owners and brands to do just that. MioEverywhere, says Nativ, is built on years of content management expertise and removes all the complexity of digital media management and distribution. By deploying MioEverywhere, the company believes that broadcasters and content owners can reach any audience with the highest quality audio-visual experiences possible, on any platform – whether that be web, mobile, tablet, IPTV or connected TV. 4.A61e
Mini mount: IDX’s A-E2KPm with Ki Pro Mini and V-mount battery
IDX By David Fox IDX Technology’s new V-Mount sleeve and Mounting Adaptor are designed to make it simpler to attach an AJA Ki Pro Mini digital recorder to a camera. The A-E2KPm securely
houses the Ki Pro Mini and mounts conveniently to an ENG camera VMount connection. It has an integ ral P-V2 plate that allows direct attachment of IDX 14.4v VMount Lithium Ion batteries to provide simultaneous power for both the Ki Pro Mini and the camera. The A-E2KPm has a discreet fourpin XLR cable to pickup power from the battery and slot into the XLR power terminal at the base of the Ki Pro Mini. A two-pin DTap connector located on the side of the P-V2 supplies DC power from the attached battery to an on-board camera light or other DC-operated accessory. The rugged exterior and slim prof ile of the A-E2KPm provide secure housing, while a hinged top hood offers protection to the flash card slots and LCD panel in poor weather conditions, allowing users to insert or remove media without removing the unit from the enclosure. Even when housed, the AE2KPm provides access to the Ki Pro Mini’s audio and HD-SDI video input and output sockets. The A-E2KPm can also be mounted directly on IDX’s Shoulder Stabilisation System, without the use of third party rod or rail mountings. It can simply be slotted to the chosen PV series plate at the rear of the ACA74E Shoulder Adaptor and powered using an attached IDX 14.4v V-Mount Li-ion battery. 11.C21
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New Traffic IP Analysis Bridge Technologies By Ian McMurray
Broadband solutions from antenna stalwart Jampro By Michael Burns
Bridge Technologies has announced a new Traffic Analysis option. This latest development is designed to provide in-depth advanced monitoring and analysis of IP protocols and services across the complete range of VideoBridge probes. With the Traffic Analysis option, Bridge says that operators can combine detailed monitoring and analytics of broadcast/IP streams and all OTT services under a single unified VideoBridge environment with consistent display and reporting features. Also fresh for the show is Bridge Technologies’ new graphical GUI option, GFRX-OPT, which the company says extends the VideoBridge system’s clarity of data presentation with a comprehensive new display engine for completely diagrammatic status displays using any design the user creates. Taking graphic objects from vector graphics programs such as Microsoft Visio, the GFRX-OPT allows users to build diagrammatic displays that update with live data from the VideoBridge VBC controller server. 1.A30
Jampro is showcasing its range of broadband antenna solutions at IBC2011. Highlights include the JAT-U UHF broadband super turnstile antenna, JUHD UHF broadband panel antenna and Prostar JA/MS-BB broadband UHF slot antenna. Jampro’s JAT-U UHF Batwing IV/V 470–860 MHz Antenna is a robust radome-enclosed unit that
can be either top- or side-mounted on a tower for broadband multichannel UHF applications. It offers minimum wind loading while providing broadband response, aiding applications where either one channel is defined or multiple channels are combined. Like all Jampro products, the antenna is completely assembled, tuned and tested before shipping, and comes with a twoyear warranty. The JUHD Broadband UHF panel antenna is designed as either a side- or top-mount antenna, and is
also protected from the elements by radomes. Based on a modular design, this horizontally-polarised antenna can be configured to provide various azimuth and elevation patterns, including being able to maximise coverage by employing the optional beam tilt and null fill. Par t of the Prostar line, the JA/MS-BB Broadband UHF Slot antenna is a single, compact solution that conserves tower space and minimises wind loading. It is specially designed for multi-channel/combined channel operations in analogue-analogue, analogue-digital or digital-digital TV applications. Factory-tuned on arrival, broadcasters can choose from a wide selection of standard and custom transmission patterns. 8.B96
Easy phantom power is no apparition BHV Broadcast By Melanie Dayasena-Lowe BHV Broadcast is demonstrating Video Ghost, its phantom power modules developed as low-cost, reliable alternatives to traditional batteries. The manuf acturer of equipment for live production and post production is also exhibiting its full range of rack-mount and portable hybrid digital/analogue
BHV Broadcast’s Video Ghost range offers phantom power modules for use with digital video feeds
switchers, as well as rate/standards and up/cross conversion products.
Video Ghost brings phantom power to the video camera world and provides a switchable 5V or 12VDC power source for camera accessories using the existing video cable. A 150m operating distance is achievable for SD, while 75m are available for HD. The system can be used to power a composite-to-SDI converter at the camera, avoiding the significant signal degradation suffered by composite video over such distances. “Video Ghost was developed to
Radomes are installed on the JUHD UHF antenna to enclose the panels and protect against rain and ice
provide a set of affordable phantom power modules for use with digital video feeds,” commented Julian Hiorns, BHV Broadcast’s managing director. “This long over-due product presents the industry with the video equivalent of phantom power for audio systems.” The company is also highlighting product enhancements for its Syntax up/cross-converter and Callisto micro miniature SDI switcher, and showing the Proteus multi-format, multi-purpose, motion-adaptive standards converter in both rack-mount and portable versions. 10.F35
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3DTV: New routes and new routines 3DTV television: For everyone now?
As stereo 3D passes into phase one, the DVB Project is pondering whether an ‘improved’ plano-stereoscopic system will be needed in the next five years. David Wood, chair DVB CM-3DTV, surveys the territory new technology passes into routine – and into ‘standup’ routines: “You know, this 3DTV is so realistic! The other night I fell asleep watching 3D CSI: Miami. When I woke I found a forensic report about my beer and chips” (OK, I made that one up – it’s not copyright). The DVB project finalised the first 3DTV broadcasting specification at the beginning of 2011. It’s now an ETSI standard – the world’s first 3DTV broadcasting standard. This is a ‘frame compatible’ format that can work with existing HDTV set-top boxes – though they may need a download upgrade to take advantage of the capability to position sub-titles at different scene depths, to match the positions of different characters in the scene. Some terrestrial broadcasters argued that, if they were to use a Frame Compatible system, they needed a way to serve 2D viewers at the same time, without taking up
A
another delivery channel. One way, t h o u g h n o t a lway s p o s s i bl e , depending on nationally sold settop boxes, is to use MPEG signalling to instruct the set-top box to stretch and display the left image as a 2D image. Another, is to use an interactive application (such as
There is a terrestrial HD 3DTV system on air in Korea that transmits the left and right eye separately that is setting the world an example
MHEG-5) to pull out, stretch, and display the left image as a 2D image as part of an interactive ‘red button’ service. Each approach has pluses and minuses. Thousands of hours of 3DTV programming have been made; and, across the world, programme makers understand the supreme care that is needed to make 3DTV programmes to minimise eye discomfort. We understand more about what window violations are tolerable, how to handle scene cuts, converged and parallel shooting, and about maximum positive and negative disparities for home size screens. The wild lion of 3DTV production grammar is being tamed. There is always a horizon.For 3DTV, in the longer term, this may be a multiview broadcast system, where autostereoscopic displays provide more than two images. Beyond that it may be an ‘object wave’ system, of which the hologram is a simple form. But these are probably not
for the near future – more research and development is needed before we see large screen consumer autostereoscopic displays which are not head-position sensitive. T h e i s s u e n ow f o r DV B i s whether an ‘improved’ planostereoscopic system will be needed in the next f ive years. The DVB Project has been discussing this and hopes to reach a conclusion in the autumn of 2011. This would be 3DTV ‘Phase 2’. True, it would need a new set-top box (or equivalent), but the pay-off would be extra quality or features. One of the open issues is picture quality. The current ‘Frame Compatible’ (or Phase 1) delivery syst e m i s o bl i g e d t o s h a r e t h e resolution capability available from a n H D T V d e l ive r y c h a n n e l between the left and right images. Would there be a seriously perceptible improvement in quality if the Phase 2 system delivered all the resolution capability of an HDTV channel in each image? Would it be enough to justify a new delivery system? Blu-ray delivers full HD quality to each eye (well, at 24Hz anyway). Will broadcasters need to match this to be competitive? There is a terrestrial
need to work? Will the new system need to be compatible with ‘Frame Compatible’ (FC) reception (i.e. a Phase 1 signal with top-up)? Will the new system need to provide an HD 2D image for viewers with 2D only displays, together with something extra that can add up to two HDTV L and R images? This is called ‘2D Service Compatibility’. It could be nice if broadcasters had the option of providing either Service or FC compatible signals. A third issue is viewer ‘depth range adjustment’. It is easy to move the whole 3D image – lock, stock, and barrel – backwards or forwards by shifting the left and right images together or apart. It is difficult to actually change the depth range in the scene. This needs sophisticated processing in the display and helper signals (L and R depth maps) with the broadcast. Will it be a sufficiently attractive new feature to justify the extra things needed? If we could adjust the ‘depth range’ of the 3D picture to suit our taste, our age (oldies prefer less depth), and our viewing distance from the screen, it would cer tainly be a ‘plus’. But, how much of one? Furthermore, my simple mind is wondering if we could include in our DVB Phase 2, the Service Compatible system of separate L image and R images used in Korea today, as an option, would that be wel-
Prototype future generation 3DTV, not quite ready for the living room?
HD 3DTV system on air in Korea that transmits the left and right eye separately that is setting the world an example here. A second issue is compatibility. Under what circumstances does it
comed? Would we have the world covered in this case? There are also thoughts about whether, beyond Phase 2, there could be a ‘Phase 3’, when the full majesty of the MPEG HE-AVC compression technology is ready for the market. This might save as much as 50% bit rate compared to MPEG4 AVC. If so, we could work on the requirements for this Phase 3 in a few years’ time. But the $64,000 question of what Phase 2 will be remains open as this is written. Listen to some of the debates at IBC this year, and you should find some clues. Please contribute to the DVB discussions if you have insights into the commercial requirements that will make Phase 2 a success. Alternatively, please contact the author if you have better stand-up comedy material about 3DTV.
