TVBEurope March 2012

Inside: Vision mixer roundtable, NAB Preview, Graphics & Subtitling

TVBEUROPE

Europe’s television technology business magazine

www.tvbeurope.com

MARCH 2012

£5.00/€8.00/$10.00

Run to digital Olympics: Sport plus lasting legacy As the London 2012 Games approach, Philip Stevens talks to the lead BBC practitioners about its preparations — and the legacy from the event the organisers wish to achieve When the BBC televised the London Olympics in 1948, those involved could hardly have imagined what broadcasting the next Games from that city would entail. That said, it must have been quite an achievement to provide around 60 hours of coverage from a service that had only relatively recently been reactivated after the war.

The austerity Games? Things have moved on a great deal since the last time the BBC covered the Olympics in London in 1948

According to the BBC archive, one of the significant developments for the 1948 events was the introduction of an OB truck that allowed the crew to sit down for the first time!

This time around, about 2,500 hours will be transmitted on two of the BBC’s broadcast channels, supplemented with up to 24 live streams on broadband and other events being shown via the ‘red button’ facility.

“These have become known as the Digital Games,” Roger Mosey, BBC’s director of London 2012, told TVBEurope. “That means we are operating in entirely new territory — and that brings its own set of exciting challenges.”

Mosey recalls there was a great sense of excitement and anticipation when the announcement was made in July 2005 that London would be the venue for this year’s Olympic Games. “I was working in TV news at the time and there was a sense of elation as the full impact of the decision was realised. I believe it was a fantastic moment for the country.”

Although some low level planning had already taken place within the BBC as part of the London bid, the real effort didn’t begin until the Beijing Games of 2008 were over. “Those Olympics were the biggest outside broadcast we had ever mounted and there was enough to occupy our attentions.

But once that was completed we devoted ourselves to 2012.”

He says that the Beijing Games had many gargantuan features, but the BBC is aiming for something quite different — surrounding the actual sport with cultural and other events.

While the Olympics is a majority event with 75% of the population planning to watch the sporting activities, there is a need to involve the rest of the viewing audience.

“We are going to be looking at the surrounding stories, news, the torch relay and the culture. We will be providing something for everyone — you will not have to love sport to enjoy the occasion.”

The BBC will provide coverage of activities under the title of the Cultural Olympiad. These include offering Shakespeare productions, a music festival in east London and Promenade concerts from the Royal Albert Hall.

“The opening ceremony for the games will be special, but for those who are not too interested in that event, there will be the opportunity of seeing Daniel Barenboim conducting Beethoven’s Ninth. That will make the night special for those viewers.”

Full story page 12

McDonnell and Davis in Racing UK’s new gallery, with the pre-production Karrera switcher

Timeline for turnaround Fast Turnaround TV As tapeless workflows spread to every area of broadcasting, one tapeless specialist has used the opportunity to move from sport into general programming as it builds new post and playout facilities. David Fox reports Timeline TV is “an OB company that’s moved into facilities,” according to its Commercial Director Stephen Davis. It has recently built a new multi-channel playout centre for Racing UK, which went on air on 28 February at Ealing Studios in west London, and will open its third post facility (at MediaCity UK) in April.

Since its establishment in 2006, Timeline has expanded from providing tapeless server systems for outside broadcasts to flyaway production units, RF and comms, as well as developing post houses in central and west London.

It was originally set up to provide EVS systems for sports and has “delivered the biggest EVS solutions outside of EVS.” It is now taking the tapeless workflow expertise it has developed in

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sport and applying it to other forms of programming, including news events and documentaries.

“The tapeless workflow is at the core of what we deliver, but we’ve grown the business either side of it to offer full production facilities,” says Davis.

“We found that people didn’t know what to do with the media” that accumulates in covering events, so it offered services to synchronise media and edits.

This led into working on the BBC’s Formula 1 coverage, for which Timeline TV now holds 2,500 hours of archive. It has a SAN in Ealing for the pre-show edits, then takes any changes on a drive to the OB, where the editors can immediately pick up again and finish editing, adding extra material from the track, and can then finish any remaining pieces back in Ealing afterwards. It has fibre lines to the BBC for delivery.

It also worked on the Cricket World Cup, for which it built the facilities to suit the six-week event, with 37 live network programmes broadcast on BBC2 from Ealing.

Full story page 14

TVBEU R O PE N E W S & A N A LY S I S

’World’s smallest’ converters can add to Samurai or Ninja

Atomos makes the Connection

By David Fox The recorder manufacturer, Atomos, is getting ready to ship its new HDMI to HD-SDI and HD-SDI to HDMI Connect converters, and has revealed plans to extend the range with other units, such as one to add XLR audio inputs to its recorders.

The converters, claimed to be the world’s smallest, each cost about £200, and can add HDMI inputs to the Samurai recorder or HD-SDI to the Ninja. Each will be able to fit in a mainstream Sony camcorder battery mount, and has a one-hour battery built in for standalone work. This also gives it continuous power when swapping the Sony NP battery that can power it for many more hours (12 on a small battery), and it can pass that power through to the recorder, light fitting, monitor or camcorder it is fitted to (meaning all of them can also be

Only Connect: Young shows off a new Atomos Connect HDMI to HD-SDI converter

continuously powered). The 3Gready convertors include Pulldown removal where necessary (60i to 24p and 30p; 50i to 25p), and an inbuilt test pattern and audio tone generation.

Meter gains interest: Aspen Media, a UK distributor for broadcast audio equipment, hosted the UK launch of RTW’s TouchMonitor audio meter series, the TM3, at the recent BVE show. The compact TM3 has a sharp 4.3-inch touchscreen and has been designed to provide all the information required for accurate sound level and loudness management for the small studio, OB van or control room. It is available in two or six channel versions for stereo or 5.1 surround applications. It provides PPM metering with analogue and digital scaling, Peak Hold and Zoom modes, phase correlation, an AES3 status monitor plus the LRA Loudness Range display.

The Loudness/SPL measurements are compliant with EBU R128, ITU BS.1771, ATSCs A/85 and ARIB. Chris Collings, Aspen Media’s director, said: “Visitors loved the mobile phone style screen and the clarity of the displays and now that compliance with the latest loudness standards is a must, the TM3 has a definite role to play.”

www.aspen-media.com

Atomos is now developing a range of Connect products “that add functionality to the recorders, but that only 10% to 20% of users need, such as XLR audio inputs,” said its CEO Jeromy Young.

Since Atomos shipped the Samurai in November, it has “outperformed my forecasts by about 8,000%,” and the company is only now beginning to match production to demand. By BVE it had released 11 free updates to the firmware for the Samurai, with another almost ready to ship. Future updates include offspeed recording (over- or undercranked), while focus peaking, zebra stripes and false colour should be added by NAB. “We’re pumping our money into development,” hiring extra engineers, he added.

One of its longer-term goals is an affordable 4:4:4 recorder.

“The difference between even 8-bit 4:4:4 and 10-bit 4:2:2 is incredible. You can see the extra colour. But, the infrastructure isn’t there yet — as it isn’t for 50/60p,” said Young. www.atomos.com

Fujinon takes comfort in compact drama lens

By David Fox Fujinon has started shipping a compact drama lens, the 2/3-inch HA19x7.4BERD, which had its first UK showing at the recent BVE. “It has reduced pumping compared to a typical ENG lens, and it has the new Fujinon servo control with the comfort grip,” said Stefan Czich, sales manager, broadcast products, of Fujinon’s UK distributor, Pyser-SGI. He hadn’t thought the comfort grip was important when he read about it, but having tried it he thinks it will be a lot more comfortable to hold and offer greater control when pointing the camera down, as it has more space to place your thumb and for using the little finger to control the camera.

It costs about £12,500 with servo focus, and there is also a

CONTENTS 1-11 News & Analysis 3 Atomos makes the Connection David Fox reports on the ‘world’s smallest’ converters, presented at this year’s BVE

12-16 The Workflow 12 More than sport Talking to the BBC, Philip Stevens finds out what is going on behind the scenes in the run up to the London 2012 Olympics

14 Tapeless creates

multiple Timelines David Fox talks to Timeline TV, which specialises in fast turnaround TV productions

18-25 News & Analysis 18 Production in transition As the only broadcast industry journalist to attend the EBU’s Production Technology Seminar 2012 in Geneva, George Jarrett got an exclusive insight into an industry in rapid transition

26-31 Graphics & Subtitling 26 Hear from the likes of the EBU, Chyron, Softel, Screen and Wohler on how broadcasters are adapting graphics delivery to the new reality of broadcast video consumption and the challenges in reviewing and monitoring subtitling output

33 News & Analysis 33 Root for VoD David Fox reports on the BVE launch of Root6’s new Active Logging module for its Sienna digital production workflow system Dramatic potential: The new Fujinon HA19x7.4 zoom lens

BERM, servo zoom manual focus, version for about £12,000.

Also shipping now is the XA20sx8.5BERM, a low-cost HD lens with a 2x extender for 2/3-inch cameras for under £3,000. “It’s not a bad spec at a very, very good price,” said Czich. www.pyser-sgi.com

34-53 NAB New 34 Product Preview A preview of the new broadcast TV products that can be found on the showfloor at the LVCC in Las Vegas next month, compiled

by Melanie Dayasena-Lowe and Jake Young

54-55 Vision Mixers Roundtable 54 The market for vision mixers (production switchers) is picking up and remains competitive across all areas of TV broadcast production.

Philip Stevens leads a unique roundtable discussion with Blackmagic, FOR-A, Grass Valley, NewTek, Ross Video, Snell and Sony

57-58 The Workflow 57 Changing the rules of playout Melanie Dayasena-Lowe visits ABS Broadcast’s newest playout centre and talks to VSC Design and Trilogy Communications on the design and technology supply that was involved

www.tvbeurope.com M A R C H 2 0 1 2

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TVBEU R O PE N E W S & A N A LYS I S

Stefan Knebel, ANNOVA Systems

Fraser Jardine, OASYS

Markus Wallies, ANNOVA Systems

Anthony Wilkins, RTW

People on the move

By Melanie Dayasena-Lowe ANNOVA Systems has welcomed four new employees. Timo Raub and Stefan Knebel support the project team; Markus Wallies is involved in Sales and Business Development; and representing the North American market, James Cooper, solutions architect provides professional experience and support. Knebel will reinforce the SWR and BR in Munich, while Raub will be part of the NDR and ARD aktuell team in Hamburg.

Anna Mallett will take on the position of CEO of BBC Studios and Post Production in September. She will report to John Tate, chairman BBC Studios and Post Production and the BBC’s group director of Policy and Strategy. Mallett has been part of the BBC’s senior leadership team since

Anna Mallett, BBC Studios and Post Production

2006. Since September 2008 she has been controller of Business Strategy.

London-based sports digital media company deltatre Media has appointed Jon Hanford in a newly established role as director of Technology. He is responsible

Indoors or outdoors with new Canon XU-80

By Melanie Dayasena-Lowe Canon’s new XU-80 remote control high definition pan-tiltzoom camera head is a versatile indoor/outdoor single-CMOS camera system. Its quiet operation and waterproof and dustproof construction make it ideal for a range of applications from outdoor event broadcasting and traffic monitoring to video conferencing.

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The XU-80 has a single 1/3inch CMOS imaging sensor with 2.1 megapixels. Using a Canon 20x HD zoom, it captures high quality images in full-HDTV format. Canon’s Dynamic Range Compensation feature allows for shooting in extremes of light by automatically correcting the video contrast.

It uses HD-SDI output (the broadcast market standard) to

for the company’s technological strategy and vision for growth across all digital solutions.

Hanford recently moved on from the BBC after 24 years, where he spent three years as head of Technology for Sport and most recently as senior architect and technical design authority for the BBC’s 2012 Olympic digital and online services.

Peter Passian has been named as sales director, EMEA for Telos Alliance and Daniel Wang has returned to Linear Acoustic as senior business development manager, Asia. In his new role, Passian will oversee sales of Telos, Omnia, Axia, and Linear Acoustic products throughout EMEA. OASYS has recruited Fraser Jardine as vice president, Global Sales. Jardine brings 20 years’ experience in technical sales, presales and business development roles. Most recently he held the role of vice president, EMEA Partnerships at Kit Digital.

Clive Mumby recently joined Orad as UK sales manager to increase Orad’s foothold in the UK and raise its profile in the broadcast graphics and server-based solutions market. Prior to Orad, he was The Associated Press’ ENPS European sales manager and worked at Quantel as chief editor of Broadcast Systems, specialising in file-based workflows.

RTW has appointed Anthony Wilkins as international sales manager. Wilkins is an English native speaker and has lived and worked in Great Britain, Switzerland, Germany and Ireland. His main role will be to control and coordinate RTW’s international sales from the corporate headquarters at Cologne. He has previously worked for Sony, Analog Devices, DTS and most recently for Linear Acoustic. He is also a member of the EBU PLOUD group, which is in charge of developing the R128 loudness standard; the AES and the IEEE. Sencore’s current President and CEO John Suranyi has been named strategic advisor to the company. In his new role, Suranyi will transfer his day-to-day responsibilities, but will remain

relay images from a distance of up to 100m. With its single preset button option, the camera can pan and tilt while simultaneously zooming to give on-air movements comparable to manually operated cameras.

The Canon XU-80’s waterproof and dustproof design has an IP55 enclosure rating. It can be installed in challenging locations and is not affected by environmental conditions.

In Normal Mode, it has a noise rating of NC≤30, suitable for quiet indoor environments. Where a higher speed is required, the pantilt mechanism can be accelerated by 50% in High Speed Mode.

active on the Sencore board of directors. In addition, Sencore’s board of directors has announced the promotion of Thomas Stingley from executive vice president to president and will be responsible for the day-today operations at Sencore.