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MTS improves customer service Netris By Ian McMurray Mobile TeleSystems OJSC (MTS), a leading telecommunications group
in Russia, Eastern Europe and Central Asia, has launched its Video Consulting Service, aiming to offer a new level of customer service with video support over the internet. It is based on the Netris Video Consult-
ant, which is described as a unique solution to provide video consulting accompanied by the demonstration of documents and sites in realtime. The solution allows the saving and printing of documents.
The key features of Netris Video Consultant are said to be interaction with documents and an opportunity to have visual contact with the consultant without being seen. The service is available from PCs, tablets and information kiosks. Innovative video consulting is a unique project not only for telecommunications, but also for many
Video Consultant allows information sharing and interaction with documents
other industries in Russia, said Alexander Popovsky, director of MTS Russia. The widespread introduction of the service enables MTS to provide uniform standards of quality for services anytime and anywhere, not only inside the MTS office but also in front of a PC at home or on a trip. The Video Consulting Service based on Netris Video Consultant solution is now available on the MTS website for use by any subscriber. 4.C55
Get hands-on with the Phantom Flex in the Production Village
Phantom at high-speed Vision Research By David Fox Vision Researchâ&#x20AC;&#x2122;s latest Phantom v641 digital high-speed camera can shoot full HD at up to 2,560 frames per second. The v641 has a four-megapixel 35mm-for mat CMOS sensor (which can capture 2560x1600 images at up to 1,450fps), and is smaller and lighter than its predecessor, the Phantom v640. Other new features include: dual power inputs for battery back-up or hot-swapping batteries; a repositioned viewf inder port to make cabling cleaner and less intrusive; two auxiliary power ports that can provide 12V DC (1.5A) power for accessories, with each possessing an available trigger signal input; and dual cooling fans. The specification also includes HD-SDI ports, which can be configured as a single dual-link 4:4:4 port, as well as 8GB of built-in high-speed RAM (16GB and 32GB versions are also available). The camera can do extended dynamic range shots, capturing two different exposures within a single frame. Native sensitivity is ISO 1000. 11.F60
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Grappling with TV to mobile Audience engagement is key to TV-mobile success, says Thomas Wittig CEO, Unity Mobile The worldâ&#x20AC;&#x2122;s gone mobile. The stats and demographics speak for themselves. Mobile is outperforming PC in terms of traffic; indeed the shift to mobile is so prolific that it is estimated that three billion mobile phone screens now have the potential to access the web, stream news, catch-up TV, VOD and engage with social media. This yearâ&#x20AC;&#x2122;s IBC delivers a clear call to action to the broadcast world: itâ&#x20AC;&#x2122;s
simply irresponsible to ignore the demand for mobile-viewable content. Mobile is central to maintaining and attracting new audiences. For those who do embrace a TV-mobile strategy, the rewards of the digital dividend will be great. Broadcasters face increasing pressure to generate greater revenues, through more innovative services, delivered againsta shorter â&#x20AC;&#x2DC;digital ageâ&#x20AC;&#x2122; timeline. All this, in an environment where resources are stretched between deploying new file-based workflows and the rollout of HD and 3D services. But the challenges faced are more complex than the deployment of new technology or infrastructure upgrade. The huge cultural shift in audience behaviour must be addressed: content is no longer passively consumed and the broadcaster must adapt and engage with the
viewer on their terms, delivering the best possible user experience. An example: a recent Nielsen report found that 86% of mobile internet users (and 92% of 13-24s) are using their mobile devices simultaneously with TV. A quarter of them say they are browsing content related to what they are watching. This data presents a compelling opportunity for content providers and advertisers alike to complement the TV viewing experience on the mobile platform. Audience engagement is key. To deliver an effective TV-mobile strategy, broadcasters must understand viewer behaviour and deliver content specific to their mobile subscriber base. As the market offers an increasing number of streaming and operator VOD services, existing broadcast brand equity and viewer loyalty will mean nothing if the overall mobile experience fails to deliver â&#x20AC;&#x201C; in terms
Swift solutions for subtitle management Softel By Ian McMurray Softel is demonstrating the Swift TX, billed as a flexible and cost-
effective subtitle/caption management and transmission platform that reduces workflow complexity and increases reliability and productivity. The versatile solution features realtime transcoding and
a range of automation interfaces, along with extensive f ile format support. Also on show at the companyâ&#x20AC;&#x2122;s stand is the Softel Swift ADePT software. Based on the Swift Cre-
of quality of service as well as quality of content. This IBC is a great opportunity to experience the powerful mobile platforms offered by providers such as Unity Mobile, which enable organisations to effectively manage online content and engage social networks, supported by essential analytics tools. New services, such as interactive marketing via QR codes (2D barcodes scanned straight from a mobile phone) and appsfor any mobile device, will enable broadcasters to engage directly with their viewers as they never have before; adapt new business models and reinvigorate advertising revenue. But as mobile technology providers, we should not be complacent and under-estimate the hurdles broadcasters must overcome as they adapt to the mobile world. We may have extensive experience of the online sector, but few of us understand the complexities of a typical broadcast operational chain. Our interaction is too often limited to the marketing group with our technology managed as bolt-onâ&#x20AC;&#x2122;s, disjointed from main infrastructure and
process. While broadcasters grapple to integrate mobile, it is our responsibility to provide a more coherent path where video, broadcasting and mobile can truly converge. 3.C35
ate subtitle/caption preparation system, the software is dedicated to the creation and playout of audio description (AD). It is said to allow broadcasters to increase a u d i e n c e r e a c h by p r ov i d i n g access to content for visuallyimpaired viewers. According to the company,
Softel solutions are designed to let broadcasters and network operators deliver innovative services promptly, shortening time to market and generating revenue rapidly through reduced operational costs, increased productivity and streamlined workflows. 1.A27
Opinion
Thomas Wittig: IBC delivers a call to action to the broadcast world
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Grand tour for broadcasting tech
Wohler has toured 13 countries with its Euro Van
Wohler By David Fox Providing a rolling showcase for Wohler’s audio, video, data monitoring and captioning systems, Euro Van is concluding its three-month, 13-country European tour at IBC. The vehicle is being shown in the
outside broadcast area. The extensively-specified van was constructed to demonstrate how Wohler’s products can be used by networks and outside broadcast vehicles in even the most space-constrained situations. Several Wohler products are making their European debut at IBC2011, including: the 1-RU
Testing time for HbbTV Digital TV Labs By Heather McLean IBC2011 sees Digital TV Labs expand its selection of HbbTV test tools and facilities. The various innovations are designed to help those wanting to bring products and services to market in advance of the official conformance regime.
The tools include HbbTV Application Lab. Digital TV Labs’ global experience of standards and test regimes shows that applications must be tested on the widest possible selection of HbbTV receivers to ensure a quality customer experience. The company is now offering support for application authors, allowing them to verify and test their applications in the company’s test labs. They can also
MADI-8 audio monitor; the eightchannel AMP1-D8MDA-3G in-rack, lower-cost, audio monitor for decoding Dolby Digital (AC-3) signals; and an expanded line-up of captioning and ancillary data management products. These include its ‘groundbreaking’ HDCC Series captioning/subtitling products, which allow users to handle encoding, decoding and monitoring of CEA-608, CEA708, WST and OP-47 captions/subtitles, as well as the encoding and decoding of multiple GPI triggers; and the CD-2 caption/subtitle video monitor adaptor, which provides an OSD-decoded captions/subtitles output that maintains the original video format, as well as a reclocked passthrough video output. Wohler is also exhibiting major enhancements for its flagship AMP2-16V audio/video processing monitor, including suppor t for SMPTE 2020 metadata monitoring and a menu lockout function to prevent unauthorised changes to the unit’s configuration. 8.D56/OE225 benefit from support and advice from the company’s specialists as well as testing against real broadcast streams in their state of the art facilities. Digital TV Labs is also highlighting the fact that it has built up a large collection of HbbTV set top boxes and iDTVs to form a receiver ‘zoo’. Receivers have been categorised using the company’s library of HbbTV applications, with specifications also able to be checked using its Ligada iSuite HbbTV test tool. App developers can hire daily access to the zoo for
MERlin’s monitor magic dB Broadcast By Melanie Dayasena-Lowe UK independent systems integrator and product manufacturer dB Broadcast has introduced the MERlin DVB-T2 monitoring receiver unit. The new product can also monitor DVB-T, providing a future-proof solution for those considering the possibility of DVB-T2 in the future. MERlin DVB-T2 was designed at dB’s Cambridge development facility and is based upon the Hawkeye B104 receiver module, which is operational within the UK DVB-T2 network. A self-contained 1RU, MERlin monitors key signal performance parameters such as Modulation Error Ratio (MER), which give early indication of signal degradation and Low
Density Parity Check (LDPC) to determine the status of error correction. The unit can also monitor RF modulation parameters against programmable templates. All measurements, tests and logs are performed and maintained in the MERlin unit, meaning that it will continue to function in the event of control network problems. A built-in web interface allows for simple remote control and monitoring, while an SNMP interface is provided for integration with network management systems. Tom Swan, sales and marketing director at dB, commented: “MERlin combines measurement capability, technical perfor mance, versatility and reliability at a price which will enable its wide scale deployment at Relay sites in a transmission network.” 10.A28
MERlin DVB-T2 is a self-contained 1RU monitoring key signal performance parameters
debugging across multiple receivers in one place, enhancing the speed and quality of app development. Last but by no means least, Digital TV Labs can offer more structured testing and comprehensive reporting via its Application Testing Service. With its engineers ensuring compatibility against a range of receivers, the company can suggest workarounds where usability and conformance fall down, thereby helping to evolve the HbbTV consumer experience. 2.A18
New Triax HD Pro+ Broadcast Solution: Latest developments in 3G Triax Technology
A clean sweep Argosy By Melanie Dayasena-Lowe The Fibre Optic Cleaning Tool set has been added to Argosy’s f ibre optic portfolio. Designed to clean SMPTE and traditional Telco fibre optic connectors on cables and those located in panel adaptors, the tool uses a dry cleaning strand that wipes and lifts any dirt or residue away without the need for solvents. Suitable for inclusion in an engineer’s toolkit, it allows a full clean to be performed in one simple operation, with an audible clink indicating when the process has been completed. Each tool offers a minimum of 525 cleans.
Argosy’s latest tool allows easy cleaning of fibre optic connectors
You will find us in
Hall 11, Stand C31
A brand of the
www.draka.com/communications www.prysmiangroup.com
The SMPTE camera cable tool also enables users to clean connectors without the need to remove alignment ferrules, avoiding the need for additional tools. “It is easy to use, is field operable and does not require power to activate – making it perfect not only for engineers in studio environments, but also those working on outside broadcast trucks or remote locations,” said Chris Smeeton at Argosy. Visitors to the Argosy stand can see a full range of HD infrastructure products, including a collection of video, audio and power cables, connectors, rack systems and video accessories. 10.D55
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Q&A
these new needs. Therefore many customers use the IBC as a chance to evaluate the market for recent technology trends...
What do you think are the key developments in your market sector at the current time? As a developer of modern newsroom computer systems we
see that the workflows for journalists have changed rapidly. The journalists need to handle an increasing number of resources and to manage news independently from their distribution way. The internet plays a key role in this regard. Trends like social networks and cloud computing come to mind.
OpenMedia offers solutions for these new trends as well as tailormade workflows.
Why should delegates visit your stand at IBC? Everybody who is interested in a next-generation newsroom system for radio, TV and online should visit Annova Systems at our booth. We
will be releasing OpenMedia 3.8 at this year’s IBC including innovative new features. One highlight will be our Journalist Portal; in addition we will present our iPhone app and our new shot-planning tool, which allows OpenMedia to collaborate directly with Sony HD Cams. Make sure to stop by!
3.A31
What's on the
IBC Big Screen 2011 For the latest visit www.ibc.org/bigscreen Michael Schueller, CEO, Annova Systems Has IBC come at a good time for the electronic media industry? Why?
Events are free to all unless marked CONFERENCE SESSION, which need to be registered via www.ibc.org/conference Friday 9 September
Sunday 11 September
11:30 - 12:30 RED: Presents its new 5k Epic Camera, including some impressive footage shot on Epic
10:30 - 12:30 CONFERENCE SESSION Getting to Grips with Stereo 3D 18:30 IBC AWARDS CEREMONY (doors open at 18.15)
Yes, I think so. After last year’s economic crisis many broadcasters are focusing again on enhancing their workflows in order to be more efficient. Especially in news production the changes in the consumer’s behaviour force them to fulfil
13:30 - 15:50 ARRI
Saturday 10 September
Monday 12 September
Debut for embedder/ de-embedder
09:00 - 10:30 RED: Presents its new 5k Epic Camera, including some impressive footage shot on Epic
09:00 - 10:30 CONFERENCE SESSION Delivering 3D to the Audience
Lynx Technik By Paul Watson The multi-functional audio and metadata Shufflemax PDM 5289 embedder/de-embedder is new from Lynx Technik. Expanding the Series 5000 card and rack-based signal processing solutions, the PDM 5289’s primary function allows almost unlimited shuffling of embedded audio channels and metadata. Shufflemax is a 16-channel audio embedder/ de-embedder for SDI video, and can also be used for a number of broadcast applications that require multi-channel audio, metadata and audio/video delays. The unit is also a flexible metadata extractor, shuffler and embedder to visualise, decode and shuffle any metadata present in the SDI stream. The unit visualises all ancillary (ANC) data within HANC and VANC, and metadata can be extracted, replaced or passed transparently. The embedder/de-embedder also functions as a 32-channel audio processor with three internal mono crossbars for complete audio mapping control of embedded and external audio. 8.E24
16:00 - 18:00 CHRISTIE: J-Series – Evolution of Christie’s Xenon based projection series.
11:00 - 12:30 ASSIMILATE: Creative storytelling with RED Epic cameras and ASSIMILATE's SCRATCH 13:30 - 15:30 ARRI 16:00 - 17:30 P+S TECHNIK: Presents Inspirational Tools for Exceptional Pictures 18:30 (doors open at 18:15) IBC MOVIE Transformers 3: Dark of the Moon - in stereoscopic Dolby 3D and Dolby 7.1 'Courtesy of Paramount Pictures International'
TM
11:00 - 12:30 CONFERENCE SESSION Stereoscopic 3D- Fixing it in Post 13:30 - 15:00 CONFERENCE SESSION 3D Live at the Big Screen 15:30 - 17:00 CONFERENCE SESSION A Stereoscopic Glimpse into the Future 18:30 (doors open at 18:15) IBC Big Screen Showcase An exciting glimpse into the future of 3D content including a preview of extended clips from the forthcoming Titanic 3D and much more . . .
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Getting interactive with sports FascinatE By Adrian Pennington A prototype TV service that allows viewers to customise live coverage of sports and music events by selecting different camera angles is being demonstrated in Hall 8. FascinatE (Format-Agnostic SCript-based INterAcTive Experience) is a fouryear (2010-2013) €9.5m project backed by a consortium of 11 European organisations and focused on developing a system for an ultrahigh resolution television service.
At its core is the Omnicam, developed at German research lab Fraunhofer HII, which uses six HD cameras on a circular rig and software that stitches the images together to form a 180° panorama. With a remote control, a user can navigate their way around the 6k x 2k resolution video. “It is not possible to capture everything with existing cameras, no matter how many populate an event,” explained Research Scientist Omar Niamut. “Immersive systems such as FascinatE capture everything and
iGlide mount makes for smoother phone footage Glidecam By David Fox The new Glidecam iGlide Smartphone Mount is designed to allow smart phones such as Apple’s iPhone to be attached directly to its HD1000 Hand-Held Camera Stabilizer. The result is that users can transform mobile phone video into smooth, professional-looking footage.
The lighter the camera, the more prone to shake it becomes. Mobile phones are among the smallest, lightest cameras, so need stabilising more than most. The iGlide and HD-1000 combination, says Glidecam, will allow the phone to float, always balanced and isolated from any shaky hands. The iGlide costs $49, while the HD range of stabilisers costs from $399. 11.G45
let the viewer direct their gaze where they want,” he continued. The challenge for the video teams on the project will be integrating different camera feeds and rendering them into one output stream. Panoramic shots will be captured on the Omnicam, but other cameras for zooming will have different definitions. A second area of interest is content analysis and scripting systems to control the shot framing options presented to the viewer. Austria’s Joanneum Research will show how its image analysis algorithms automatically crop the panoramic video to fit large screens for projections in public, TVs and mobile devices. The software can also be used to create
virtual camera angles. A third area of focus, addressed by Alcatel Lucent and Dutch researchers TNO, explores how intelligent networks with media processing components might adapt the content to suit different devices from mobiles to an immersive panoramic display. The final area of innovation is on the end-user side. Here Technicolor has devised an interactive rendering technique to zoom into parts of the image. Researchers at the University of Barcelona have added gesture-based control using a Microsoft Kinect so that users can interact with the high resolution field of view. 8.G44
SFR contract extended Netgem By Ian McMurray Move maker: an iPhone fitted to Glidecam’s new iGlide mount
Netgem has announced it is extending and strengthening its existing contract with French telecoms operator SFR until 30 June 2014. This agreement encompasses all aspects of the historical relationship between the two companies and covers hardware, software, maintenance and services. The contract is said to highlight an evolution of Netgem’s relation-
ship with SFR, with more weight attaching to software and services that will provide more recurring revenue to Netgem. Within the new terms of the partnership, Netgem will provide SFR with innovative applications for its installed customer base of around three million. “I am delighted to see our cooperation with SFR extended and to materialise the evolution of our business model mix towards software and services,” said Christophe Aulnette, CEO of Netgem. 4.B79/4.C79
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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MoCA is ripe for Europe MoCA can open up new operator opportunities to monetise the home network, explains Patrick Henry, president & CEO, Entropic Communications The lifestyle of European subscribers has been under transition. It has moved from a single viewing location — the primary set-top box (STB) connected to the main living room TV — to looking more like traditional North American households with several TVs per home. In fact, in a recent report, Screen Digest found the number of households in Europe with more than one TV has grown by 50 per cent between the end of 2005 and 2011. This change in TV viewing dynamics, coupled with the need for European operators to compete with new service offerings from market entrants
like OTT content providers, will spur deployment and monetisation of a home network to satisfy growing subscriber expectations. Currently the connected home entertainment market in North America is in a massive paradigm shift, streaming IP-based video and extending the accessibility of broadband bandwidth throughout the home. European operators can analyse these market trends and learn best practices for how payTV operators have deployed new wired home networking standards, such as MoCA (Multimedia over Coax) to enable HD-quality video
Probing broadband QoE By Adrian Pennington
SVC4QoE The France-based SVC4QoE project is researching ways to improve
the end-user’s experience of broadband-delivered content in degraded signal reception conditions. The project combines SVC scalable encoding – which allows carriage of audio-visual content in several qual-
streaming from the web and other advanced services. MoCA is the de facto enabling technology being deployed by North American payTV operators covering over 70 per cent of the US market — with Verizon, DIRECTV, Time Warner Cable, Comcast, Cox, and others. MoCA is used to stream DVR content from one STB to another to offer multi-room DVR, as well as media sharing and broadband extension solutions. The majority of North American pay-TV operators are now deploying MoCA-enabled multi-room DVRs. Virtually every new HD set-top box that ships will have MoCA capability, regardless of whether the subscriber is paying for the multi-room viewing service. This enables the service provider to future-proof equipment so additional services requiring IP connectivity for streaming media and IP VOD content distribution to STBs can be added over time. With the addition of MoCA to set-top devices, these boxes can effectively become an application platform – which
yields greater opportunities for monetisation. So why is MoCA ripe for Europe now? Coax offers the easiest and most immediately useful network for video distribution, having been designed to co-exist with existing cable, satellite and terrestrial video services. And although there are three main standards available for delivery of video over coax within the home — MoCA, G.hn, and HomePNA — only MoCA is fully active, deployed and inuse, globally. HomePNA will no longer be developed and G.hn is neither commercially available, nor proven to meet the demands of service providers and satisfy consumers’ desires for HDTV viewing that requires demanding video distribution and performance from traditional payTV operator networks. As European consumers add more screens to their home network, operators can monetise a proven home networking standard to create new strategies — based on the MoCA platform — to deliver higher quality services to more aggressively compete
with emerging service platforms that drive optimal consumer TV viewing experiences. 3.A41
ity grades – with the automatic measurement of the Quality of Experience (QoE) in the receiver. It works in a broadcast context over a DVB-T2 network, implementing multiple PLP techniques where different SVC layers are carried with differentiated levels of robustness.