At Signiant Tom Canavan has been named senior vice president of Strategic Development and Lisa Clark has joined as vice president of Marketing. “The operational capacity, deep industry knowledge and enduring relationships that Tom and Lisa bring to our team will broaden our engagements with media industry customers and help to ensure that our solutions meet the current and future needs of these organisations,” said Margaret Craig, CEO of Signiant. Canavan previously worked for Ascent Media while Clark has worked for Avid Technology in the past.

Systems integrator Visual Unity has expanded its management team with two key appointments — Tony Hasek and Asheem Parikh. As Vice President of Sales, Hasek will drive Visual Unity’s international business development and take charge of internal sales management. Client Services Manager Parikh, who joins from Kit Digital, will assist customers with effective project deliveries. Visual Unity CEO Jakub Kabourek said: “Tony and Asheem are valuable additions to our team and their experience extends our unique expertise in linear and multiscreen solutions.

Thomas Stingley, Sencore

Tom Canavan, Signiant

Lisa Clark, Signiant

Asheem Parikh, Jakub Kabourek and Tony Hasek, Visual Unity

It weighs just 14.5lbs (6.6kg). With its handle (included), setup is easy and can also be mounted upright or inverted (ceiling mount). In either position, the picture image will automatically adjust when the tilt angle reaches 90°. For locally switchable output, users can select either 1080i or 720p HD to match their existing systems. www.canon-europe.com

The XU-80W version of the camera is for permanent outdoor locations and comes with servo ND filter and wiper unit

www.tvbeurope.com M A R C H 2 0 1 2

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TVBEU R O PE N E W S & A N A LYS I S

TVBEUROPE

Europe’s television technology business magazine

EDITORIAL Editorial Director Fergal Ringrose tvbeurope@mediateam.ie Media House, South County Business Park, Leopardstown, Dublin 18, Ireland +3531 294 7783 Fax: +3531 294 7799 Deputy Editor Melanie Dayasena-Lowe Melanie.Dayasena-Lowe@intentmedia.co.uk Staff Writer Jake Young Jake.Young@intentmedia.co.uk Intent Media London, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England +44 207 226 7246 Editorial Consultant Adrian Pennington Associate Editor David Fox USA Correspondent Carolyn Giardina Contributors Mike Clark, Richard Dean, Chris Forrester, Jonathan Higgins, Mark Hill, Dick Hobbs, John Ive, George Jarrett, Heather McLean, Bob Pank, Nick Radlo, Neal Romanek, Philip Stevens, Reinhard E Wagner Digital Content Manager Tim Frost Managing Director Stuart Dinsey

ART & PRODUCTION Head of Production Adam Butler Editorial Production Manager Dawn Boultwood Senior Production Executive Alistair Taylor

SALES Publisher Steve Connolly steve.connolly@intentmedia.co.uk +44 207 354 6000 Fax:+44 207 354 6049 Sales Manager Ben Ewles ben.ewles@intentmedia.co.uk +44 207 354 6000 Fax:+44 207 354 6049

US SALES Michael Mitchell Broadcast Media International, PO Box 44, Greenlawn, New York, NY 11740 mjmitchell@broadcast-media.tv +1 (631) 673 0072

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CIRCULATION Intent Media, Sovereign Park, Lathkill Street, Market Harborough LE16 9EF, UK Free subscriptions: www.subscription.co.uk/cc/tvbe/mag1 Subscriptions Tel +44 1858 438786 Printing by Pensord Press, Tram Road, Pontllanfraith, Blackwood NP12 2YA. Tel: +44 1495 223721.

TVBEurope is published 12 times a year by Intent Media London, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England Intent Media is a member of the Periodical Publishes Association

© Intent Media 2012. All rights reserved. No part of this publication may be reproduced or transmitted in any form without the prior permission of the copyright owner. TVB Europe is mailed to qualified persons residing on the European continent. Subscription rates £64/€96/$120.

Allow 8 weeks for new subscriptions and change of address delivery.

Send subscription inquiries to: Subscription Dept, Intent Media, Sovereign Park, Lathkill Street, Market Harborough LE16 7BR, England.

ISSN 1461-4197

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Providing industry leadership Broadcast Production Analysis

By Fergal Ringrose Can we draw your attention please to two quite unique features in this issue of TVBEurope? One is our Roundtable on Vision Mixers, led by regular contributor Philip Stevens, in conversation with Blackmagic Design, FOR-A, Grass Valley, NewTek, Ross Video, Snell and Sony.

What are the biggest challenges facing the manufacturers of broadcast vision mixers right now? What are the greatest innovations in the sector in the last 10 years? What role does 3D now play in the broadcast production environment? How much delay is acceptable in OB production — and what does the future hold for broadcast vision mixers? Are the current range of vision mixers really self-op friendly — given the pressures for directors to cut their own shows?

And what about the fact that for many productions, only a fraction of the capacity of the production switcher is actually used in anger? Is the massive capability of the equipment a request from users? Stevens — and the top vision mixer makers in the business — provide the answers, starting page 54.

Our other unique feature is an amazing piece of condensed technology reporting from senior writer George Jarrett, starting page 18. Jarrett travelled to Geneva recently to attend the 2012 EBU Production Technology Seminar — and I would like to single out EBU Technical’s Eoghan O’Sullivan for pulling the appropriate levers to enable this report to happen for TVBEurope.

“When the last engineer dies, we will use only low frame rates. When the last producer dies, we will use only high frame rates” — Andy Quested, BBC The theme of the event was ‘production in transition’ and among the topics covered in our eight-page report are content production in a multi-layer organisation; public broadcaster carbon footprints; French 3D production experiences; those old favourites, formats and interoperability; the long goodbye to the Grade 1 CRT; the EBU R128 loudness directive; and the point at which FIMS meets MXF.

Research developments Not a bad line-up. One presentation not mentioned in the report (simply due to lack of space) was by Andy Quested, head of HD technology at the BBC, who tackled camera assessment guidelines as covered in EBU R118 and Tech 3335.

“What I am trying to do is take this esteemed work and turn it into something we can practically apply to an environment of producers, programmes and budgets. (They) seem to have a way of changing everything that we do in technology, and converting it to the lowest possible common denominator.

EBU Production Technology Seminar, exclusively reported for TVBEurope by George Jarrett

“The manufacturers produce cameras with such regularity. There has to be a way that we can identify, codify and rate these, not based on a comparison with each other but on the appropriateness of use.

The choice of camera has a disproportionate effect on the viewing experience, and there is a reason that consumer products cost a lot less than broadcast kit,” Quested told the seminar.

The use of codecs is “something else we need to plan. It is now on the BBC’s live delivery guide that you must produce a codec map.”

On the question of quality, Quested said. “When the last engineer dies, we will use only low frame rates. When the last producer dies, we will use only high frame rates.”

Jarrett also reports that Peter Brightwell, a lead engineer at BBC R&D, introduced tablets as production tools. Against a backdrop of the BBC iPlayer and the Apple apps culture, the BBC has started to look at specialist production tools that take advantage of the computing power, connectivity and functionality of tablets.

“We have created the Portable Production Tool,” said Brightwell.

“We asked could we provide something useful for productions — the proper handling of time code, flexible access to content and browsing, the viewing of rushes anywhere, selecting clips and putting together a rough assembly of preferred shots and sending it to an edit.

“We transcode content shot in studios to short GOP H.264. We provide live metadata synchronisation, and you can download the video when you need it. We tried it out on the BBC comedy productions Mongrels and Bleak Shop of Old Stuff. We loaned iPads to the production teams to get feedback, and they asked to see rushes quicker, live in the studio.”

Brightwell told the seminar that BBC R&D is working on comment sharing for presentation in its app, usability testing, and some of the wider aspects of apps like this in a fuller environment.

He used a cheap AVC HD camera and a Mac mini as the server.

This produced the H.264 version, created the metadata and enabled the wireless synchronisation with his iPad.

EBU adopts Roberts’ criteria for HD camera

By David Fox The European Broadcasting Union has adopted the full set of HD camera measurement criteria devised by colour scientist Alan Roberts. The set of tests and measurements was used to evaluate and create a list of approved cameras for BBC HD production, all of which has now moved to the EBU. EBU Tech 3335, Measurements of TV cameras for Characterising & Setting, which was primarily written by Roberts and can be downloaded from the Technical Publications area on the EBU’s website, tells how to measure cameras. There is also a link to download software to assist in any measurements.

To make it simpler for broadcasters to assess what type of productions a camera is suitable for, there is also a new document that makes it easy to see what types of production fit each criteria.

EBU R118, Tiering of HD Cameras, which was written by Andy Quested,

Measure by measure: Alan Roberts’ tests are now an EBU standard

head of Technology, BBC HD (with input from Roberts), “allows you to decide what genre the camera is suit able for, such as journalism, drama or studio use. There is now a proper, formal

way of defining how cameras perform,” said Roberts.

“R118 tells what a camera in a particular category ought to do, so broadcasters can easily approve a camera based on the two documents.”

As Roberts is retired, although still doing consultancy and currently working on a new standard for broadcast lighting, he wanted to provide a specification that others could use to carry out these tests.

The adoption of these documents by the EBU means that there is no BBC Approved for HD list anymore — although anything that was on it is still approved. But, all 70 documents that Roberts wrote for the BBC are being put up on the EBU website, and R118 can be used to establish for what types of production they are suitable. www.ebu.ch http://tech.ebu.ch/camtest www.tvbeurope.com M A R C H 2 0 1 2

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TVBEU R O PE N E W S & A N A LYS I S

Glue products for a sticky situation

By David Fox The new Census Digital NanoCube range, introduced at the recent BVE Show, can be used as standalone glue products or fitted four in a 1U rack mount.

Units include: a 3G/HD/SDSDI 1x2 reclocking distribution amplifier; 3G/HD/SD-SDI 2x1 source selector; 3G/HD/SD-SDI optical-to-electrical converter; 3G/HD/SD-SDI electrical-tooptical converter; AES/EBU fourinput impedance matching transformers; AES/EBU digital-to-analogue audio converter; analogue audio-to-AES/EBU digital converter; 3G/HD/SD-SDI two group audio demultiplexer; 3G/HD/SDSDI two group audio multiplexer; and an AES/EBU level matching distribution amplifier.

There is also the smaller NanoLinx series of low-cost standalone miniature fibre optic interfaces for transmitting and receiving 3G/HD/SD-SDI over single mode fibre optic cable at distances of up to 10km. The range includes a 3G/HD/SDSDI to HDMI converter, for monitor feeds.

“They also do impedance matching devices, from 75ohm to 110ohm, for balanced to unbalanced audio,” said James Thomas, director of engineering and technology at Preco, its UK distributor. “These are available as individual in-line baluns or as a 1RU rack mount panel of 32 of them.”

Census taker: Thomas with two of the new Census Digital product lines

www.censusdigital.com www.preco.co.uk

Panasonic shows BBC HD approved camcorder

By Jake Young Panasonic Broadcast demonstrated some of its latest products at BVE 2012 including the BBC HD approved P2 format AG-HPX250EJ, the first 10 bit hand-held model to feature the AVC-Intra 100 codec. With progressive-compatible ULT (Ultra Luminance Technology), 1/3-type 2.2-megapixel 3MOS sensor and 22x zoom lens with wide coverage from wide-angle to telephoto the HPX250 was one of the stars of the show.

Additionally Panasonic demonstrated its AG-AC130EJ and AG-AC160EJ AVCCAM

camcorders. Both the AC130 and 160 cameras feature a 22x zoom, dual SD cards for relay or simultaneous recording and exceptional low light recording capabilities and deliver the quality and flexibility professional video makers demand.

On the stand cameras fed new professional plasma monitors from Panasonic including the highly specified BT-300 series.

Both the 42-inch and 50-inch screens are graded for use in film and TV in 2D and stereoscopic production environments.

Also on show was the AGAF101EJ, the compact camera

The AG-HPX250EJ: 10-bit, 4:2:2 independent-frame, full 1920 x 1080 resolution and AVC-Intra recording

which is designed to enable production industry professionals to deliver cinema-like footage in HD more simply than ever previously thought possible. The AG-AF101 4/3 HD camcorder is an HD camera recorder equipped with a four-thirds MOS image sensor and is the first model in the Panasonic AVCCAM series to offer the possibility of exchangeable lenses.

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HHB packs Mogami cables

By Jake Young Broadcast audio technology specialists HHB Communications introduced a new range of Mogami Packaged Cables during the BVE London show.

The high-quality Mogami cables will now be available from HHB in a single-cable package with terminated ends. The line includes a total of 46 cables: four Reference Microphones Cables, 12 Premium Studio Accessory Cables; six Premium Guitar Cables, three Premium AES/EBU Interface Cables; 12 Analogue 8-channel multicore cables, and nine Digital 8-channel AES/EBU multicore cables.

Neglex oxygen free copper quad cabling, high-density shielding and conductive PVC layering are used as components in several of the cables

HHB introduced Mogami Packaged Cables at BVE London

to ensure transparency and reduced electromagnetic induction. The cables and connectors are hand soldiered rather than crimped, which also means they are repairable.

Post production plugins for Pro Tools and other DAWs from Dolby, Nugen and TC were also on show, as well as the RØDE Stereo VideoMic Pro, holding its world premiere. www.hhb.co.uk

www.panasonic.net

Monitor evolution: Oxygen DCT showcased a host of monitors for broadcast and production at BVE 2012, writes Jake Young. Included was a 5-inch DSLR monitor, an 18.5-inch multipurpose monitor, 17-inch production monitor, 24-inch and 47-inch 10-bit, reference monitors as well as an impressive monitor wall with 3D monitoring. “We have introduced new 3D monitoring, which allows production crews to operate in 3D mode at a touch of a button,” said Steve Hathaway, Oxygen DCT’s managing director. The MultiStack has been designed as a budget conscious monitor wall with individual source monitors arranged in rows according to production requirements. The 9.7-inch monitors use IPS LCD technology to give a wider viewing angle, approaching a full 180°. “Monitoring is often a challenge to many broadcast engineers as they try to balance monitor wall design with ergonomics and available budget,” Hathaway added. The Evolution P3 seven-inch and 17-inch monitors were on display, together with a new five-inch monitor range for DSLR cameras such as the popular Canon 5D and 7D.

www.oxygendct.com

Focus control: Cambo’s new CS-MFC1 Universal Follow Focus Kit (shown here on a Canon C300) attaches directly to 15mm lightweight support rods with a quick-lock clamper to offer precise focus control. To make the £830 kit universal to work with almost any lens, it has a flexible gear ring which can fit any focus barrel measuring from 40mm to 100mm in diameter.

It can also reverse its direction of rotation to accommodate the inverse focus direction of DSLR lenses. — David Fox

Viewing angle: The CoolTouch RX-702HD turns through 180º for viewing and maintenance

CoolTouch racks monitor options

By David Fox For outside broadcast or machine room use, CoolTouch has several new rack-mountable monitor sets that twist or slide away, to offer better viewing angles or to save space.

The new £2,595 RX-702HD has dual 7-inch widescreen displays, with HDMI and HD-SDI inputs. The rack mount allows them to be turned through 180º for ease of viewing or maintenance.

They have LED backlights for use in high brightness areas and,

as the name suggests, run cool.

All CoolTouch monitors include audio as standard, and will deembed it from the HDMI stream.

Also new are twin 7-inch and triple 5.6-inch screens that fold flat to slide into a 1RU drawer, making them ideal for equipment rooms or OBs where there is limited space. The DX-563AL (triple) costs about £1,400, while the dual-screen DX-702AL is £1,300. www.cooltouchmonitors.com www.preco.co.uk www.tvbeurope.com M A R C H 2 0 1 2

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Cel-Soft variety for quality control

By David Fox The new Reel-Check Solo-QC from Cel-Soft is “a bit like a Swiss Army knife. It’s a complete toolset for both file and live production. It can also QC a tape, and captures and analyses on the fly,” said Cel-Soft Managing Director, Robin Palmer.

“What sets it apart is the variety of tests you can do, and its flexibility. You can set up the screen to show you just what you want it to show.”

Launched at BVE, Solo-QC is a desktop application aimed at doing quality control on particular projects and provides traditional

tools, like waveform, vectorscope, parades, histograms and gamut. It also has audio monitoring, for up to 16 channels and surround sound, with loudness metering to both European and US standards, as well as the Harding test for photosensitive epilepsy, which is mandatory in the UK, plus metadata decoding and logging.

All the tests (more than 32) can be done simultaneously, file-based material is analysed faster than realtime (from 2x to 7x depending on hardware and file type).

It can run multiple channels at Robin Palmer: Cel-Soft is “a bit like a Swiss Army knife. once (“at least four”) depending on It’s a complete toolset for both file and live production”

what hardware you run it on. It can also be used as a multiviewer, with any alarms popping up if something is wrong, and produces a full range of log reports with timecode and thumbnails. It will do batched operation of any number of sources, and can be used in a variety of places in production or post or as a networked facility.

It will be available this month either as Windows software (for £2,500) or as a turnkey system, including hardware, built to the customer’s requirements. www.cel-soft.com www.reel-check.com

TVLogic displays make the grade

Sonnet drive to speed backup

By David Fox

Sonnet has launched two new professional media readers that can be combined with its compact new portable RAID arrays for high-speed backups.

The Qio E3 card reader can take up to three SxS cards at once, while the Qio CF4 takes up to four Compact Flash cards. Each reader costs £420 and has two 6Gbps eSATA ports for connection to back-up drives. Sonnet currently has four ruggedised, portable drives, and has just added the Thunderbolt-equipped Fusion F2TBR, which takes two solid-state drives (totalling up to 1TB) capable of high-speed transfers (up to 640Mbps read and 430Mbps write).

It joins the 1.5TB Fusion F2 (with eSATA ports), 2TB F2QR (eSATA, dual FireWire 800, plus USB 2.0) and the similarly connected 6TB F3, but all of them have maximum speeds of no more than 200Mbps.

It also has two new Fusion desktop RAID 5 storage arrays with Thunderbolt connections.

The four-drive E400TBR5 has read/write speeds of up to 400/340Mbps, while the eightdrive E800TBR5 offers speeds of 800/730Mbps.

The high-speed Thunderbolt port is standard on current MacBook and iMac computers, but these don’t have the ability to fit PCIe

Several recent monitors from TVLogic were on show at BVE, including a new grade one monitor, the 32-inch XVM-325W, which uses a true 10-bit panel that can display more than one billion colours. It can run user-added look up tables, and comes with EBU and SMPTE LUTs as standard.

There is also a new, lower-cost 24-bit grading monitor. The 24inch multi-format LVM-247W uses a 10-bit dithering display that is claimed to be very close to the profile of a grade one monitor, but less than half the price, at about £5,000.

Features include: 3G/DualLink HD-SDI, HDMI and DVI

A display of Logic: The LVM-074W was one of many monitors making their BVE debuts from TVLogic

inputs (including 4:4:4 and 1080p 50/60 support); waveform and vectorscope; 1:1 pixel mapping modes; audio demuxing; on-screen audio level meter;

Polecam Struts its stuff

By David Fox Polecam showed several new accessories for its lightweight jib arms at BVE. Although its carbon fibre poles are reasonably stiff, when they reach their maximum length (up to 8m) some users might need extra stability, especially with the older poles that don’t benefit from the latest advances in carbon fibre.

In response, there is the new Polecam Wire Strut System (about £500) “to stabilise it further, for operators who want to throw it around, especially at concerts,” said Polecam Founder, Steffan Hewitt. It will reduce vibration during any rapid movement, such as when mounted on a moving vehicle.

He also reported lots of interest in Polecam’s recently

UMD support; timecode display; and various scan modes.

Its new passive 3D monitors include the TDM473W, a 47-inch model, and the 24-inch TDM-243. Both require just polarised glasses, and include dual HDMI and SDI inputs It also showed its latest, lightweight 7-inch model, the LVM-074W. It has a 1024x600 screen, with HDMI I/O, HDMI to SDI conversion, and a range of exposure tools aimed at DSLR and camcorder users. It has magnesium housing and costs about £2,000. www.pyser-sgi.com www.tvlogic.tv

introduced wide DSLR head, and has now developed a longbody head, so that the jib can take a wider range of cameras.

“It has a slip ring for power and composite video, and you can put HDMI through it for monitoring,” he explained.

Polecam has also developed a new stabilised cup holder, with a gap in the side for a proper cup handle — “Only £6,000 with a free Polecam,” joked Hewitt. www.polecam.com

By David Fox

Two Sonnet card readers, including the new Qio F3, plus a Fusion F2 portable RAID and Thunderboltequipped Echo Express expansion unit

cards, so Sonnet has also announced new Thunderbolt Echo Express expansion units that will take either a single half-length (about $450) or dual full-length ($800) PCI Express 2.0 card, for video capture, fibre channel, digital audio, RAID control or multi-screen video. Up to six peripherals, including more expansion units, can be daisy chained on a single Thunderbolt port.

Also new is the Xmac mini Server, a 1U rack mount PCIe 2.0 expansion system with Thunderbolt ports. It also has Gigabit Ethernet and can take two PCIe cards (one half-length and one full-length), so it could take an AJA Kona card to create a compact capture station or a fibre channel card to become a metadata controller for SAN systems. It should ship in April for about $1,400. www.sonnettech.com

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11

TVBEU R O PE T H E W O R K F L O W

London 2012: More than sport Being host nation means there are two sides to the BBC’s operation for the London 2012 Games. The first is to serve the licence fee payers of the United Kingdom, but there is also the commitment to provide facilities at the events to which the corporation has been assigned. Philip Stevens investigates the work going on behind the scenes Overseeing both sides of the BBC’s London 2012 obligation is Dave Gordon, head of Major Events. “I’ve been involved with 10 Olympic Games, but this is surely the most exciting. We have much experience at coverage of important events, but that doesn’t mean we just dust off the plans for the previous games and reuse the formula. However, we do have the core knowledge, and so 2012 doesn’t daunt us.”

Like Mosey, Gordon sees the biggest innovation for London 2012 as the opportunity to exploit the red button and internet offerings.

“We used the red button at Beijing, but we are now at a new stage, where we can show every-

thing. If a viewer wants to watch, say, six indoor volleyball matches one after another, that will be possible. We appreciate the diversity in the UK and our service will cater for that factor.”

He states that programme editors will no longer face the difficult decision to cut away from one sport to another at a crucial moment — the coverage will be available somewhere on the various platforms.

Although it is not the host broadcaster (that is Olympic Broadcasting Service — OBS, based in Madrid), Gordon knows that if anything goes wrong, the UK audience will blame the BBC. So planning has to be meticulous.

Broadcast resources Such an approach involves a great deal of resources. As far as the coverage on behalf of the host broadcaster is concerned, the BBC is using the outside broadcast resources offered by SIS (Satellite Information Services).

To cater for its UK transmissions, a presentation area is being built by the BBC within the Olympic Park venue. In addition, space within the International Broadcasting Centre (IBC) has been allocated for production galleries and edit suites.

“These digital Olympics will enable us to meet the 21st century need for consumer choice.

The various platforms provide that opportunity and London 2012 will be a milestone” — Dave Gordon, BBC

Roger Mosey: Consumer choice will be a key feature of the digital Olympics

“We will be taking the coverage offered by OBS and then packaging it to suit our viewers’ needs by adding our own commentary, presentation, context and features. We’ll be taking a look at the bigger picture and providing the stories that will resonate with British audiences.”

He adds that the BBC, unlike some other international broadcasters, will not be myopic in its

Gordon confirms there will be a limited amount of 3D recording — but the priority remains providing coverage in the format used by the majority audience.

approach. “We will not ignore athletes from other countries. We will be where the stories are — no matter who is involved.”

“We have designed these production areas with the Games in mind. The workflow has been created to make the best use of the space. And we will be virtually tapeless — although there may be an odd tape to provide back up, if necessary.

We have also designed a special communication system to enable us to speak to any and all venues as needed.”

Beyond technology

Dave Gordon: “We used the red button at Beijing, but we’re now at a stage where we can show everything”

Beyond the facilities surrounding the Olympic Park in east London, the BBC is using its new media centre at Salford Quays, near Manchester.

“This will be fully utilised with a great deal of the streaming and web-based transmissions being handled by the state-ofthe-art equipment we have at that site.”

One other major innovation will be in use at some event venues — Super Hi-definition. “We have a unique partnership with NHK in Japan,” asserts Gordon. “And that will enable some coverage in this format — although, of course, this will not involve domestic live transmissions.”

Video gateway links OB vans

By Melanie Dayasena-Lowe T-VIPS’ advanced JPEG2000 Video Gateway, the TVG450, has been deployed by A1 Telekom Austria in its new fleet of OB vans. This contribution solution is already deployed and is providing video contribution services on behalf of ORF from venues throughout Austria.

The primary use of these OB vans is to enable ORF, the state broadcaster, to transport high quality JPEG2000 video from 150 points of presence across Austria, over A1’s MPLS backbone, to ORF’s centralised production facilities. This video contribution project is designed to neatly integrate with A1’s fixed IP video transport network, which is also powered by T-VIPS’ JPEG2000 12

solutions. This combination of OB vans linked via IP to ORF’s central editing studios means greater flexibility, easy access to editing and production skills and reduced costs.

“We are delighted with the flexibility, reliability and effectiveness of the IP-based OB van solution operated by A1,” says DI Alexander Hetfleisch, project manager, Planning Department, ORF. “In close cooperation with A1, we designed a solution for live event coverage that ensures robust video transport, low latency, and efficient use of our video equipment resources.”

The TVG450 is a member of the T-VIPS’ Video Gateway suite designed for realtime contribution and distribution of

The primary use of these OB vans is to enable ORF to transport high quality, JPEG2000 video, from 150 points of presence across Austria

There is, of course, a huge amount of planning to handle an event like the Olympic Games. And they will be over in a relatively short period of time. But the experience will leave a legacy for the future.

Both BBC Director of London 2012 Roger Mosey and colleague Dave Gordon agree that the experience of London 2012 will mean a better understanding of the streaming technology. “These digital Olympics will enable us to meet the 21st century need for consumer choice. The various platforms provide that opportunity and London 2012 will be a milestone in that development,” states Gordon.

But beyond technology, Mosey also sees the personal development of work skills as a legacy.

“The Olympics will require a high level of manpower and to help handle that we have run two rounds of our apprenticeship schemes and several work experience periods. We now have a very sound base of technical operators and this training will provide an ongoing benefit for the industry as a whole.”

He concludes, “All in all, this really is going to be a very positive and exciting year for the BBC.” www.bbc.co.uk/2012

broadcast quality video over IP networks. It has increased density with up to 1 3G-SDI, 2 HDSDI or 4 SDI channels in the same unit.

“The flexibility and ease of set-up of the T-VIPS TVG450 enabled us to equip our new OB vans to provide ORF with JPEG2000 video transport rather than having to purchase a Video Gateway for every live event facility in Austria,” says Karl Heinz Klocker, head of Multimedia and Broadcast Solutions, A1 Telekom Austria.

“The roving video contribution service for scheduled events, that T-VIPS technology enables, provides all the functionality of a fixed contribution solution at the venue and additionally delivers increased efficiency and costeffectiveness.” The system was delivered in cooperation with Austrian partner TV-Connect. www.t-vips.com www.tvbeurope.com M A R C H 2 0 1 2

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TVBEU R O PE T H E W O R K F L O W

The story behind a multi-faceted broadcast services company specialising in fast turnaround TV

Tapeless creates multiple Timelines

By David Fox Timeline TV’s biggest server system, using a 50-seat IPDirector set up, was for the 2011 Wimbledon Tennis Championships, providing recording on 16 HD EVS XT2s for every match for the BBC and IMG (for the World Feed and archive), with producers logging the action on every court. The logs combined the producer’s subjective classification with live statistical information from the on-court scoring system.