Whatever the degradation of the receiving conditions, the QoE probe embedded in the terminal decides which SVC layers must be displayed. As a result, it is said, the perceived quality of experience of the end-user is always maximised. A demonstration is on show at the SVC4QoE stand in the New
Technology Campus of the Future Zone. The nine project partners, coordinated by TeamCast, include AccepTV, INRIA-IRISA, INSAIETR (Universit de Rennes), IRCCYN (Universit de Nantes), Telecom Bretagne, TDF and Thomson Video Networks. 8.F40
Opinion
Patrick Henry: Massive paradigm shift
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A source of broadcast glue Axon Digital Design By Melanie Dayasena-Lowe Netherlands-based AV conversion, processing and compliance recording manufacturer Axon Digital Design is
launching an advanced new modular video routing system. The compact, lightweight and energy-efficient SynCross unit is a Synapse-based expandable video routing system capable of switching 3Gbps, HD and SD SDI signals, as well as com-
pressed domain signals such as ASI/DVB and SSI/SMPTE-310. The SynCross routing system can populate the frames from one slot with eight in- and outputs, up to five slots for a 40x40 routing solution. It is easy to expand a SynCross system up to 40 inputs and outputs, both in electrical or fibre or a mix between optical and electrical.
RAI, Amsterdam Conference: 8 - 13 September : Exhibition: 9 - 13 September
Supporters
This system can be controlled over the Ethernet, Cortex Control Panels or Cortex. ACP and a RS422 port are available for control with automation systems. The unit is suitable for small applications, monitoring and master control deployments with the Synapse HDK-series. â&#x20AC;&#x153;In modern broadcast operations glue is becoming an increasingly
Axon has seen a surge in interest for its Synapse modular system
important consideration,â&#x20AC;? commented Peter Schut, chief technology officer at Axon. â&#x20AC;&#x153;As a company we lead the market in this area with over 20 years experience in the development of advanced glue products and system. â&#x20AC;&#x153;We are experiencing a surge in interest for our Synapse modular system and the introduction of SynCross represents the next milestone in the evolution of this market leading system. It can easily be combined with our SynView mult iv i ewe r r a n g e i n t h e s a m e Synapse housings. At IBC, we welcome the opportunity to discuss peopleâ&#x20AC;&#x2122;s glue needs with a broad range of broadcast and media organisations of different scales and types.â&#x20AC;? 10.A21 & 10.B21
Sync to the action with new app never.no By Heather McLean
TM
Never.no is highlighting its Synchronised Companion App Framework, the latest advance for its flagship Interactivity Suite (IS). Companion app buzz is growing with this new emerging technology, which enables the viewer to sync tablets, PCs or smartphones to the action on television, says the company. The Synchronised Companion App Framework is said to make it easy for broadcasters to develop distinctive, branded applications that push and pull information or media relevant to realtime TV broadcasts to a second screen, such as a tablet, smar tphone or PC. Visitors to never.no can experience a full 360° view of an interactive broadcast and companion app workflow. The company is also giving an exclusive demo and behind-thescenes look at the first ever live television synchronised companion iPad app for Norwegian TV2â&#x20AC;&#x2122;s coverage of the Tour de France. Reaktor, the development firm responsible for delivering the app, is on hand to further demonstrate the iPad app and share its experience of working with the never.no framework. Over at the Vizrt stand (2.A31), the never.no Synchronised Companion App Framework is being displayed in conjunction with Vizrt graphics engines, touch-screens and augmented reality solutions. 3.A36
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75Wh batteries that can power more accessories bebob By David Fox Bebob has added two new 75Wh battery models to its range. The 75 and 75plus are extra-light and thin batteries designed for powering LCD monitors and small camcorders, such as the Sony F3, Canon DSLRs and Panasonic’s AF101. The 75plus battery model has four built-in Hirose-4Pin connectors, with 7.2v and 12v available, meaning that this 14.8V battery can supply power to multiple audio accessories directly from one location at the audio mixer. “We got the impetus for the 75plus batteries from our close col-
Plus points: Four 4pin power outputs on the 75plus enable extra flexibility
laboration with f ilm academies. This co-operation is very constructive and we use these relationships to identify the continuing needs of experienced operators as well as new users,” said bebob Managing Director Pierre Boudard. “In this case the decisive input was given by the Filmakademie Baden-Württemberg, Ludwigsburg, Germany. “Finally, a compact and lightweight solution to supply audio applications centrally. It’s a pleasure to learn that bebob listens carefully and works on the ideas given by users,” confirmed Bernd-Siegfried Michalek, department mobile technology, Filmakademie Baden-Württemberg. The batteries are available in Amount (Anton/Bauer compatible) or V-Mount versions. Also new is the ML-120 Hot Swap Adapter, a buffer that keeps the camera powered while swapping the main camera battery. It offers an uninterrupted power supply for the Arri Alexa, Red One, Sony and Panasonic cameras. It warns when a battery needs to be swapped, two minutes before it runs out, then self-charges from the new camera battery for the next swap. 11.F54
Emerald, now available in version 7.5 Lite Edition, offers active integration to various end-points including video servers and NLEs
Emerald v7.5 launched Masstech By Paul Watson Masstech has launched the new Emerald version 7.5 Lite Edition for advanced digital archiving, HQS (High Quality Speed) transcoding and content management. Doubling as a mini-MAM, Emerald digitally preserves footage
using file-based archiving where scaling is not required. Emerald comes with active integration to various end-points including video servers and NLEs with automated workflows in production, newsrooms and mini-MAM broadcast applications. It integ rates into popular Newsroom Computer Systems (NRCS) such as AP-ENPS and
Avid s iNEWS via Media Object Ser ver (MOS) protocol, which means staff can research archived content, search slugs linked to video archives, browse archived content and quickly make shot selections without moving from their desk. Packaged for out-of-the-box operation, Emerald’s turnkey package includes server hardware, LTO library, software and first year s support. Alternatively, Emerald can be accessorised and built to order. 8.B73
RAI Amsterdam Conference 8-13 September : Exhibition 9-13 September
IBC Production Village The IBC Production Village in Hall 11 is where you can get up close and personal with the very latest in acquisition technology from stereoscopic 3D and DSLRs to specialist broadcast cameras, such as hi-speed and thermal imaging cameras. • engage with the latest cameras – in our state of the art, professional standard studio set up. Gain hands-on experience of new products with all their accessories to test and try before you buy • Inside Knowledge – your chance to see camera and equipment demonstrations from manufacturers so that you can not only get insight, but also learn from them
• custom built environment – the production base for IBC TV News provides the added attraction of a working studio, providing visitors real insight into production technology, workflow and postproduction techniques For more information please visit: www.ibc.org/productionvillage
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On the right track for dynamic capture Polecam By Melanie Dayasena-Lowe Launching a major addition to its range of single operator broadcast-
quality camera cranes, Polecam has unveiled the Polecam Wide. It is a motorised camera head designed to accommodate digital single-lens reflex cameras or camcorders of up 200mm (W), 280 millimetres (H)
and 3.6kg in weight. Fully compatible with Polecam rings of up to six metres’ span, Polecam Wide allows pan and tilt angle to be smoothly adjusted or continously varied at a wide range of
speeds – from an ultra-slow four seconds per degree up to a fast seven seconds per complete 360° rotation. Sales and Marketing Manager Jeremy Curtis said: “Polecam Wide allows dynamic tracking shots of unprecedented accuracy to be achieved while retaining the wideranging control over horizontal and vertical camera position made possi-
Polecam Wide is the latest addition to Polecam’s range of single operator camera cranes
ble by the Polecam camera support system.” The specification of the Polecam Wide head includes: high-resolution pulse-width-modulated electronic drive, replacing the bipolar directcurrent feed used on Polecam’s previous joystick control system; optical pulse encoders fitted to the pan and tilt motors, providing feedback to the motor controller; motor braking that is activated whenever the joystick is stationary; and an integral 12-pin connector that delivers up to 12 volts at 1 ampere to power a camera. 10.C49