The company essentially provided an International Broadcast Centre at Wimbledon, selling IPD seats on the system to other broadcasters (it had 11 of these in 2011), all of whom also had access to a fully logged archive from 2007 (when it started working on Wimbledon) to 2010. All media is backed up to removable storage for redundancy and, when the tournament is over, forms Wimbledon’s permanent digital archive.

Timeline provides a similar set up for the Australian and French Open Tennis Championships, and also for news events, such as the UK’s three big party political conferences (held each Autumn), where it supplies facilities for Britain’s three main news broadcasters (BBC, ITN and Sky News).

All of the media goes into the central system and is logged and made available to all three news organisations, who responded positively to its question: ‘We have this system, why not collaborate?’ Timeline looks after the complete workflow, from before the event through post to archive.

This system has been operating since 2007, and in 2011 it had four HD XT2s recording all the action in HD, with several low-res servers recording proxy copies.

More than 30 IPDirector terminals were distributed among the broadcasters for instant access to any story. Each broadcaster also had their own ingest terminals, with security settings guaranteeing exclusive access to any content they didn’t want to share while making it simple to share any material they did.

The IPDirector system integrates with both Avid and Final Cut Pro suites and Timeline provided 15 editing suites ranging from Avid laptops to a full shared Xsan system. The main speeches are logged by journalists to allow all producers to search and quickly find clips and send them to their edit suites.

End-to-end efficiency “It’s been difficult for the producers to specify what they want as the technology has changed. They are familiar with tape, but not with tapeless. Their problem isn’t just 14

The company essentially provided an International Broadcast Centre at Wimbledon 2011

“We’re applying the basic principles of sports production to general programming that needs to be high quality and fast turnaround” — Stephen Davis

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the technology, but the workflow,” says Commercial Director Stephen Davis. Timeline aims to look after the complete end-to-end workflow, becoming involved in the production, so that it can make it happen as efficiently as possible.

It has applied that model to more general programming, such as Garden Productions’ Seven Dwarves (a 7 x 60mins documentary series for Channel 4, which was transmitted last Autumn and involved lots of mini cameras observing the dwarves’ lives).

“We’re applying the basic principles of sports production to general programming that needs to be high quality and fast turnaround.”

It also worked on the makeover show, House of Grazia, for Sky Living last year. “Sports has been years ahead in tapeless,” and although there are some differences between sports and general programming, “the core technology is the same,” says Davis.

“We’re used to higher stress levels in sports production, and we’re able to bring the same level of energy,” along with expertise in server-based production.

Drama may not seem an obvious next step, but it is working with ITV’s award-winning period drama Downton Abbey (produced

by Carnival Films) as a joint venture with Ealing, which provides the studios while Timeline does the post production.

Davis praises the flexibility offered by Ealing Studios, which allows Timeline to rapidly increase its space as needed. “Our aim is to keep competitive, and our relationship with Ealing enables us to do that.”

Its own facilities are also built to be flexible, so a room can quickly convert from an editing suite to a live commentary area.

“We’re very solution-focused. We can adapt very quickly,” he adds.

“The reduction in price of broadcast equipment allowed us to step into this market, providing the same level of engineering still, but reducing the cost of the equipment.” This is how it was able to move into the flyaway market, for example, where it has worked on such events as the Volvo Ocean Race.

It is also working on longform outside broadcasts for Sky, where it provides the technology and staff.

“Long-form OBs have more media management issues. We are using our server trailer for Sky’s darts coverage. It contains near-

line RAID storage for archive (70TB), Avid Unity Interplay, and offers EVS integration with whichever OB truck is in use that day,” he explains.

“It allows Sky some consistency over several OB companies and means the OB companies don’t have to worry about operating the archive.” Timeline provides a smaller server trailer for the party conferences, and has used them for Ryder Cup golf (linking into temporary edit suites) and concerts (where it is also used to produce limited news feeds).

It also does consultancy for broadcasters and other facilities on tapeless, such as Sky News, The London Studios, IMG Mediahouse and Input Media.

“Technology gets more complicated by the year and it’s the technical knowledge that wins the contracts,” he says.

Racing home Timeline won a seven-year contract with Racing UK last year to provide a new playout and production centre, which has just opened. “Racing UK is on a whole different level,” says Davis.

It is using a new building at Ealing to produce the Racing UK channel, on Sky, and Turf TV, which goes to 95% of betting shops in the UK. Each has its own look. Racing UK has presenters, while Turf TV is more informational, including virtual racing and results from other sports. It also produces GBI Racing, an international channel for British

and Irish racing, which is a combination of Racing UK and At The Races. There are three versions: for Australia, Hong Kong, and the rest of the world.

To connect to 30 racecourses around the country, the Master Control Room uses BT’s JPEG2000 MPLS (Multi Protocol Label Switching) network, which was chosen to minimise picture latency, an important consideration for betting. “For each racecourse we get back an international feed, a presentation feed and a reserve feed,” explains Dan McDonnell, Timeline’s managing director. “We can get six simultaneous racecourses — 18 incoming lines — at once.” There are also back ups for each of the 18 lines, with two diverse paths all the way from the racecourses to Ealing.

BT provides all the ISDN codecs in a rack, and Timeline has written its own remote control software to dial out from the MCR, so that everything can be controlled from there.

The building has a threecamera studio (800sqft/75sqm) for Racing UK that can have two sets (for day and eventing shows), and a single-camera talking heads studio for Turf TV. Both have Hitachi DK-H100 2/3-inch 3-CCD HD box cameras, with Canon lenses, on Shotoku robotic heads (but not robotic pedestals as all they require is to be repositioned as production moves from one set to the other).

With the Shotoku system “we can have all pre-programmed sequences and just hit the touchscreen. Lighting and cameras are all controlled by one person,” in the MCR, says McDonnell. The MCR also has an engineer and an ingest operator (which includes taking in material from crews shooting news stories, press conferences and features).

“The unique thing about this flexibility is the tapeless system,” which uses IPDirector. It takes a data feed from the Press Association, with details of runners, riders, race start times, timecode from the events, the results and what happened to each horse.

This populates the IPDirector database and producers can use the information to select low-res clips and send any shots they select to the edit or put it on air, or send graphics to be prepared.

All the media is backed up overnight to LTO-5 tape for archive, with 120 tapes kept in the LTO robot. There is also a copy of every tape off site for disaster recovery.

It has a 250TB central SAN for long-term access to low-resolution Continued on page 16

www.tvbeurope.com M A R C H 2 0 1 2

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NEWS IN BRIEF Sigma to Provys Sigma Television, the free-to-air broadcaster in Cyprus, has implemented a Provys broadcast management system. The new technology covers advertising sales, programme planning, rights management and a programme library. “When I saw Provys for the first time I was amazed by the range of features,” said Andreas Demetriades, IT manager at Sigma. “I saw two major issues that helped us decide. First, it covers more possibilities that we can foresee today and gives us peace of mind for the future. Second, we needed a strong tool to replace our former airtime sales application.” www.provys.com

Sky Deutschland deploys Aspera frameworks Sky Deutschland has selected Aspera to streamline broadcast operations and accelerate delivery of high-quality digital TV programming. The Aspera deployment integrates next-generation file sharing, content distribution and automation frameworks for high performance automated ingest from global content suppliers, high-speed gathering of breaking news and sports from field reporters and complete VoD orchestration. “With this new deployment, we are looking to achieve multiple improvements in our content supply chain and shorten lead times on material procurement by automating the production process,” explained Francesco Donato, VP of Broadcast Operations at Sky Deutschland. www.asperasoft.com

TerraBlock for Premiere Pro Debuted at BVE 2012, Facilis Technology’s Version 5.5 of its TerraBlock Shared Storage System delivers improved compatibility, value, scalability and performance. It also includes integrated server spanning and mirroring, Adobe Premiere Pro project sharing and a new capacity expansion product called TX16.

“TerraBlock 5.5 packages all the functionality of a custom, highperformance file system into an affordable, collaborative and easy-touse SAN,” said Shane Rodbourn, senior VP and general manager at Facilis. www.facilis.com

Opening up new Timeline: McDonnell with robotic cameras in the Racing UK studio Continued from page 14

media, while high resolution media will either be on the SAN (if it is recent) or LTO-5. “The key thing is the producer can look at all the media instantly, search the archive, and get bits immediately off the LTO robot, or loaded in from older LTO tapes.”

The vision galleries are fitted with Grass Valley Karrera switchers (a 3M/E version for RUK and a 2M/E model for TTV) — the first in the UK. These are preproduction models to get the channels on air and will be replaced with production models once they start shipping.

One of the reasons McDonnell likes the Karrera is that it has dualchannel K2 Solo clip storage, which can be used to replay wipes, picture-in-picture and run animated backgrounds, “like having another VT source”.

The galleries also have EVS LSM XT3 controllers, fully integrated with the servers. “This is at the heart of the system,” he says.

“Everything goes through the server before going to the SAN.” It has 12 ingest channels, and three servers (two for Racing UK, one for Turf TV — but all can share clips).

Graphics are created on Chyron’s HyperX systems, two each for the two main channels, with live betting odds and results taken from the PA data feed, “so there is no data entry required by the operators.” There are two operators per main channel, who also work for the edit suites.

The build began in October, and the building went on air on 28

February. Megahertz Broadcast did the systems integration and installation, as McDonnell had worked with them before and knew they could deliver on time, while Studio Schemes did the build (floating studios, air conditioning, mains wiring and everything building related).

“It’s an amazingly versatile box. You can almost put any signal into it — MADI, AES and analogue audio, analogue video, HD video. It’s also taking a feed from the talkback matrix, so you can have full communication between the MCRs,” integrating them both, he says.

If the Racing UK building had to be evacuated, this would allow it to continue on air. “We can remotely switch the Evertz and take on the talkback system, so everything in this building can be controlled from the other building, and vice versa,” explains McDonnell.

There are three identical gallery suites for the three GBI channels, each with a Ross Carbonite 1M/E mixer, which also generates multiviewers, an EVS LSM for replays, and a graphics console for automated graphics. Timeline has also developed

“[MediorNet] is an amazingly versatile box.

You can almost put any signal into it — MADI, AES and analogue audio, analogue video, HD video” — Dan McDonnell It uses an Evertz EQX router, with two complete crosspoint paths for redundancy. “If one path fails it can seamlessly recover. It is also 3G compliant for future use,” he says.

“We particularly like the control system. It is fully programmable and every button can do multiple things. This is particularly important as everyone wants to find all the sources very quickly.”

The choice of matrix meant it made sense to envelop it with Evertz infrastructure, such as multiviewers, DAs, audio DAs, embedders/deembedders, and master clock.

The talkback system is a Riedel Artist 128-port frame. For redundancy, the machine room also connects with Timeline’s existing MCR in another building at Ealing using Riedel MediorNet, which can carry multiple HD video signals, audio, reference and network signals, and talkback matrix panels, between the buildings using a single fibre (there are main and backup fibres linking the sites).

some custom hardware and software so that when the director goes between sources, the audio follows.

Racing UK has chosen Final Cut Pro 7 for editing, but will migrate to X eventually, for its three edit suites. Timeline uses both FCP and Avid equally, depending on client choice. For Downton Abbey, for example, it uses Avid.

In April, Timeline is also opening a new facility at the MediaCity UK site in Salford (Manchester), beside BBC North and the BBC Sport department. It will have six edit suites (switchable between Avid and Final Cut), an Autodesk Smoke finishing suite and a ProTools audio suite.

“We do a lot of BBC work currently, and BBC Sport has moved to Manchester and encouraged independent facilities to open up there,” says McDonnell.

It will also have an EVS operation there, for live ingest and playout, with IPDirector systems and two XT3 servers. www.timeline.tv

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It will automatically compile the tapes, adding metadata, using the ProxSys media archive, which combines automated storage and an online database, and store the content on an IBM LTO-5 drive. It is available as an all-in-one system for £8,450.

The unit can import content directly from solid state or other media, generate proxy video, and add metadata from original files. Users can browse content, or add further metadata, from a graphical user interface.

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It will carry up to 4kg, be available either with a flat base or an integral 75mm ball, and should ship by April. Features include: a larger camera base; larger sliding plate; fixed counterbalance; and two 3/8-inch threads for fixing accessories. A complete kit, with tripod legs, should cost about £450.

It is based on the same design as the recently introduced 509HD, which carries up to 13kg and has three stages of counterbalance, plus “a levelling/balancing memory to make it easier to rebalance the tripod if going between handheld and tripod,” explained Peter Novell, Manfrotto’s video channel sales manager. The 509HD costs about £660, or £1,160 with legs. www.manfrotto.co.uk

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TVBEU R O PE N E W S & A N A LY S I S

Exclusive: Production @ transition Thanks to a special collaboration with the European Broadcasting Union, TVBEurope’s George Jarrett was the only broadcast industry journalist to attend the recent EBU Production Technology Seminar 2012 in Geneva.

Here, he reports on an industry in rapid transition due to a drastic change in content consumption behaviour The EBU, vital technical life assurance for public service broadcasters, has reached the biggest crunch point of its long existence.

Voices from commercial TV, politics and the press have all voiced doubts about the sustainability of publicly funded broadcasting, but this enchanted beastie was in bold problem-solving form at the EBU’s annual production seminar.

The theme of the event was ‘production @ transition,’ something expanded by event chairman Hans Hoffmann. The EBU’s head of media fundamentals and production technology, and SMPTE VP of Engineering said: “The whole industry around broadcasters is in transition.” The drastic change has come in content consumption.

The conference was split into two streams — media fundamentals and production, and media delivery and services — and it kicked off with impassioned keynotes delivered by Roberto Pomari, head of business development with the Swiss broadcaster RSI, and Kevin Price, COO at BAFTA. Pomari’s subject was content production in a multi-layer organisation, which translated into satiating “The behaviour and attitude of consumers,” and the certainty that their interaction with new technologies is shaking the market out of rigid complacencies.