Rebranded Astra Suite Aveco By Heather McLean Aveco has come to IBC2011 with new product branding and the Astra Suite of Tools, which includes a newly redesigned Astra Studio II for complete studio automation. The company has rebranded its extensive collection of applications and solutions for master control, news and studio automation as the Astra Suite of Tools with a focus on content management and an enhanced version of Astra Studio. A s t r a S u i t e o f To o l s , s ay s Aveco, offers a complete solution for file-based workflows to manage the lifecycle of a clip from ingest to archive. It is said by the company to excel in getting the right clip to the right place at the right time for playout of programmes, ads, news, and live events. The suite features: Astra CMS, for media management, repurposing of content, etc; Astra MCR, for master control automation for playout; Astra News, with NRCS interface for live event playout; Astra Ingest, for automated ingest from video feeds, file transfers, etc; and Astra Studio II, enabling the control of studio devices by a single operator to maintain consistent look and feel of programmes. 3.B56
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Streaming guidelines welcomed DLNA By Anne Morris The Digital Living Network Alliance is promoting its latest Interoperability Guidelines for the streaming of premium video content across all DLNA-certif ied products, and is demonstrating these types of products. Nidhish Parikh, chairman and president of DLNA, said the guidelines for premium video are receiving widespread support from the global service provider community, as illustrated by Orange. â&#x20AC;&#x153;DLNA is already deployed on Orange devices such as the Livebox residential gateway, the IPTV and media centre Set-Top-Box and the Home Library NAS,â&#x20AC;? said Paul-
François Fournier, executive vice president, Orange Technocentre. â&#x20AC;&#x153;The new DLNA Interoperability Guidelines are an opportunity for Orange to offer our customers a real multiscreen experience by enabling us to deliver TV services over numerous screens inside the home, such as tablets, web phones and connected TVs. Content rights owners benefit from having their premium video securely delivered to all of these new screens.â&#x20AC;? Pa r i k h n o t e d t h a t s e r v i c e providers, as opposed to consumer electronics manufacturers, are now taking more of a lead role in driving standards for the sharing of home content. â&#x20AC;&#x153;Consumers are connecting to a growing number of digital products every day, and DLNA is committed to
Multiscreen is a necessity ViewCast By Anne Morris
Portable encoder: popular with newsgathering agencies
The concept of providing video content to several screens has been a growing theme at IBC over the past few years, but it has evolved from being something that would be nice to do to something that is a
Nidhish Parikh: DLNA has worked closely with service providers
providing an experience where they can easily connect and enjoy their favourite content,â&#x20AC;? said Parikh. â&#x20AC;&#x153;DLNA has worked closely with service providers to deliver digital content across the connected home, and our service provider member companies have driven the development of these Interoperability Guidelines. Together, we are enabling the delivery of premium video allowing consumers to access content on DLNA Certified products in their home.â&#x20AC;? Household penetration of connected products, including connected TVs, game consoles and Blu-ray players, has grown to nearly 40 per cent in Western Europe, according to a recent Parks Associates consumer survey of 10,000 broadband households across France, Germany, Italy, Spain and the
UK. The DLNA estimates that there will be 500 million DLNA-certified devices globally by the end of this year, with this figure rising to two billion by the end of 2014. However, the organisation warned that consumers should ensure that devices are badged
as â&#x20AC;&#x2DC;DLNA-Certifiedâ&#x20AC;&#x2122;: DLNA-compliant or enabled is not a guarantee that the devices will comply with the standards, Parikh said. More than 200 multi-industry companies from around the world have now joined DLNA. 13.376
must-have par t of any ser vice provider strategy. â&#x20AC;&#x153;Multiscreen was a nicety, now itâ&#x20AC;&#x2122;s a mandate,â&#x20AC;? said Jeff Kopang, vice president of marketing at ViewCast. â&#x20AC;&#x153;Thatâ&#x20AC;&#x2122;s the challenge for the service providers.â&#x20AC;? â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;ve resolved a lot of the technology challengesâ&#x20AC;? of delivering IP-based video content, said Kopang. â&#x20AC;&#x153;The question now is, how do you monetise it?â&#x20AC;? Kopang stressed that broadcast-
ers and telecoms providers need OTT for a marketing tool if nothing else. But Kopang also envisages the development of new narrowcast channels that would be targeted at niche markets and could potentially be paid-for content. Kopang added that what is set to change dramatically in future is how users search for and retrieve content: navigation and recommendation services will become crucial as the mass of content grows.
At this yearâ&#x20AC;&#x2122;s IBC, ViewCast is showcasing a raft of new streaming media appliances and video capture cards, such as its entrylevel Niagra 2100 encoder, which is apparently proving popular with the faith market, and the portable Niagra 4100 encoder that is being used by newsgathering organisations â&#x20AC;&#x201C; and enables video to be streamed via 3G mobile networks using a 3G dongle. 13.199
RAI Amsterdam Conference 8-13 September : Exhibition 9-13 September
IBC2011 Mobile App As the leading event in electronic media, IBC presents more than 1,300 exhibitors and a conference programme packed over 6 days. The IBC2011 Mobile App contains everything you need to maximise your time at the show. Download the app and start planning your schedule today. UĂ&#x160; Ă&#x201C;䣣Ă&#x160; Ă?Â&#x2026;Â&#x2C6;LÂ&#x2C6;Ă&#x152;Â&#x153;Ă&#x20AC;Ă&#x160; Â&#x2C6;Ă&#x192;Ă&#x152;Ă&#x160;Â&#x2C6;Â&#x2DC;VÂ?Ă&#x2022;`Â&#x2C6;Â&#x2DC;}Ă&#x160;VÂ&#x153;Â&#x201C;ÂŤ>Â&#x2DC;Ă&#x17E;Ă&#x160;`iĂ&#x152;>Â&#x2C6;Â?Ă&#x192;Ă&#x160;>Â&#x2DC;` Ă&#x192;Ă&#x152;>Â&#x2DC;`Ă&#x160;Â?Â&#x153;V>Ă&#x152;Â&#x2C6;Â&#x153;Â&#x2DC;Ă&#x160;Â&#x153;Â&#x2DC;Ă&#x160;Â&#x2C6;Â&#x2DC;Ă&#x152;iĂ&#x20AC;>VĂ&#x152;Â&#x2C6;Ă&#x203A;iĂ&#x160;Â&#x201C;>ÂŤ U iÂ&#x201C;>Â&#x2C6;Â?Ă&#x160;>Â&#x2DC;Ă&#x160;iĂ?Â&#x2026;Â&#x2C6;LÂ&#x2C6;Ă&#x152;Â&#x153;Ă&#x20AC;Ă&#x160;`Â&#x2C6;Ă&#x20AC;iVĂ&#x152;Â?Ă&#x17E;Ă&#x160;Ă&#x152;Â&#x153;Ă&#x160;Ă&#x20AC;iÂľĂ&#x2022;iĂ&#x192;Ă&#x152;Ă&#x160;>Ă&#x160;Â&#x201C;iiĂ&#x152;Â&#x2C6;Â&#x2DC;}Ă&#x160;Â&#x153;Ă&#x20AC;Ă&#x160;Â&#x201C;>Â&#x17D;i >Â&#x2DC;Ă&#x160;iÂ&#x2DC;ÂľĂ&#x2022;Â&#x2C6;Ă&#x20AC;Ă&#x17E; UĂ&#x160; Â&#x2C6;Â&#x2DC;Ă&#x152;iĂ&#x20AC;>VĂ&#x152;Â&#x2C6;Ă&#x203A;iĂ&#x160;Â&#x201C;>ÂŤĂ&#x160;Â&#x153;vĂ&#x160;Ă&#x152;Â&#x2026;iĂ&#x160;Ă&#x152;Â&#x2026;Â&#x2C6;Ă&#x20AC;Ă&#x152;iiÂ&#x2DC;Ă&#x160;Â&#x2026;>Â?Â?Ă&#x192;Ă&#x160;Ă&#x152;Â&#x2026;Ă&#x20AC;Â&#x153;Ă&#x2022;}Â&#x2026;Â&#x153;Ă&#x2022;Ă&#x152;Ă&#x160;Ă&#x152;Â&#x2026;iĂ&#x160;, UĂ&#x160; wÂ&#x2DC;`Ă&#x160;Â&#x153;Ă&#x2022;Ă&#x152;Ă&#x160;>LÂ&#x153;Ă&#x2022;Ă&#x152;Ă&#x160;Ă&#x152;Â&#x2026;iĂ&#x160; Ă&#x160; Ă&#x153;>Ă&#x20AC;`Ă&#x192;]Ă&#x160; Ă&#x2022;Ă&#x152;Ă&#x2022;Ă&#x20AC;iĂ&#x160;<Â&#x153;Â&#x2DC;iĂ&#x160;>Â&#x2DC;`Ă&#x160;Ă&#x152;Â&#x2026;i Ă&#x160; Â&#x2C6;}Ă&#x160;-VĂ&#x20AC;iiÂ&#x2DC; UĂ&#x160; Â&#x2C6;Â&#x2DC;vÂ&#x153;Ă&#x20AC;Â&#x201C;>Ă&#x152;Â&#x2C6;Â&#x153;Â&#x2DC;Ă&#x160;Â&#x153;Â&#x2DC;Ă&#x160;*Ă&#x20AC;Â&#x153;`Ă&#x2022;VĂ&#x152;Â&#x2C6;Â&#x153;Â&#x2DC;Ă&#x160;6Â&#x2C6;Â?Â?>}i]Ă&#x160; Â&#x2DC;Ă&#x192;Â&#x2C6;`iĂ&#x160; Â&#x2DC;Â&#x153;Ă&#x153;Â?i`}i]Ă&#x160; Â&#x153;Â&#x2DC;Â&#x2DC;iVĂ&#x152;i` 7Â&#x153;Ă&#x20AC;Â?` iÂ&#x201C;Â&#x153;Â&#x2DC;Ă&#x192;Ă&#x152;Ă&#x20AC;>Ă&#x152;Â&#x2C6;Â&#x153;Â&#x2DC; Ă&#x20AC;i> >Â&#x2DC;` Ă?Â&#x2026;Â&#x2C6;LÂ&#x2C6;Ă&#x152;Â&#x2C6;Â&#x153;Â&#x2DC; Ă&#x2022;Ă&#x192;Â&#x2C6;Â&#x2DC;iĂ&#x192;Ă&#x192; Ă&#x20AC;Â&#x2C6;iwÂ&#x2DC;}Ă&#x192;
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theibcdaily 67
12.09.2011
Fishy tale goes swimmingly University of Essex By George Jarrett Cr uising around the edges and smaller aisles of IBC can lead to some startling initiatives, and those with a fine line in fish jokes should hunt out Robo Cod amongst a set of R&D projects featured by the University of Essex. Introducing Autonomous Robotic Fish – so far a four-year research project – University Head of business relations David Crawford explained: “This robotic fish has come out of an international effort involving European organisations, Chinese manufacturers, and Essex University. “T he go a l wa s to c r e ate a device that was eco friendly and
Large-scale development: Robo Cod in action
autonomous, and could monitor pollution levels in harbours and things like rivers,” he added. “It could do inspections for oil rig companies or trace cables.” The design criteria called for a multi ability platform that can work its own way around under the sea.