Citing the explosive growth of the BBC iPlayer, Pomari suggested: “People are no longer prepared to accept just a stream of linear content. It is important that (broadcasters) have their services ready to deliver content right away — in the way, and with the specifications, that consumers demand.

“There is no difference between RSI and the BBC. We are all in the same boat,” he added. “Funding will be a problem because if people are ready to pay for what you propose as content, it is not automatic that they are prepared to pay for anything.”

Pomari touched on the core question of whether it is sustainable to keep funding state television from the public purse. The saving graces will be to change business models, and to release value and staff to create content.

“We have to think of a community of consumers who want to be unique,” he said. “Decouple your platforms and deploy an SOA-minded design for new structures. And workflows have 18

Eyes down: Delegates at the recent EBU Production Technology Seminar in Geneva

Attracting two billion viewers

Roberto Pomari on the explosive growth of the BBC iPlayer: “People are no longer prepared to accept just a stream of linear content”

to be part of our business. Get the best out of your metadata; let it drive your processes.”

Price offered something that might transform the future of content production; by making us all dutifully green. The carbon calculator Albert, piloted by the BBC as an online resource in 2009, has made huge advances since BAFTA took responsibility for independent steerage and an 11strong consortium was assembled.

“We looked at the BBC version and adapted it to suit the whole production community,” said Price.

This required a new look portal, and work on making Albert production manager friendly.

“Albert integrates seamlessly with the budgeting process. You put in the numbers, predict your carbon footprint alongside your budget and then, at certain points you put in the actual stats and see

if your predications are correct,” said Price.

Albert asks a series of key area questions. Because he knows how many days you spent in the studio per episode/series, he calculates your carbon footprint. “The back end data comes primarily from carbon conversion factors devised

by AMEE, one of the technical partners,” said Price. “Other factors, such as the amount of carbon associated with using an edit suite for an hour, are bespoke and specific to Albert.”

The BBC published a first/ reference carbon figure for an hour of programming; it came out at 8.2 tonnes, equivalent to the yearly omissions from two households. “The significance of 8.2 tonnes is a bit like setting out to lose weight. The first thing you do is weigh yourself, and that is what we’ve done,” said Price.

The keynotes were followed by production stories involving vastly different audiences — from Samu Reijonen of YLE in Finland, and the BBC’s Peter Taylor.

Producer Reijonen reported on the success of the tri-media comedy drama New Day, aimed at children.

This runs Monday to Wednesday, and as re-runs. YLE will make 105 28-minute shows this year, at a cost of €50,000 per episode.

“Department heads are responsible for their own fields,” said Reijonen. “We use 30 actors, of which 10 are amateurs, and follow three generations of one family. The story team is dialogue writers, script editor, director and DOP, and it takes 13-14 weeks to create a series.”

The shoots are done in 14,000sqm of space. After picture and dialogue editing, scoring and grading, the sound edit is done and the content goes into a packaging process. A web team works with the story team, and they target 7-25 year olds with the advantage that the Finnish acting union allows the cast to produce web content.

YLE gets 65,000 viewers per episode but the social media and mobile app success and the clever linkage of story lines to things like the local YLEX radio station and one of its reporters has turned New Day into a useful reference for many broadcasters.

Production Engineering Manager Taylor’s story — The World’s Most Expensive Wedding Video — involved a television audience of

two billion. “I try to turn what producers dream of into some form of reality,” he said.

The BBC set out to produce nine and a half hours of live TV for the Royal Wedding.

Broadcasters in Canada, Australia and the US took the full coverage, while others used clips in news reports.

“We had a crew of 300 working on location for two weeks to set up the broadcast, and it took threeand-a-half months to plan it,” said Taylor. “We had 12 HD OB production units, and 133 HD cameras covering the route, the wedding and peripheral events. This included 16 remotely controlled cameras used in Westminster Abbey to provide discrete coverage.

“We had helicopter aerials and put four cameras on a Lancaster Bomber which took part in the fly past accompanying the balcony appearance and that kiss,” he added.

The BBC had one studio hub at Westminster Abbey, but the main one was in Green Park. Each OB truck pulled together its coverage and passed a mix to a master scanner. “Unlike news productions we do this all on location. This is quite an expensive business, but it gives the flexibility to create an operation specifically designed for this particular event,” said Taylor The BBC was heavily reliant on accruing sufficient connectivity. It also had to create contingencies.

“We used various types of connectivity, from satellite and terrestrial links to a lot of fibre. This was the first big event we’ve done using IP-based fibre systems as well as traditional video over fibre,” said Taylor. “We certainly stretched the capacity in London to its limits.”

Problems included IP and talkback related delays, and risk management required a second studio and presentation scanner based at the Abbey, just in case Green Park crashed.

“It was not a dupe for the sake of duping, because we also did interviews in the studio and that second presentation unit looked after some of the route coverage,” said Taylor. ”Our contingency plan required that every route to air had two possible transmission paths.

We were really nervous about that.”

French 3D experiences Extending the production experiences, Wei David Chen of Orange Labs and Charles De Cayeux of FTV focused on improving the Continued on page 20

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Continued from page 18

quality of 3DTV. It started in France at Roland Garros (tennis) in 2008.

De Cayeux — head of R&D in capture and post — was certain that 3D is specifically a sports medium.

He stated that camera height, down at the level of play, is important. Side-by-side rigs were used for long shots, and mirror rigs on Steadicam systems for everything else. FTV considers 14-15Mbps to be the broadcast bit rate, but the barrier is not technical. “The pre-requisites are that 3DTV must be profitable, and we want it for all. We cannot lose

money any more, however. You could launch a satellite channel, but only 1% can see 3DTV in France. So what are the best hopes,� asked De Cayeux. “A compatible 2D/3D signal via satellite is one, but it is not possible to go 3D as well as 2D at two weeks’ notice.�

Wei Chen focussed on 2010 and mainly 2011, when FTV took sole charge and Orange acquired the distribution rights. First he set the context. “We did QC when we first received the signal and tried to distribute to TV, PC and mobile phones. In transmitting a signal to

“The pre-requisites are that 3DTV must be profitable, and we want it for all. You could launch a satellite channel, but only 1% can see 3DTV in France. So what are the best hopes? A compatible 2D/3D signal via satellite is one� — Charles De Cayeux, FTV

Question time: A Q&A session at the EBU Production Technology Seminar

mobile devices we discovered a video encoding problem — the lack of an SEI sign. It was not mature then.�

His discoveries have been many. In the case of interlace, side by side is better than top to bottom, higher bit rates are a must, for demos passive screens are preferred to active (flickering and low contrast problems), the horizontal movement problem requires a 30% speed reduction, and producers must avoid windows violations. “In 2010 we also played a broadcast signal in cinemas and hit a big problem. You should shoot in the way cinema plays it, but then on TV you get limited depth issues. I have not seen a

Kevin Price on carbon footprints: “The first thing you do is weigh yourself — and that’s what we’ve done�

very efficient solution to this,� he said. “3D needs no two- and three-second cuts. The viewer wants time to get information from 3D images. “Then in 2011 we distributed The French Open to IPTV and over the internet but again got no live broadcasting over mobile phones for that encoding reason,� he added. “We analysed the image asymmetry — the colorimetric elements from left and right view, focal length difference, and the rotation. If you cannot guarantee exactly only 0.5% of vertical disparity, we are destroying the whole 3D meaning.�

Wei Chen pointed to a new attraction. “At Roland Garros we

used a 5K camera to capture 120Hz. This is very exciting for sports because of the better frame rate. We displayed it as 4K and it was amazing,� he said.

More content, lower budgets A session on formats and interoperability opened with moderator Massimo Visca of RAI saying: “The most important challenge for broadcasting is more content with less budget. The way forward lays in interoperability.�

Adi Kouadio, project manager with the EBU T&D department, reported on a four-year study into Eurovision contribution codecs.

Continued on page 22

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TVBEU R O PE N E W S & A N A LYS I S

Continued from page 20

Yes, H.264 is the state-of-the-art compression system, but look out here comes HEVC (H.265) he warned. Should broadcasters wait, and forget H.264 if they have not quite abandoned MPEG-2?

This group set out to identify an average gain over the whole range of products since 2008.

It wanted to leave quality headroom, based on a secondgeneration comparison between MPEG-2 and H.264. And it discussed how to reduce latency (300ms and worse).

First up Kouadio revealed an overall performance gain of 1.4dB, and we can expect another

but the delay is often different.

With some, delay increases with the bit rate.

“We are revising the contribution standard in the DVB (DVB TS 102 154), and we will work on the other side of the contribution domain, which is MXF interoperability for JPEG 2000 contribution applications,” he concluded.

Steve Westlake, the BBC network architect responsible for inter-site connectivity, talked about aborting a hybrid network and dark fibre to follow what the BBC believes will be, “the all IP future”.

“Trade-offs happen when you select any codec, somewhere in the triangle of quality, latency and bandwidth. You have a choice,” he

Peter Taylor: “I try to turn what producers dream of into some form of reality”

“Up until three months ago I was expecting to retire before 4K arrived. Will it kill 1080p 50 in the cradle? There are 4K cameras in the market, storage is ready, 4K consumer displays have been shown…” – Massimo Visca, RAI betterment of 1.5dB this year.

The EBU pushed MPEG-2 and H.264 through PSNR objective measurements, including multiple bit rate comparisons, and Kouadio summarised: “MPEG-2 when you cascade it produces increased noise, and when you cascade an H.264 codec you get less detail and more blur.

“The PSNR values were higher for H.264. If we want to deliver the same quality or even better, we can say that on average H.264 provides a 30% gain. You are sure what you send will be seamless,” he added.

“We need to enforce interoperability especially on the latency level. Manufacturers use a P-only GOP structure for low delay mode;

said. “The most critical thing is what does it look like at the end of a chain. Latency is quite concerning and typically we are looking at 100 milliseconds as being viable.”

Bandwidth generally drives cost. “It is the biggest driver if we are looking at any satellite ingest, but increasingly we are being offered services — whether that be over an IP infrastructure or some other structure,” said Westlake.

“We are at a point where the price is determined by the service not by the bandwidth.”

His concerns include the concatenation of contribution links — not helped by the American habit of double hops on satellite feeds — but the BBC has set itself

Charles De Cayeux of FTV and Wei David Chen of Orange Labs focused on improving 3DTV quality

three broad profiles: a linear or near transparent codec for inter studio use guaranteeing high quality and low latency; median quality for single pass events; and,

low quality codecs for single pass news contribution.

“There is the assumption that we are going to deploy JPEG 2000, and that is particularly

relevant because we have deployed JPEG 2000 links for our HD services,” said Westlake.

“We ended up with 150Mbps being the maximum capacity we could deploy, and that is slightly less than ideal.

“We almost totally endorse the EBU findings, but our estimate is much bigger because we are considering an estate that is currently made up of 2,000 video circuits. This turns out in the IP world to be about 2,000 codecs at both ends,” he added.

It fell to Visca, head of post production at RAI’s Torino centre and chair of the Beyond HD group, to make the case for 1080p 50, something the EBU has done with mixed success in the past.

It should not be ignored: “It is clear we are in a bad situation in terms of interoperability, because we have (in 720p and 1080i) two formats with a lot of problems in the picture domain,” Visca said.

He quoted EBU findings from PSNR-based shooting and compression tests that proved what we all know: interlace should be in the format graveyard; shoot 1080p 50 and you can extract the other formats natively; the 3GB interface enables stereoscopic applications; and, larger displays cry out for better image quality.

Can 1080p 50 become the world feed production format?

“In general it can fulfil EBU requirements. It is nearly transparent to the original even at seventh generation,” said Visca. “But in reality, format penetration is limited.”

He moved to an issue sitting in everyone’s mind. “Up until three months ago I was expecting to retire before 4K arrived,” Visca said.

“Will it kill 1080p 50 in the cradle? There are 4K cameras in the market, storage is ready, 4K consumer displays have been shown, D-Cinema is 4K already, and we have 4K on YouTube. But what TV application will we find for 4K? Do we want to repeat the bad situation of 1080i versus 720p? Bit depth and frame rate are the real issues.”

Jumping the interoperability bar Brad Gilmer, the executive director of AMWA, was the right man for getting a handle on MXF interoperability. “Generic MXF equals interoperability not,” he pronounced. “MXF has a lot of features because the problems it was designed to solve were complex. It was developed at a time when we didn’t know what we were going to do with file-based production.”

Broadcasters are still not exactly sure what it means to be service oriented and concentrated on workflow, but the AMWA application specifications (AS02, ASO3, AS-10 and AS-11) can rescue any situation.

“They tell you to use MXF in a particular application. It is a Continued on page 24

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www.tvbeurope.com M A R C H 2 0 1 2

TVBEU R O PE N E W S & A N A LYS I S

Massimo Visca of RAI: “The most important challenge for broadcasting is more content with less budget. The way forward lays in interoperability” Continued from page 22

way to increase interoperability and reduce some of the variability in MXF,” said Gilmer.

This candy store of precise opportunities from a first spec running to about 700 pages offers versioning, delivery, production, contribution, commercial delivery and more, all available under IPR licensing.

“The important concept is that there is no new invention,” said Gilmer. “The industry does not need to invent a whole lot of things at this point.”

His big news was that AMWA has launched a certification programme, and will start with MXF for production. The aim of establishing a set of criteria for

“MXF has a lot of features because the problems it was designed to solve were complex.

It was developed at a time when we didn’t know what we were going to do with file-based production” — Brad Gilmer, AMWA testing is, “to establish interoperability for real,” he said.

Gilmer conjured up a conceptual media factory. “The driver behind this is that broadcasters are trying to feed multiple devices while they also feed content to air, and we cannot keep building silos,” he said.

The elements of this factory start with the versioning power of ASO2 and grow through the new service accessing powers

offered by The Framework for Interoperable Media Services (FIMS). “This media factory is part of the answer to breaking up the silo,” said Gilmer. “You could have FIMS with workflow orchestration which assesses services on the network, and once you have published a finished edit it would automatically do a transcode, or audio normalisation, or run an automated QC.”

Kevin Burrows, CTO of broadcast and distribution at Channel 4, explained the evolution of AS-11 as MXF for contribution under the auspices of the Digital Production Partnership.

“One major factor was the increasing number of tapeless cameras,” he said. “Producers needed guidance on managing file-based production workflows.

There is a reluctance to adopt new technologies, and a fear of losing material.”

The simple way to see AS-11 is that it replaces HDCAM SR as the delivery format into broadcasters. “We took a pragmatic approach to the metadata,” said Burrows. “It is adequate for productions but can be built on as required.”

The DPP tested compression systems for its codec and chose AVC-Intra, giving it the 100Mbps for HDTV contributions. It offers a metadata application that enables the entry/insertion of its metadata set into completed programme files. An integrity check and QC, and the re-versioning for playout will follow delivery.

The next steps, said Burrows, are sets of reference and test files, completion of the metadata set, launch trials with production houses, and a joint session between AMWA and the DPP. The EBU has taken AS-11 as a framework, with plans to refine it for international applications.

Seven UK broadcasters — BBC, ITV, Channel 4, Sky, Channel 5, S4C and UKTV — have all adopted what history will recognise as the first common file format, structure and wrapper allowing complete project delivery as a digital file.

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The long goodbye to the Grade 1 CRT A session on display, lights and camera technologies kicked off with Friedrich Gierlinger of IRT asking, ‘Will OLED supersede CRT for reference monitoring?’

Gierlinger was franking what the facility market decided three years ago, when CRTs were reluctantly mothballed.

He went through much of what EBU 3320 (black level/ contrast ratio) covers, looking at the technical issues concerning LCD and OLED; display size, artefacts, viewing angle, and a new test pattern for black level.

“With image size it is important to check if the signal to end users can fill 50 inches, and you also have to consider the viewing angle,” he said.

The technical elements of Grade 1 focus on 0.05cd, white level 70-1000cd/m2, and contrast ratio 1000:1. “Contrast ratio doesn’t improve the image anymore. It is determined by black level primarily. The 00.5 is not reliable because it is dependent on room conditions,” said Gierlinger.

He talked about back light maculation, and the reference test black level allowing 0.4 as a minimum. IRT’s measurement room featured a Konica 200A, Dolby RM420, and Sony BVM-E250.

In terms of gamma, the Dolby display (2.41) was inside the limit (+/-0.1).

Gierlinger said the main issues proved to be viewing angles and acoustic noise. Its advantage was an image size of 42 inches.

The BVM-E250 also came inside his parameters (2.6% difference). He had issues with red being too low and blue a bit high, and added: “Can we really measure primaries? The viewing angle looks better than LCD, but not like we expected. OLED technology replaces CRT up to 25 inches.”

Sony is promising bigger OLED reference monitors, and Dolby is working on the EBU’s dissatisfaction with viewing angle and back light maculation.

Richard Salmon, a lead engineer with BBC R&D and chair of the EBU display group, reported on worldwide basement ransacking to capture the electro-optical transfer function (OETF) of Grade 1 monitors.

“The reference for the TV system has been the Grade 1 CRT, so what we decided fairly urgently, before the last ones disappear, was that we needed to measure as many as we could,” he said.

A loaned Photo Research PR 730 enabled the tests, done in several countries, and tests were performed across a wide variety of black levels, everything apart from .005; the EBU fixed on 100 candelas.

“The point of doing this project is that the ITU has just published BT 1886. Our work is to feed confidence into that, and to check that this standard is going to be good,” said Salmon. “They www.tvbeurope.com M A R C H 2 0 1 2

TVBEU R O PE N E W S & A N A LYS I S

have said the gamma level is 2.4, but the ITU method does not specify the white level, the black level, and the viewing conditions. It assumes everything is black because it comes from a cinema background.â&#x20AC;?

He discussed the setting of black level and a hitch. â&#x20AC;&#x153;The problem we had for the viewing environment was that the only known standard (SMPTE RP 168) was archived in 2004,â&#x20AC;? he said.

Having no reference is one of the things the new SMPTE displays group will consider. Black level is both vital and historic. â&#x20AC;&#x153;Fifteen years ago we realised that as you changed the black level so you changed the effective gamma, and they seemed to adapt really well to the viewing conditions,â&#x20AC;? said Salmon. â&#x20AC;&#x153;You changed the black level because you were in a brighter or darker surrounding. That changed the gamma, which the CRT happened to do. It was a very useful adaption that allowed us to think the pictures looked the same if the viewing conditions had changed. â&#x20AC;&#x153;Defining the intent of the creative team in the production process is what we are trying to do,â&#x20AC;? he added.

misunderstanding of the standard. Countries are dropping into line. First, and totally might be France, with 14.12 as the cut off date before -23 becomes the rule. â&#x20AC;&#x153;France is already using maximum short-term loudness (MSL) for content under two minutes in length,â&#x20AC;? said Camerer.

Following France will be Germany (ZDF and ARD) and Austria (ORF), both starting on 1 September with -21 before switching to -23. Switzerland adopted R128 to coincide with going HD. The Netherlands (SBS and NPO) has started, and Dutch commercials adopted -23 five months ago. Camerer favoured voluntary compliance rather than EU law enforcement.

Camerer and Matthieu Parmentier of FTV teamed up to cover producing surround sound when the audience is stereo.

Camerer took on the advantages and disadvantages of deriving a 2.0 stereo signal, and Parmentier looked at implementation. â&#x20AC;&#x153;Why would you want to just transmit 5.1, and no stereo signal to your audience? One reason is it

takes an effort to make an additional stereo mix and it needs more bandwidth,â&#x20AC;? said Camerer. â&#x20AC;&#x153;But a separate stereo mix is always the best thing. It can be done as a completely separate mix or as a down mix within the console. â&#x20AC;&#x153;Have a very clear strategy for the use of the centre channel, basically without divergence (spill). That really stays clear

â&#x20AC;&#x153;The viewing angle looks better than LCD, but not like we expected. OLED technology replaces CRT up to 25-inchâ&#x20AC;? â&#x20AC;&#x201D; Friedrich Gierlinger, IRT of all the possible artefacts,â&#x20AC;? he added.

He covered the automatic down mix possible with set-top boxes (bit stream issues and the need for the down mix coefficients) the issues around 90Ë&#x161; surround phase shift and divergence, and 5.1 microphone skills with stereo in mind.

His key points were a strong and consistent centre signal; the use of de-correlated surround atmospheres (they down mix best to

Single loudness sausage A session dedicated to audio kicked off with Florian Camerer reviewing the impact and uptake of the EBU R128 loudness directive, something he drove into being as chairman of the EBU PLOUD group. â&#x20AC;&#x153;This is the biggest change we face in audio for four decades,â&#x20AC;? he said. â&#x20AC;&#x153;The three main cornerstones of R128 are programme loudness, maximum true peak level, and loudness range. The target level is -23 LUFS, and this is an average level structure.â&#x20AC;?

He said this because he had seen shows with, â&#x20AC;&#x153;one single loudness sausageâ&#x20AC;? due to wide

Audio panel: PLOUD is â&#x20AC;&#x153;the biggest change faced in audio in four decades,â&#x20AC;? said Florian Camerer

Where FIMS meets MXF

By George Jarrett Just prior to the EBU seminar, a key meeting was held in Geneva to produce a response to calls for FIMS to be refactored. Talking prior to a tutorial on FIMS, Jean-Pierre Evain of the EBU said, â&#x20AC;&#x153;This was to allow FIMS to be more friendly for implementation.

It was agnostic, but we thought some sort of re-factoring was needed, and decided to go for it.â&#x20AC;?

The demand for this subtle change in ethos probably came from the first big American broadcaster to adopt FIMS in its current state â&#x20AC;&#x201D; acquire, transfer, and transform

www.tvbeurope.com M A R C H 2 0 1 2

interfaces, plus the technical and descriptive metadata. â&#x20AC;&#x153;We have had 30 proposals from 10 companies,â&#x20AC;? said Evain, and he pointed to quality control, reservation of resources, repository/ repository management, and automatic metadata extraction as the next list of features. â&#x20AC;&#x153;The FIMS spec is to be extended to cover the definition of additional services, and there will be a reduction in the inherent system complexity compared to traditional point-topoint integration architectures,â&#x20AC;? he added. â&#x20AC;&#x153;You can now see the workflow. Instead of transcoding content, send it to a person and it is going to generate a lot

stereo); for two-channel sources up mix to 3.0 at least so again you have dialogue in the centre channel; check the down mix of the up mix for any phasing; check if the up mix boxes are down mix compatible; check the metadata for the bit stream by checking that the down mix is working; and, use pre-sets or something else fully functional for delivering content to broadcasters.

of metadata automatically that you then use for news, archive, search, etc.â&#x20AC;?

He was doing some work with KLV, and realised that the next step was to identify the hooks for putting metadata in an MXF file. â&#x20AC;&#x153;This took me to looking at all the tools available, including the Open Source tool.

Unfortunately, those tools for most of the time can analyse relatively simple MXF files but not the metadata,â&#x20AC;? said Evain. â&#x20AC;&#x153;It is hard to get sample files with metadata inside, and certainly not yet with EBU Core and KLV.â&#x20AC;?

So the plan is to finalise the registration of the EBU Core

Parmentier raised a number of complex issues, the first involving LFE channels. â&#x20AC;&#x153;When you create a 5.1 from stereo, is it correct to create an LFE channel? This is for effects not base management, but too many manufacturers provide all the base frequencies into this LFE,â&#x20AC;? he said.

This has implications for home TV parameters. â&#x20AC;&#x153;And then it is necessary to focus on the sort of down mix that will affect this â&#x20AC;&#x201D; the 80-90% of people who receive the 5.1 signal but listen in stereo,â&#x20AC;? said Parmentier. â&#x20AC;&#x153;Are their STB or TV supplier driven by ITU rules, Dolby recommendations, or some nonDolby product using Dolby rules during the down mix? After that there is the worse thing, that youâ&#x20AC;&#x2122;re 5.1 up mix will be down mixed by the audience and then re-up mixed by a processor,â&#x20AC;? he added.

Next came the biggest issue. â&#x20AC;&#x153;As broadcasters we create scalable video for everyone and every outlet, but we provide one audio. We will have to focus on all qualities of experience,â&#x20AC;? said Parmentier. â&#x20AC;&#x153;FTV decided to only admit the stereo LTRT content that is still delivered today without the 5.1 mix. We also decided to take care of the phase aspect of that before the up mix, because of the correlation issues.â&#x20AC;?

in KLV. â&#x20AC;&#x153;In parallel with that we will look at whatâ&#x20AC;&#x2122;s available in terms of resources to be able to make an SDK for MXF with a front end application,â&#x20AC;? he added. â&#x20AC;&#x153;From this app, we would allow people to input some metadata that corresponded to the EBU Core metadata. Associate this with some essence, press the button, generate an MXF that implements the essence and the EBU Core (in KLV or XML), and when you use the SDK as an analyser what we want is to be able to generate one reference XML,â&#x20AC;? he continued. â&#x20AC;&#x153;This logically measures the MXF file including its metadata. It would make more people adopt MXF and the EBU Core. It highlights the relationship FIMS has with media factories and MXF.â&#x20AC;?

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TVBEU R O PE G R A P H I C S & S U B T I T L I N G

Underwriting subtitle exchange More than 20 years ago the European Broadcasting Union (EBU) published the now ubiquitous EBU STL subtitling exchange format. And although arcane by current standards, it is still widely used today. That’s exactly the reason why the EBU has ensured that its modern replacement is backwards compatible: welcome to EBU’s Timed Text (EBU-TT)

By Frans de Jong, project manager, Department of Technology & Development, EBU When STL was specified, data was still being exchanged on floppy discs. Memory capacity in TV sets was so scarce that subtitling techniques had to make smart use of literally every bit to provide text in sync with pictures.

That made EBU Tech 3264 (the official reference for STL) a rather simple, inflexible format.

This might be a negative in itself, but it certainly proved a positive for the interoperability of equipment used by subtitlers and broadcasters. The lack of certain character sets, positioning options, and the like have not been very large issues until relatively recently, when HDTV really started challenging the crude 40 columns and 24 rows grid model of STL. There are two other factors influencing the development of subtitling, the first being the move to file-based production

facilities — a knock-on effect of which is that the VBI/VANC data space is not necessarily available anymore, requiring an alternative means of carrying the subtitle files. Secondly the arrival of new, web-technology driven platforms means subtitles may contain richer (side) data, such as images or hyperlinks to related content.

For a new subtitling standard the obvious choice now would be to go for a human-readable technology instead of a binary approach and this is exactly what has happened in the media industry. Several — sometimes not even actually documented — new formats have been introduced.

Often these formats focus on the playback side of the subtitles, and not on the production side. It almost parallels the common perception of the skill of subtitling itself; the fact that the text seems simple must mean it’s easy to create subtitles or to create a file format for them. The reality is different.

In 2003 the World Wide Web Consortium (W3C), the organisation that standardised probably most of the text we use in our electronic world, started working on the so-called ‘Timed Text’ format. And it is thanks to the input of a small group of industry experts that the work included broadcasters’ requirements for an XML-based exchange format.

In November 2012 the Timed Text Markup Language (TTML) became an official W3C Recommendation, dedicated to David Kirby (BBC).

Subset for subtitling Although TTML covers most broadcasters’ requirements for subtitling, it is paradoxically almost the inverse of the original STL specification. Instead of being small and providing a reasonably constrained method of doing things, TTML is a very large specification often with multiple ways of achieving the same effect.