“The initial experiments were done with submarine-type vehicles, but of course you realise that if a sub was the most efficient shape fish would have propellers on the back,” said Crawford. “The fish motion is so efficient, but it is quite sizeable (up to 1m long).
“It has quite a payload in terms of sensors and cameras if wanted, and it can last a whole day swimming under water – and with a USB c o n n e c t i o n f o r d ow n l o a d i n g collected data,” he added. “It has detectors to make sure it doesn’t crash into things or start any unwitting dating attempts with whales. At the end of the day it surfaces, it checks its GPS position, downloads all the data collected, re-charges, and swims off again.” Robo Cod is on its second field trial, policing pollution in a Spanish harbour. Can it carry HD cameras? “We have tried it with several small HD cameras in water-proof housings and the results are successful. But we minimise the number of transducers and sensors on board because the more you l o a d i t , i t r e d u c e s u n d e r wa t e r time and we have to re-balance it,” said Crawford. 13.201
Lew Hirabayashi of Mogami Cables (left) receives a cheque on behalf of the Red Cross Japan Tsunami Appeal from Ian Jones of HHB Communications at the IBC show. Shortly after tragic events unfolded in early March 2011, HHB declared that 10% of all pre-IBC sales of Mogami Cables would be donated to the appeal. Jones says he was delighted to be able to give £5,000, representing £50,000 of sales, to the cause.
In a spin: Bradley with the new HD-SDI slip ring
World’s first HD-SDI slip ring Bradley Engineering has built what it claims is the first ever HD-SDI slip ring, allowing continuous 360˚ rotation without the need to have an analogue converter box, writes David Fox. It can pass through a full 1.5Gbps signal “with virtually no delay”, said David Bradley. “Previously all broadcast slip rings had to pass the HD as analogue, which caused problems for those cameras without an analogue output. These required another box on the side to convert the signal.” The small new slip ring “is about the same price as putting an extra box on the side, but it means there are fewer boxes of electronics to go through.” 11.C37
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theibcdaily 69
12.09.2011 It has become trendy for producers to think they know about cameras
In brief
DoPs losing camera choice By George Jarrett One of the talking points amongst the creative community at IBC is the lessening influence of cinematographers as they join a production project. Identifying the problem from recent personal experience, Steven Poster ASC, president of the ICG trade union, said: “One of the things that has changed radically is that the choice of camera seems to no longer be an issue for the DoP and the director to decide. “In the past if a DoP was asked what kind of film he or she wanted to use that decision was almost always honoured,” he added. “After all it was an artistic choice of what
kind of film emulsion was going to tell the story. Now if you choose one digital system over another you are choosing different ‘emulsions’ just by the choice of camera.” Th e p ro blem is th at i t has become trendy for producers to think they can save money by using one camera over another. “They begin to make those decisions whether they are equipped to do so or not,” said Poster. “That’s what happened to me on my latest movie Flypaper . I was told by the producer that I had to use the Red One camera because he has a super cheap deal for the cameras.” Poster and the post production people on the project first campaigned
On-the-wall thinking
NDS foresees the end of television as we know it
NDS By Ian McMurray Simon Parnall, UK vice president of technology at NDS, is a man with a vision – and, refreshingly, his vision isn’t one where we can watch the same content on everything from the
TV to a wristwatch. His vision sees the end of TV as we know it. “No more black box sitting in the corner of the room,” he said. Instead, the compelling demonstration – hidden away on the company’s IBC stand – uses the wall as the screen. “Now,” he said, “consumers can watch content in the size and shape most appropriate to
Natural Interaction developers gain with The OpenNI Arena Primesense By Heather McLean OpenNI, the industry-led organisation formed to certify and promote the compatibility and interoperability of natural interaction (NI) devices, applications and middleware, has announced at IBC the launch of the OpenNI Arena for app developers. Using a mixture of sensors on a computer to map reality and allow it to be mixed with the electronic world, NI is all about 3D, augmented reality and avatar-based apps, which is exciting app developers around the world who are now experimenting with the technology to f ind out its possibilites for
Iris Finklestein-Sagi: “NI allows you to locate yourself in a different location”
gaming, and also in vertical sectors such as healthcare and robotics. The Arena is the primary platform for developers of NI and motion technology apps and games to showcase their apps to the developer community, as well as gain exposure
for the MX Chip on the Red cameras and then for Canon DSLR cameras. What happened next? “While breaking down the script I saw the possibility of using the Canon cameras for a certain portion of the actions of the main character in the story,” he said. “The producer bought the idea and two 7D Canons and all of the after-market accessories needed to make the cameras into real robust productions tools were acquired. “As we were shooting I noticed the colour science of the Canon imager was much better than I anticipated,” he added. “I started using them more as mainstream camera platforms, but one major caveat was my anticipation of big image artefacts. the content: a newsreader will occupy just a small viewing space, for example, while a football match or movie might occupy the entire wall.” Parnall points out that, increasingly, screen real estate is a barrier: there just isn’t enough for all the opportunities to fill it, which often means that the main picture is annoyingly overlaid. The NDS demonstration shows how TV content can remain unspoiled – but with all the ancillary data and commercial activity in view, but not distractingly so. And, when no-one is watching TV – it no longer exists. The screen is now just a wall. Parnall is the first to admit that the technology isn’t there yet. It will need new kinds of display – OLED, perhaps, rather than the multiple LCD panels being used for the demonstration. “We believe those new displays will be in place within five years, and so too will the silicon,” he notes. “But what we’re thinking about today is how we will use those displays and that silicon when they’re ready. “Everyone who’s seen this thinks we’re on the right track,” he smiled. It’s hard to disagree with them. 1.A71 to potential publishers, manufacturers, app stores, consumers and other commercial parties that are interested in their applications and wish to develop them further. Director of Marketing at PrimeSense, Iris Finklestein-Sagi, speaking to The IBC Daily, commented: “We have more than 2,000 developers working with the standard already. We have over 30 apps ready now at the launch of the arena, and over the next few months I expect hundreds more to be available. We predict we will have over around 500 apps on the Arena by the end of 2011, and many more developers. “Developers are playing with the technology, experimenting to see what it is capable of. NI allows you to locate yourself in a different, virtual environment, to add more things to that environment for you to interact with, or to appear as an avator. It’s got massive possibilities.” 3.A15
SkyeVine signs for Sat3Play
Steven Poster: “I was told by the producer we had to use the Red One”
“All the stories of artefacts were legend, and by the time we got to finishing the movie we found that it was hard to tell the difference between Red footage and the Canon footage,” he concluded.
Magic Support for Freestyle Rig P+S Technik By David Fox P+S Technik’s Freestyle Rig can now be fully integrated with broadcast live control and is shown with several new accessories on the company’s stand today. The new Magic Support allows the rig, plus Arri Alexa cameras, to be perfectly balanced on a crane or lambda head. It was developed for Astérix et Obélix: God Save Britannia (currently in production), which is using three of the rigs. It also works as an adjustable riser on tripods in the 90˚-position, so that rigs can be easily tilted down.
That’s Magic: P+S Technik’s Head of Marketing, Anna Piffl with the upgraded Freestyle Rig
For live OBs, the rig can be integrated with Sony’s MPE-200 3D processor and HDFA-200 multiplexer, so that all the all rig-parameters, plus the initial calibration, can be handled with the MPE-200, using only a single fibre to carry every signal, including power, sync, video and genlock. Also new is the PS-Freestyle Quarterwave Filter, which greatly reduces polarisation artefacts with almost no light loss, and also decreases flare and protects the beamsplitter mirror. The new Evolution upgrade for the rig allows it to be used with cameras weighing up to 9kg each (up from 6kg), with a max payload of 27kg (including lens, motors, etc.). 11.E28
South African company SkyeVine says that it will deliver satellite-based broadband services throughout Africa using Ku-band satellite capacity on Intelsat’s New Dawn and Newtec’s Sat3Play hub and terminals. Sat3Play is a two-way satellite broadband system designed for IP-based service providers, looking to deliver competitive data, Voice-over-IP and satellite television services in areas where insufficient terrestrial connectivity is available. Currently in the pre-launch phase, SkyeVine has already tested a large number of the Newtec Sat3Play terminals in Mozambique, Botswana, Angola, South Africa, Nigeria, Zambia, South Sudan and Zimbabwe. “Having tested the Newtec terminals across Africa, they have exceeded our expectations and will deliver an excellent service to our customers,” said Steve Rich, CEO of SkyeVine. “We have already completed partnership and distribution agreements with three ISPs and there are others ready to sign.” SkyeVine, which has worked with engineering group Q-KON on this project, has a mission to provide a ubiquitous internet service to Africa and to create a new standard of broadband service through the use of advanced satellite technology. 1.A49
20 years of audio codecs IP audio codec specialist, Systembase, is celebrating its 20th anniversary this year by providing a host of equipment to the Rugby World Cup, which kicked off this weekend in New Zealand. Systembase created the world’s first all-digital studio-to-transmitter link back in 1995 launching popular UK radio talk show, TalkSport, and Shima Varsani, co-founder and sales and marketing director, estimates that 80% of the UK’s commercial radio stations are now using System Base gear. “We’re well-known in the industry, but we’re not at the forefront, so to speak,” she explained. “We do a lot of production communications, supplying clean feeds with no delay; as well as live links that require lots of comms channels.” Varsani says the industry has changed a lot since the company first started producing its own products 18 years ago. “At that time, they were purely hardware – no software at all; and in terms of design, pretty straightforward really, but the biggest difference now is that the hardware is actually the easy part,” she reflected. “We can design the hardware really quickly, but it will then take us several years to get the software good enough; and that’s the frustrating part of it.” The company provided around 40 of its C500ip Series audio codecs to this year’s Rugby World Cup, and says opting for ISDN rather than IP was the safest option. “We went with ISDN purely because IP isn’t reliable enough yet,” adds Varsani. “At an event like the Rugby World Cup, you can’t afford for anything to go down, and that’s happened before. A few years back, they lost the live audio feed for 30 minutes of the final!” After the event, some of those C500ips will head straight to Australia for I’m A Celebrity, Get Me Out Of Here!, which the company has been supplying for five years. 8.C03