TTML is a very large specification often with multiple ways of achieving the same effect

GRAPHICS & SUBTITLING SPECIAL In the white head of competition, how does one TV channel differentiate itself from the next? In this section we look across the issues in this space, including how broadcasters are adapting graphics delivery (formats, wrappers, etc) to the new reality of broadcast video consumption; technical plus display challenges in reviewing and monitoring subtitling output: and several broadcast graphics case studies from around Europe — Fergal Ringrose One could argue it is more a web-oriented than a broadcastoriented solution, which is perfectly valid given that the scope of TTML had never been limited to the exchange of subtitles in broadcast facilities.

The good news is that the net result still offers compatibility, as any EBU-TT file would be a valid SMPTE-TT file and any valid SMPTE-TT file is valid TTML. The three approaches should not be seen as competition between

The focus now is on testing the spec and handling industry comments received before 31 March 2012.

After that the spec will be frozen and complemented with a general guide on EBU-TT It does mean however that for practical use by broadcasters, a profiled version of TTML is more appropriate. This is the route the EBU has taken with the creation of EBU-TT, which is a subset of TTML with some extensions — mainly for STL compatibility.

In the US, SMPTE has taken a similar, but slightly different approach. Instead of creating a subset, SMPTE-TT basically is a superset of TTML. It inherits all functionality of TTML and adds a few extensions — mainly for backwards compatibility for American subtitling formats.

The SMPTE approach started with a focus on (web) distribution rather than on production, while the EBU approach was the inverse.

organisations or even continents: they merely reflect different focuses.

Even better news is that the people active in all three organisations — the EBU, SMPTE and W3C — overlap and are actively sharing information. Working from the same base, the goal is to align the formats as much as possible and to benefit from the wider support base.

More EBU-TT Early in January the EBU published Tech 3350, which defines the EBU-TT format. The focus now is on testing the spec and handling industry comments received before 31 March 2012.

After that the spec will be frozen and complemented with a general guide on EBU-TT and a specific document describing how to map an STL file to an EBU-TT file.

The next topic on the EBU’s agenda is to support live subtitling, which currently also revolves around STL or a direct derivative of it. The idea is to define how live text updates can be fed to a central (playout) repository piece by piece in an efficient manner, while at the same time creating a single file for later replay.

The EBU-TT work is chaired

by Andreas Tai (IRT) and the Group is open to participation from any professional working with subtitles. http://tech.ebu.ch/ebu-tt

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www.tvbeurope.com M A R C H 2 0 1 2

TVBEU R O PE G R A P H I C S & S U B T I T L I N G

Service companies can offer a unique perspective on graphics

Creating a visual edge

By Matt Hughes, regional director, Sales, Chyron EMEA Broadcasters and other organisations hosting high-profile broadcast events are increasingly outsourcing specialised graphics design services to creative service companies. Several key factors are driving this shift. The first is simply that broadcasters today have fewer resources for rebranding and branding their channels; they just donâ&#x20AC;&#x2122;t have the staff.

Internally, graphic artists are dedicated to the daily design and creation of graphics. Any time spent working outside of this area for re-brands and special projects is time taken away from the broadcasterâ&#x20AC;&#x2122;s regular programming. The strict timelines associated with special broadcast events can make this time away add up quickly.

A second factor fuelling the outsourcing of graphics design services is the rising demand for data-driven and cross-media graphics. Accustomed to the constant influx of information via social media tools such as Facebook and Twitter, many media consumers have come to expect a lot more information within television broadcasts. The information ranges from in-depth sports statistics to realtime viewer input via live feeds. Viewers want to know the speed at which a ball was hit or how fast a car is moving at any given time. They want to know how other viewers are responding to the event being broadcast.

This desire for information is not limited to one screen, and so it is becoming more and more important that broadcasters engage viewers on multiple screens. Service companies can help to design and deliver crossmedia graphics that are used within the broadcast, as well as in interactive sites and apps on todayâ&#x20AC;&#x2122;s popular mobile devices.

Creating these types of graphics is much different than the daily work of most graphic artists within the broadcast facility, and it can present a variety of timeconsuming technical challenges for broadcast staff.

Data integration is one example; creation of a complementary scoring app is another

Data integration Graphics services companies such as Chyron Creative, MOOV, Piranha Graphics and Deltatre today provide a cost-effective alternative that can yield high-end results while reducing the overall cost to the broadcaster. While external graphic artists arenâ&#x20AC;&#x2122;t as immediately available as those working down the hall, the small specialised staff dedicated to each project by external service providers can turn around projects much faster and more efficiently.

In the world of graphic animation, where data integration is key, outside companies also can provide data integration between the supplier kit and the graphics they have designed. In other words, they can leverage earlier experience and existing partnerships â&#x20AC;&#x201D; and often previous and ongoing collaborative development work â&#x20AC;&#x201D; with graphics system vendors

to ensure that the complete package functions as it should.

Creative services companies and outside design companies typically complete a project according to a jointly developed

Viewers want to know the speed at which a ball was hit or how fast a car is moving at any given time. They want to know how other viewers are responding to the event being broadcast statement of work that identifies a clear list of deliverables at the end. As part of this project, the service company can also offer a unique perspective on graphics.

After first gathering input from the broadcaster, the company can offer insight into how to make those ideas (or even better variants) work effectively.

With extensive knowledge about how the broadcasterâ&#x20AC;&#x2122;s

Lemo camera back system

By Jake Young Lemo demonstrated its full range of broadcast converters at BVE 2012, including the new HD Z-link camera back system, HD Triax connectors and SMPTE HD fibre connectors.

The new HD Z-Link fibre-optic camera link system provides www.tvbeurope.com M A R C H 2 0 1 2

multichannel system video and audio connections and control for studio cameras and camcorders alike, using standard Lemo camera cables, which comply with both the SMPTE 304 connector standard, and SMPTE 311 cable standard.

The use of high bandwidth fibre optics and the multiplexing of the

graphics systems (hardware and software) operate and their strengths and capabilities, the outside company can help its client to maximise use of those systems and incorporate the latest and greatest looks into the live broadcast. The service company also can offer valuable resources such as workflow analysis and equipment specification, which can prove difficult with an in-house approach. With their own arsenal of graphics systems, external service companies can help to reduce broadcastersâ&#x20AC;&#x2122; costs by supplying the complementary graphics systems sometimes needed for a large event.

Relationships between different creative services companies also can help broadcasters to bring new elements to their broadcasts with relative ease.

Data integration is one example; creation of a complementary scoring app for iPhone or iPad users is another. Possessing a proven framework for these elements, the specialist company can much more quickly deliver a reliable customised product for a given client. This specialised knowledge and experience further ensures that the broadcaster or other responsible organisation will be able to meet their own requirements and timeframe for the delivery of the project.

Broadcasters gain sophisticated, compelling graphics packages and capabilities that engage viewers,

numerous forward and return video, audio, talkback and data channels provide full communication with almost any camera position.

The HD Z-link will initially be provided in two versions â&#x20AC;&#x201D; a basic version and a version with all features included. The basic version can be upgraded through

and they do so at a lower cost â&#x20AC;&#x201D; in terms of resources and impact on daily operations â&#x20AC;&#x201D; than would be demanded by internal completion of the project.

Creative service companies thus offer broadcasters an appealing solution for specialised graphics, delivering state-of-the-art graphics and animations that give high-profile events the visual edge they deserve. firmware changes to add more options as required up to the full version whenever customer budgets permit.

An optional hybrid power supply system is available, which takes the power from CCU end through the SMPTE cable and provides up to 100W of power.

Alternatively, battery power for the HD Z-link and camera can be supplied through industry standard connections.

RiLink

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www.lemo.co.uk 27

TVBEU R O PE G R A P H I C S & S U B T I T L I N G

NEWS IN BRIEF DVICenter declutters The KVM matrix DVICenter DP32 from Guntermann & Drunck is designed to optimise the studio workflow and declutter the workspace in studios or OB vans.

It permits multiple users, each equipped only with keyboard, mouse and display, to simultaneously access a series of computers that can even use different platforms.

The new 16-port version is especially designed for smaller applications like in OB vans. The 64, 32 or 16 dynamic ports can be easily configured for either connecting a user console or a computer module. www.gdsys.de

AC-ET brands ignite AC Entertainment Technologies (AC-ET) featured new broadcast lighting innovations from ChromaQ, Mole Richardson, Manfrotto, Avenger and Gekko Technology at the BVE show. Also highlighted were services like AC-ET’s Cable Express, which is among the most comprehensive custom cable assembly facilities in the industry.

The company showcased the latest Chroma-Q Studio Force daylight (D) and variable (V) white light sources. Mole Richardson’s MoleLED 12 and Single were featured together with the new 24kW Daylight Fresnel. www.ac-et.com

Autoscript enhances Tablet prompting Autoscript has partnered with Teleprompting Techniques to offer a professional prompting app for users of the iPod and iPad. PicoPrompt is available via the App Store, along with Picoscroll, a free scroll App. Autoscript will offer a scroll control and a connector for the i-Series range. One of the most beneficial elements lies within Autoscript’s new upgrade to its WinPlus software. It now offers the capability for producers to select and send single stories or complete running orders from the broadcast studio to a journalist or presenter’s i-Series device anywhere in the world. www.autoscript.tv

28

Where new markets open up, legislators follow

Laying the foundations: subtitling for new media

By Gordon Hunter, chief sales officer, Softel The development of the ‘TV Anywhere’ market throws yet another set of challenges into the path of the broadcaster trying to stay ahead in such a rapidly evolving industry. Recent research from Accenture into viewing habits around the world points to a switch from conventional television to watching on computers and tablets.

In a typical week, this survey reported, 33% of consumers now watch shows, movies or videos on computers, and 10% on phones. Meanwhile a ComScore study showed that 226 million users across Europe consumed an average 20 hours of online video over six months — this represents an increase of 33% for the six months period ending September 2011.

Forecasters predict a steady growth of these trends supported by further technology developments. A Magid report explains that in 2011, more than 27% of televisions shipped worldwide will be able to connect to a network, and this is expected to rise to 50% by 2015. An Ofcom research reveals that the next generation of mobile technology will deliver more than 200% of the capacity of existing 3G technologies.

Where new markets open up, legislators follow. Providers of services for new platform consumers are subject to statutory requirements just like conventional broadcasters. With more than 81 million hard of hearing people in Europe alone, there is a sizeable audience for subtitled content, and while countries like France, Netherlands and the UK already have substantial regulation in place, most others are falling into line rapidly.

The processing of subtitles for the multiscreen market is a much more diverse operation than for conventional television

Adapting for multiscreen This means that broadcasters and content providers have to adapt to provide subtitles for all the devices consumers will be using.

There is an array of technologies to be catered for, and many new restrictions to be taken account of. The size of the viewing screen alone is a key factor: subtitle text on a mobile phone must be comparatively larger if it is to be read comfortably.

Both open (burnt-in) and closed (selectable by the viewer) subtitling is supported in new media services, but closed subtitling makes more sense when viewing video on new devices, where the personal nature of the viewing experience calls for the ability to customise the display of subtitles.

‘Live-bound’ As in a conventional broadcast, the video source is either transcoded in realtime from existing digital TV services or created live for the new media service, for example for sports events and news. The subtitling process for this latter scenario is known as ‘live-bound’ — meaning that subtitle content is encoded to the video live at the time of air for each video event. When the content is played from a pre-prepared media library for VoD viewing or for ‘linear’ scheduling, the ‘early binding’ process is used. Here, the subtitle content is encoded to the video media ahead of transmission time, and this allows a simpler operational workflow and the ability to quality-check subtitles ahead of time.

Subtitling systems for this multiscreen market should offer the broadcaster a workflow that integrates the processing of conventional subtitle content with the process that generates subtitle formats for new media devices and platforms. The chosen system also needs to offer import and export of subtitle files in almost all known formats, together with WYSIWYG subtitle editing in both conventional and new media display modes.

The system should also use professional-quality, file-based video transcoding tools to encode and re-encode for the

Quick adaptation and process efficiency are the key goals for broadcasters of new platform services because the landscape is changing so rapidly The processing of subtitles for the multiscreen market is a much more diverse operation than for conventional television.

Individual subtitle streams may have to be created to match the individual needs of each target viewer platform, and when target platforms are likely to arise and evolve much more quickly than new TV standards, this places an emphasis on careful planning for flexibility. Broadcasters need a subtitling capability that can quickly be adapted to cater for new services each time additional subtitle streams are required.

whole range of target platforms.

Softel products use unique ‘plugin’ applications, which sit inside video transcoder products and enable subtitle encoding at the same time that the video is converted from one media standard to another.

This is an efficient and streamlined approach. Close working partnerships with other technology vendors have enabled Softel to design its Swift vTX subtitle encoding technology to deliver operational cost reductions and a simpler media publishing workflow.

Quick adaptation and process efficiency are the key goals for broadcasters of new platform services because the landscape is changing so rapidly. The specifications, features and performance of consumer devices like tablets, computers and smartphones change every few months, and consumers are used to upgrading them regularly.

That’s a stark contrast to the relatively lengthy purchase and ownership cycle for television sets, so broadcasters need to ensure that the subtitle processing systems they put in place for this new market are capable of evolving just as rapidly. www.tvbeurope.com M A R C H 2 0 1 2

TVBEU R O PE G R A P H I C S & S U B T I T L I N G

Pay-TV broadcaster tends to play from start to finish without breaks

How BeTV Belgium tackled subtitle transmission and file repurposing

By Simon Hailes, chief technology officer, Screen Subtitling has always been inherently complex and has constantly needed to adapt to major shifts in broadcast technology.

The current rate of change however is accelerating and the multitude of different platforms, delivery mechanisms and the continual flow of new formats are presenting difficult challenges for subtitling.

BeTV Belgium faced such a challenge towards the end of last year and with a solution incorporating Screenâ&#x20AC;&#x2122;s Polistream (subtitle transmission) and MediaMate (file repurposing) systems was able to overcome the issues they encountered.

The broadcaster obtains its media from various sources, and in a variety of formats. Some media arrives with a separate subtitle file, while other media comes with subtitles embedded as one or more Teletext subtitle pages and can be delivered as files or on tape.