70 theibcdaily
In brief Wi-Fi not for pro video streaming Wi-Fi is not the right standard for professional video streaming, said Eran Igler, CEO at ABonAir, here at IBC. Igler remarked that while some people have attempted to use the Wi-Fi standard to stream video wirelessly and save the cost of a specially designed system, it will not work, for several reasons. Igler explained: “The Wi-Fi standard is packet based. It has no control over the time of arrival of packets and their order. The standard allows new users to be added to the network. It enables sharing the network which reduces available bandwidth and picture quality. The Wi-Fi standard was designed for wireless computer networks like the internet,” Igler continued. “The content of transmitted data is based upon packets of data which are not sensitive to parameters such as order, time of arrival, rate, etc, but these parameters are critical in video transmission.” Wi-Fi is burst-standard in nature, and can transfer 20Mbps in one second and 0.5Mbps in the next, noted Igler. “This is unacceptable for video streaming where the order of the packets, the time of arrival, and the consistency of the bitrate are critical. A good example would be the way video looks on a home computer. It sometimes gets stuck during buffering, and then starts again, then freezes again. Sharing a Wi-Fi network among users reduces both available bandwidth and picture quality. This is intolerable for professional video transmissions where a close network is a must,” concluded Igler. 3.A15m
Partnership with LG announced A broad partnership with LG Electronics that enables versatile software-based security for premium IP video services across a wide range of connected TVs and other CE devices has been announced by Verimatrix. The range of LG Smart TV devices – including 2011 and 2012 LED LCD Smart TVs, the Smart TV Upgrader, and connected Bluray players – will, according to Verimatrix, offer embedded ViewRight Web and ViewRight IPTV client security, and help enable a broader range of premium digital TV options from current and new service operators. Verimatrix says that this level of integration delivers an impressive Smart TV user experience, capable of unifying an operator’s premium video-on-demand services, online video and social networking via customised interactive TV applications. The integrated VCAS security enables device authentication and fine grain entitlement management across the full range of linear and on-demand IPTV and internet TV services, unified with the operator’s existing pay TV subscriber management system and service provisioning systems. “It’s become increasingly important for CE devices to directly support the new service delivery models of both regional and global digital TV service operators, including enabling IPTV and OTT content,” said Young-jae Seo, vice president in charge of LG’s Smart TV team. “As a clear leader in revenue security for IP-enabled service around the globe, Verimatrix becomes a natural partner for the next stage of the connected TV evolution.” 4.B54
12.09.2011
Leap into the OTT space
ator, which has already integrated Facebook, Twitter and YouTube onto its platform, announced at IBC that it was making its next move into the OTT space. “Connected TV is the next leap for us, and we’re looking at doing it in a way that reduces power consumption,” he said. According to Pontual the satellite operator will also launch a new, RVU server-based ‘receiver-less’ Home Media Centre product next month that will allow viewers to engage in its services across a host of consumer electronic devices. DirecTV’s home gateway product can be seen on technology partner Pace’s stand at IBC and Neil Gaydon, t he STB t echnology provider’s CEO – who was also in the session – revealed that the company was currently working with a new manufacturer to produce a box for YouView. This announcement follows Technicolor’s withdrawal from the UK broadcasters’ joint Video on Demand venture in May this year. Neither Gaydon or Pontual
seemed worried about new players such as Google, Netflix or Apple entering the TV market. “If you look at Google their engineers’ priorities are focused on how to place ads in the most optimal place. But do they have 200 engineers focused on entertaining consumers?” And Gaydon added: “Apple TV is not tailor-made for different markets to watch TV.” However, Michael Comish, chief executive of UK broadband VoD film service Blinkbox, insisted that DirecTV would not have launched its new home gateway product if Netflix had not proved so successful. He added however, that the OTT space was “a big boy’s game” – a realisation that led him to sell 80% of his company to retail giant Tesco in April this year. “It’s an incredibly difficult space to enter. OTT services will need to offer more value to customers and not be able to raise their prices for it. And they will have a hard time trying to do that. If you do not have colossal money behind you, then forget it,” he warned.
SRG SSR TV chooses TouchMonitor TM9
“Our reason for the decision to go for R128 is mainly due to other EBU broadcasters, who will also change their standards,” explained Yannick Dumar tineix, head of audio production at RTS. “The TM9s provide the cutting-edge technology, stability and flexibility that we demand, and I am confident that these loudness meters are key for us not only to comply with EBU’s R128 broadcast standard today, but also to stay compliant with future standards.” 8.D56
Romulo Pontual: “We’ll do it in a way that will reduce power consumption”
Conference Analysis By Ann-Marie Corvin “There’s nothing we cannot provide that an OTT player can,” declared a
TC Electronic By Paul Watson Swiss broadcaster SRG SSR TV Units (SRF, RTS, RSI and RTR) has acquired 22 TC Electronic To u c h M o n i t o r T M 9 l o u d n e s s meters to comply with the latest broadcast standards. From 2012, SRG SSR TV Units
bullish Romulo Pontual, executive vice president and CTO of DirecTV at the IBC keynote, Re-Making the TV industry: The Battle for the Home Screen. The world’s largest pay TV oper-
will comply entirely with the European broadcast loudness standard, EBU R128. To get a head start, the broadcaster has installed the 22 TM9s for TV audio production and post production. The CALM act in the US, which makes broadcast loudness subject to certain standards, has been signed by President Barack Obama; and the tendency worldwide is now
moving towards the legislation of loudness in broadcast. In the UK and Italy, for example, similar legislation has already been passed and put into effect. Over the next three years, TPC, RTS, RSI, and RTR all expect to have more than 50 TM9s installed, after having researched the loudness metering market thoroughly and evaluated their options.
Alura lightweight zooms Acquisition of SetOne cameras and lenses. “They are optimised for digital cameras, with resoBy David Fox lution beyond 4K, and will also work with film cameras with a rotating Arri and Fujinon have doubled their shutter (as used on the new Alexa range of Alura zooms with two new Studio too).” They have a 31.5mm lightweight models: the Alura LWZ image circle, so will cover all the dig15.5-45, T2.8 and Alura LWZ 30- ital cameras, including those with 80, T2.8 zooms. larger sensors. They will cost They are designed to match the €16,800 each and ship in February. Alexa camera, and are ideal for hand“We are the only company with a held and Steadicam work, while the complete set of matching modern two original Alura Zooms, with their zoom and prime lenses,” Shipmanmuch wider focal ranges, are better Müller claimed. suited to tripod and dolly setups. The four Alura lenses are also “We sold twice as many as compatible with the Arri Lens Data planned of the original ones, so the System. The optical design should next obvious step is to build light- ensure an evenly illuminated image weight zooms,” said Marc Shipman- on the sensor or film plane, while Müller, Arri product manager for flares, ghosting and veiling glare are greatly reduced by Fujinon’s multi-layer Electron Beam Coating. Breathing has been minimised, as has colour fringing. Lightweight zooms are becoming popular for 3D, as they allow easy adjustment of focal length without lens changes, rig readjustments and Aluring prospect: Shipman-Müller with the new lightweight calibration. Alura lenses, designed to match the Alexa camera 11.F21/11.C20
Arri/Fujinon
Altech Multimedia By Ian McMurray SetOne, a German-based provider of DVB-based products and solutions in the Ger man-speaking Europe (DACH) region, has been acquired by Altech Multimedia, which develops and markets products, professional services and software solutions. SetOne was founded in 2005 and operates in the retail and diagonal distribution of DVB-based products, solutions and services intended for the European free-to-air (FTA) and Pay-TV markets. The product range includes satellite (DVB-S/S2), terrestrial (DVB-T/T2) and cable (DVB-C) solutions. S e t O n e h a s b u i l t s t r a t eg i c alliances with key role players in the value chain of its products and services offering throughout Asia and Europe, which include signed agreements with major licensors in the field of digital consumer electronics such as Sisvel, MPEG LA and Rovi. Altech says that the acquisition will enhance its reach into international markets and further entrench its relationships with international partners regarding product development and management in these markets, as well as leveraging established
Peter Balchin: “Acquisition will bring… dynamism, entrepreneurial spirit, quality of service to our customers”
distribution channels and exploiting and cross-selling other business opportunities associated with its Global Decoder Logistics services. “Engaging with SetOne will bring dynamism, entrepreneurial spirit and quality of service to our existing and future customers in Europe. SetOne’s location in the heart of Europe constitutes a good solid foundation for our strategy in Europe,” said Peter Balchin, CEO of Altech Multimedia (pictured). “This acquisition complements Altech Multimedia’s broadband and broadcast product offerings to address convergence within the multimedia market and strengthens our service offerings.” 4.B50
Whatever your journey. Sony Professional is a global leader in the Broadcast & Media Workflow Industry, providing forward thinking technology and proven solutions to the market. Thanks to our creative innovation in technologies including 3D, 4K, 35mm and OLED, we can unlock your full potential for success. At this year’s IBC you can experience the complete customer journey from acquisition right through to playout and archive. Explore our dedicated areas for Content Management & Distribution, News Gathering, Live & Sports Production, Drama, Movies & Commercials, Corporate & Event Production and Mainstream Production. Whatever your business aspirations we have the solutions to make your journey easy, valuable and engaging. Believe Beyond HD.
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www.ibc.org
8-13 September 2011
theibcdaily Monday 12.09.11
The official newspaper of IBC
IBC2011 goes wild for the Awards Technological innovation and the wonders of wildlife were side by side in this year’s IBC Awards Ceremony. The audience was treated to glimpses of pterosaurs and motorbikes, citizen journalism and Super Hi-Vision, transmission technology and The Wizard of Oz. IBC’s highest award, the International Honour for Excellence, went to Sir David Attenborough for a career spanning almost 60 years. It was accepted on his behalf by Anthony Geffen of Atlantic Productions, who then went on to collect the IBC Special Award for Flying Monsters 3D with Sir David Attenborough , a remarkable production which is stunning audiences worldwide. The evening finished with Geffen showing clips and telling some of the production secrets from Flying Monsters and two more Attenborough-fronted 3D documentaries. The heart of the evening, though, was given over to the IBC Innovation Awards. These unique awards focus on more than the latest technical ingenuity. To win, a practical implementation must be in place and on air. The technology providers share the stage and the honour, but the award itself goes to the end user who created and drove the collaborative project. This year the awards went to a unique approach to graphics, content management for one of the world’s biggest news providers, and an inventive way to roll out terrestrial HD. The first of the three awards is for the most innovative application of technology in content creation. From a huge entry the judging panel – which featured international editors and consultants, led by Michael Lumley – narrowed it down to a
shortlist of four. These included our first look at Flying Monsters 3D for its post production on Mistika at Onsight, Russia’s RIA Novosti and its YouReporter citizen journalism programme, and the way that Dorna Sports keeps track of thousands of clips generated by its coverage of MotoGP. Taking the award, though, was the 4D interactive motion tracking project developed by CNBC. Like a scene from Minor ity Repor t , the presenter pulls Brainstorm graphics out of the air and walks around and through them, thanks to realtime tracking of both the presenter’s hand and the Steadicam-mounted camera. Emphasising collaboration, Donald Jackson of CNBC said: “I would like to thank Paul Lacombe and Hal Hutchison from Unreel, Jeff Thingvold from Motion Analysis, and my colleagues from CNBC, Andy Tarabocchia and Steve Liesman. And thanks go to IBC and the judging committee for recognising the innovation in CNBC 4D.” The content management shortlist included Rogers Media, which saw the Quantel QTube product at IBC2010 and immediately chose it to provide access for journalists across Canada. BBC News developed Jupiter Tools to make it easy for its journalists to edit and deliver content wherever they are in the world, and German broadcaster ProSieben. Sat1 Produktion turned to IBM for its new playout centre. Taking the award in this category was CNN. The broadcaster won the IBC2007 Judges’ Prize for its digital field packs for journalists in war zones. Now, its technical team has turned its attention to managing the sheer volume of content arriving in
The IBC2011 Special Award was given to Atlantic Productions, with Sky 3D, Onsight and SGO Mistika. Pictured (L-R) Brian Lenz, Richard Mills, Simon Craddock, Miguel Angel Doncel, Celia Taylor, Claudia Perkins, Anthony Geffen, Sias Wilson and IBC CEO Michael Crimp
its newsrooms, creating as many as 20,000 assets a week. “When we realised we needed to replace all our tape-based cameras over the course of a few years, we knew we could no longer afford to exist in digital islands,” said Michael Koetter of CNN. “We had to lay down the infrastructure to connect workflows across the company and around the wo r l d . We l e a r n e d a l o t i n t h e process, and are now building systems that will dramatically enhance our core journalistic capabilities by further collapsing the space between creative intent and production outcomes.” The f inal categor y, content delivery, saw strong nominations for TV Globo’s very high bandwidth IP fibre to connect its production centres across Brazil, and for Warner Bros. and its digital-endto-end delivery platform for content from Hollywood to its customers worldwide. The judges gave the award to Finnish communications specialist DNA for its rollout of terrestrial HD television. This clever project took the new DVB-T2 standard and, with
technology par tners Teamcast, Plisch and Ericsson, put it into a single frequency network using the company’s existing cellular transmitter network. It got HD on the air quickly and cost-effectively. The IBC2010 award for innovative content delivery went to the DV B P r o j e c t a n d B B C R & D, which developed the DVB-T2 standard in a remarkably tight timescale to allow HD services like DNA to get commercial services up and running. Because DNA took award-
winning technology and pushed it to its limits, the project also received the IBC Innovation Awards Judges’ Prize. Clutching both awards, Pekka V ä i s ä n e n o f D NA s a i d : “ I a m proud to receive these prestigious awards on behalf of all our partners in this cutting edge project. It has been a wonderful example of how an international team of true technologists can, by working together, push back the boundaries of broadcasting science.”
Accepting the Judges’ Award Pekka Väisänen of DNA with his technology partners Serge Mal from Teamcast, Wilhelm HeuckeScheller from Plisch and Joachim Bergman from Ericsson, presented by Chairman of the Judging Panel Michael Lumley
Awards for Attenborough and Flying Monsters This year’s IBC International Honour for Excellence went to Sir David Attenborough. Best known today as the face of wildlife television, he started his career in 1952 as a producer and studio director, and was the controller of the BBC2 television channel in the late 1960s, responsible for a raft of commissions including Monty Python’s Flying Circus. But it is for his remarkable contribution to explaining the wonders of the natural world that he is appreciated and loved. At every stage of his career he has driven technology forward, from his use of lightweight 16mm film cameras on Zoo Quest in 1954 to his work with Atlantic Productions on stereoscopic 3D today. Due to a family commitment Sir David was unable to attend the ceremony in person, and the trophy was accepted on his behalf by Anthony Geffen of Atlantic Productions. The audience enjoyed a video tribute featuring some of the most memorable moments of Sir David’s career including, of course, his encounter with the mountain gorillas of Rwanda.
The video also featured a specially recorded interview with Sir David. “Programme makers like me depend on technology, and technologists have provided us – year after year – with new opportunities and new possibilities,” he said. “It has been up to us to make the best of these new advances, and if this award is to suggest that I have done that, well then I am very complimented.” Addressing the IBC audience, he added: “I am also very grateful because without technology – without you – we would not exist. Thank you so much.” Anthony Geffen returned to the stage moments later, with the surprise announcement of an IBC Special Award for Flying Monsters 3D with Sir Da vid Attenbor ough . According to chairman of the judges Michael Lumley: “Flying Monsters was nominated for an Innovation Award for its post production, and we were so impressed that we highly put it on our list of finalists. “Later some of us had the chance to watch the whole programme, and we were completely knocked out,” he continued. “This is a serious scientific programme, creating the rise
and fall of the pterosaurs from the fossil evidence, yet presented in a wonderfully imaginative and vivid way. The 3D is used to place the computer recreations of these creatures into the environment and immerse the audience in their struggle for survival.” Receiving the award, Anthony Geffen said he was delighted and honoured, adding: “I would like to thank IBC for creating such an important forum for the development of 3D. “It has been incredibly exciting to be involved with making a film t h a t h a s c o m b i n e d i n n ova t ive stereoscopic 3D production techniques with the best traditional storytelling,” he continued. “I would like to thank everyone on the production team who helped make this f ilm happen, and in par ticular David Attenborough for his huge contribution.” He paid tribute to Sky, which commissioned the film saying they “have shown real commitment to supporting the best 3D production possible. I would also like to thank Simon Craddock, Andy Shelley and the team at Onsight, and the team
Sir David Attenborough with the IBC2011 International Honour for Excellence
behind SGO Mistika, whose collaboration was essential for the success of the film. When we started this production, we didn’t know how we were actually going to finish it. I’m proud not only that we did so, but that we have embarked on a journey together to go forward to ever more exciting projects in 3D.” Looking into that future, Geffen wrapped up the evening with a presentation on F lying Monster s together with Atlantic’s current 3D productions, Kew Gardens and The
Bachelor King, set among the penguins of South Georgia. Extended excerpts using the state of the art 3D projection technology in the Auditorium clearly demonstrated the ability of these productions to captivate audiences. There is a chance to see the award-winning Flying Monsters 3D in its entirety tonight. It is part of the 3D Showcase, which starts at 18.30 in the Auditorium. Seats are free but capacity is limited so be early to be sure of your place.
Prize for perception IBC celebrates global innovation Super Hi-Vision, developed by Japanese national broadcaster NHK, has been an IBC favourite for some years. Latest developments can be seen in the sensational demonstrations running in The Future Zone. This year some of the system’s developers presented a technical paper in the conference. They talked about the research into the limits of human perception they undertook to define the parameters of Super Hi-Vision. Their fascinating paper is the winner of the IBC2011 Conference Prize. The prize is awarded, by the technical papers committee, for the paper that best combines cutting edge work with clarity of presentat i o n . “ We we r e p a r t i c u l a r ly impressed with the way the complex technical parameters were
explained in a clear and concise manner,” said Dr Nick Lodge, chair of the IBC Technical Papers Committee who presented the award. Yukihiro Nishida accepted the prize on behalf of his colleagues Kenichiro Masaoka, Masayki Sugawara, Kohei Ohmura, Masaki Emoto and Eisuke Nakasu from NHK Science and Technology Research Laboratories. He said: “the development of Super HiVision is intended to provide a new immersive experience for viewers, on the basis of psychophysical studies of human vision. “This award acts as an encoura g e m e n t t o o u r wo r k t o b r i n g Super Hi-Vision to homes,” he a d d e d . “ O n b e h a l f o f my c o l leagues and co-authors, may I give many thanks to IBC.”
The IBC Innovation Awards 2011 saw a particularly large entry, from around the world and across the industry. The best were projects in real-world service, making our industry more flexible, more creative or more cost-effective. Winning the content creation award was CNBC, transforming graphics by allowing a presenter to interact using hand gestures. Motion Analysis provided the tracking of both the presenter and the Steadicam, and Unreel converted the gestures into instructions for the Brainstorm virtual graphics. The judges were very impressed by the way London post house Onsight used its two SGO Mistika suites to composite, edit and grade Flying Monsters 3D, for television and for theatrical and Imax 3D release in challenging timescales. As
well as highly commending the post production, the judging panel recommended the programme for an IBC Special Award. Russian state-owned news agency RIA Novosti spotted the potential to enrich its output with citizen journalism. YouReporter, which combines an iPhone app with its in-house edi-
torial process, also made it to the content creation shortlist. The final content creation project was the live coverage of MotoGP by Dorna Sports. With more than 120 cameras covering each race, Dorna found itself needing to create, tag and manage 2000 clips a day. It (continued on page 4) Three exhibition stands collected design awards. Christie was the winner of the prize for the largest stands, joining Tangent Wave as the best smaller free design stand, and Phabrix for the best use of shell scheme space.
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