As a Pay-TV broadcaster BeTV is primarily involved in broadcasting multiple film channels and channels containing series-based material, and its programme material tends to be played from start to finish without breaks. The form of the output channels is well defined.

They do not perform any live subtitling, and for the channels described the schedule is known well in advance.

Material acquisition

up to 16 Teletext subtitle pages simultaneously into one VBI/VANC track. A VBI/VANC track can be replaced, so adding a language to an existing track consists of re-processing the file with additional subtitle files available or by adding a blank track, subtitles can be removed.

An original BeTV workflow included ingest of SD tapes into Pinnacle Mediastream servers, where any teletext subtitle data was represented in a proprietary VBI format. The first subtitlerelated step of media ingest is to ensure that a subtitle file is present for all media.

For media where the subtitles are embedded, they are extracted to a .PAC file (Screenâ&#x20AC;&#x2122;s proprietary subtitle file format) by MediaMate, operating in a simple dropfolder integration mode. At BeTV, extracts can be performed from Pinnacle, Omneon VBI, â&#x20AC;&#x2DC;608 lineâ&#x20AC;&#x2122; tall video, or SMPTE-436 MXF (HD or SD). The subtitle files are submitted to the subtitle file server for possible future direct playout use, and for re-insertion.

Media processing The video/audio material is processed to a form playable by the relevant video server using Telestream Flip Factory. At this point, any subtitle data should have been removed from the media.

Once the media is in its final form, subtitle data is re-inserted into the media ready for playback. For SD this could be into the VBI of â&#x20AC;&#x2DC;608 lineâ&#x20AC;&#x2122; tall I-Frame media (e.g. IMX30/40/50), or as a SMPTE-436 track (SD VBI or HD VANC). BeTV uses Omneon MXF for HD material utilising SMPTE-436 VANC tracks for embedded subtitle essence where applicable.

Media playback

Simon Hailes: â&#x20AC;&#x153;The first subtitlerelated step of media ingest is to ensure that a subtitle file is present for all mediaâ&#x20AC;?

Inserted subtitle data is coded as â&#x20AC;&#x2DC;rawâ&#x20AC;&#x2122; data, encapsulating more style information than plain Teletext, and not subject to Teletext constraints. This data is not directly suitable for transmission (it is a Teletext subtitle page in OP47 format but is coded â&#x20AC;&#x2DC;black on blackâ&#x20AC;&#x2122; to prevent incorrect display on consumer devices).

The actual insertion is done via hot folder integration with MediaMate. BeTV generally uses a single Teletext subtitle page, but MediaMate is capable of inserting

Al Jadeed has a Brainstorm

By Borja Chirivella, international business development manager, Brainstorm Multimedia Rich graphics are a subtle yet frequently central factor in determining how many viewers latch onto a specific channel and stay there. Beirut-based Al Jadeed is a broadcaster that wanted to further expand its viewing figures worldwide, yet believed it needed the addition of some visually compelling ways to achieve it.

Al Jadeed TV is a 24-hour pan-Arab station that offers general-interest programming, news and political programmes, and as such it ranks among the top stations in Lebanon. The station recently decided to refurbish its graphics package and associated workflows to take advantage of the economies of www.tvbeurope.com M A R C H 2 0 1 2

scale that could be achieved as well as greatly improve its on-air graphics capabilities to increase viewership. Thatâ&#x20AC;&#x2122;s when Al Jadeed turned to Brainstorm and asked us to examine their existing graphics system and

The finished media on the server may or may not contain subtitle information, depending upon timescales, etc. Each channel in the Polistream subtitle transmission system has an SD-SDI input (derived from HD via Axon down-conversion where applicable), capable of reading VITC and/or Teletext VBI information.

The â&#x20AC;&#x2DC;normalâ&#x20AC;&#x2122; operation is that the subtitles are present in the video media, all in the same â&#x20AC;&#x2DC;raw codedâ&#x20AC;&#x2122; form. The schedule in the playout automation is prepared to include scheduling of subtitles where the media does not contain subtitle information, and in the absence of a scheduled subtitle file, data is read from the video and transcoded into the appropriate formats required on transmission (DVB, Teletextâ&#x20AC;Ś).

It is important to note that the use of the raw coding allows for subtitles that need not be constrained by Teletext constraints (eg, 37 characters per line and character cell based positioning).

Media is played from start to completion, so any problems associated with end effects and â&#x20AC;&#x2DC;clear downsâ&#x20AC;&#x2122; for subtitles in media are avoided.

good fit with its existing Avid iNEWS NRCS to export predesigned graphics templates directly from the likes of Autodesk 3ds Max and Maya 3D. Reporters and any other users can easily see the predesigned graphic templates stored on a central server. In addition, the flexibility of BrainNews enables Al Jadeed to

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The new system means that every journalist at Al Jadeed can now use existing graphic templates and share them with everyone involved in the news environment

Borja Chirivella: â&#x20AC;&#x153;In addition to the graphics package, we also integrated workflow softwareâ&#x20AC;?

workflow processes with a view to proffering our ideas for an upgrade path.

Perhaps what was most attractive to Al Jadeed was that our eStudio engine drives â&#x20AC;&#x2DC;BrainNewsâ&#x20AC;&#x2122;, a template-based news graphics system which Al Jadeed saw as a

create and implement far more complex graphics than had ever been possible before, as well as the ability to call them up whenever needed for use across all Al Jadeed locations.

www.riedel.net

Continued on page 30

29

Continued from page 29

Channel branding

Lawo AG | Rastatt / Germany

Al Jadeed saw eStudio as a good fit with its existing Avid iNEWS NRCS to export templates directly from the likes of Autodesk 3ds Max and Maya 3D

The complete system that we installed replaced a mid-range Avid Deko 1000 system for studio production and an Avid Dekocast that had been used for final stage channel branding. Implementation was achieved by Brainstorm technicians in conjunction with

technical operations staff at Al Jadeed and Brainstorm’s dealer in Lebanon, Pharoan Broadcast. To my mind, the real beauty of the system is that the graphics package can be implemented by anyone, even those with no prior knowledge of graphics systems.

In addition to the graphics package, we also integrated Brainstorm workflow software

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with Al Jadeed’s existing technology and performed training and testing to validate the entire process. The workflow installation was achieved in only two visits, the first for hardware and basic settings installation and the second full technical and design training.

The new system means that every journalist at Al Jadeed can now use existing graphic templates and share them with everyone involved in the news environment, which provides for a far more agile and cost-effective workflow.

The importance of compelling graphics are one thing, but the ability to provide them in a way that is accessible to all who use them, very often required on a moment’s notice to cover fastbreaking news and analysis, is paramount. Al Jadeed and Brainstorm Multimedia found a blend of technology, expertise and mutual confidence that ultimately accrue to the benefit of Al Jadeed viewers worldwide and Al Jadeed’s presenters, technicians and operational staff in Beirut.

Boxer Systems sign on to Signiant

By Jake Young

Focus on functionality — the new mc² 66.

Inspired by your needs — the mc² 66 MKII. Not only does this much developed mc² 66 MKII stand out with proven efficiency and outstanding functionality, but also with its new features, which once again make high tech equipment from Rastatt a worldwide standard for mixing consoles. Now you can benefit from the latest touch screen displays, a revised layout and totally reliable control computer redundancy. One of the best consoles available suddenly became even better. Only one thing has not changed: The mc² 66’s outstanding usability, which will continue to inspire audio engineers in OB trucks, studios and theatres. For more information visit www.lawo.de

Visit Lawo at Prolight + Sound 2012 Frankfurt, March 21-24, Hall 8.0, Booth B50

Boxer Systems is to deliver Signiant solutions to broadcast, film, post production and television clients in the UK and Ireland.

Under the partner agreement, Boxer Systems will add Signiant’s secure media file transfer solutions to its extensive portfolio of product and service offerings.

“We continue to see growing demand for fully integrated solutions that streamline and support complex and expanding dataintensive workflow processes,” said Marc Risby, director of technology for Boxer Systems. “We are pleased to add Signiant’s powerful and flexible file-transfer solutions to our offerings as it delivers the level of automation, security, acceleration and crossplatform support that these organisations require.”

Used today by broadcasters, studios, media service providers, sports networks and game developers, Signiant’s software facilitates the movement of filebased media between systems, applications and users.

“With more than 20 years of experience serving the needs of the broadcast and post production arena, Boxer Systems truly understands the requirements of its customers,” said Steve Biucchi, EMEA channel sales director at Signiant. “The partnership between our companies will help them address growing demand for the level of management, speed, efficiency and reliability that only Signiant’s solutions can deliver while underscoring Boxer’s commitment to bringing the best overall solutions to market.” www.signiant.com

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TVBEU R O PE G R A P H I C S A N D S U B T I T L I N G

The realtime translation of subtitle formats can streamline operations

Subtitling insertion is key

By Renaud Desportes, director of Wohler’s Ancillary Data Management Product Line

www.tvbeurope.com M A R C H 2 0 1 2

staff can use a simple switch to turn off subtitling as long as is needed.

Sophisticated subtitling solutions capable of handling both live and file-based subtitles enable broadcasters to establish versatile subtitling workflows that aid in streamlining multiformat operations and in reducing the cost of complying with regulators’ subtitling requirements.

If the content of live subtitles threatens to exceed internal or regulatory standards for vulgarity, monitoring staff can use a simple switch to turn off subtitling Renaud Desportes: The inserter’s continuous output mirrors video and subtitling seen by viewers’

Dual encoding For the many broadcasters today who deliver programming concurrently in HD and SD, a dual-channel inserter can handle subtitle encoding both in SD and HD at once. In this model, the SD or HD video server or playout server feeds content to an up- or down-converter, yielding both an SD and HD output.

These two signals are, in turn, fed to the inserter’s two channels.

Pre-encoded subtitle data that comes from within the ‘native’ video SDI stream — typically an HD asset stored on an HD video server architecture — is copied

the broadcaster’s target geographic area. It also can provide two separate outputs — one per channel — with subtitling decoded and burned into the video, offering immediate confidence monitoring capabilities. Rather than depend on a satellite return feed and a consumer-type set-top box decoder, staff in master control can monitor these inserter’s outputs to ensure that subtitling is present and that the correct data has been encoded into the video stream.

The inserter’s continuous output mirrors the video and subtitling seen by viewers, requiring only a professional monitor or display. If the content of live subtitles threatens to exceed internal or regulatory standards for vulgarity, monitoring

A dual-channel auto-sensing SD/HD-capable subtitle inserter offers broadcasters a hassle-free and future-proof solution that supports efficient, cost-effective operations regardless of how far the facility has progressed in migrating to a full HD workflow.

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Shure showcase The UR5 portable wireless receiver, the VP89 premium shotgun microphone and the BRH441M headset were among the many new/recent items on show at BVE. The UR5 portable wireless receiver for professional cameras has two-antenna diversity to ensure solid RF performance. It features Multi Transmitter Mode (MTX), a wide tuning range up to 80MHz, and ‘scan & sync’ for fast and efficient frequency set-up.

The UR3 plug-on transmitter for wired microphones offers programmable microphone preset lists to tailor settings such as gain or low cut filter.

The VP68 omnidirectional condenser capsule can be used with all Shure wireless handheld microphones. www.shure.com

MATRIX Cheese Plate: cutting-edge mounting Anton/Bauer demonstrated its latest array of power solutions at BVE 2012.

On display was the MATRIX Cheese Plate and Gold Mount System, DIONIC HCX 120-watt-hour capacity battery, DIONIC HC 91wh capacity battery and CINE VCLX. The MATRIX Cheese Plate is a new mounting plate that can be used with the company’s Gold Mount solutions. It mounts directly on 15mm or 19mm rod systems, allowing for easy mounting on a variety of cameras. The DIONIC HCX and the DIONIC HC, both part of the company’s Logic Series batteries, are suitable for powering high-current applications in a lightweight package. www.antonbauer.com

Shaping the Future of Sports Visit us at NAB Stand SL3815

Sports Production

Mandates from regulatory bodies worldwide are requiring that distributors of programming provide a minimum number of hours of subtitled programming per day, week or calendar quarter. As a result, terrestrial and satellite broadcasters, as well as cable operators, have no choice but to establish workflows for inserting subtitle data into their broadcasts.

Larger broadcast networks tend to keep subtitling services in-house, building a department in which dedicated workstations and staff perform both offline subtitling, as well as live subtitling for news, sports, and other live events. Smaller broadcasters tend to hire out, using the services of an external provider, which in turn delivers subtitle data into the broadcaster’s workflow. In either case, the broadcaster must face the question of how to manage, store, and process this subtitle data most efficiently.

The subtitle inserter is key to these processes.

When it comes to choosing the right subtitle inserter for their operations, broadcasters naturally look to future-proof equipment that can offer a continued return on their investments. Because subtitling can become a complex undertaking, keeping their workflow as simple and coherent as possible also is a high priority.

Hardware-based subtitle processing systems offer workflow solutions that not only improve handling of subtitles in a wide variety of formats, but also facilitate significantly more costeffective storage and playout of broadcast content.

By implementing a subtitling system that is capable of managing the realtime translation of subtitle formats, broadcasters can not only streamline their subtitling operations, but also employ more cost-effective storage architectures. Content can be stored in a unified format (either HD or SD) and the video server output appropriately upor downconverted depending on transmission chain requirements for a particular market or delivery network.

As a result, broadcasters can continue working with SD systems and easily provide subtitled programming for SD content and upconverted HD content.

Likewise, those facilities that already have made the transition to HD storage architectures maintain the flexibility to output subtitled high and standard definition programming.

and translated on-the-fly by the inserter to the up- or downconverted SDI stream that goes through its second channel.

Throughout this process, the inserter will maintain the ability to encode and insert live or external file-based subtitles in both SD and HD streams simultaneously.

The inserter thus provides subtitled SD and HD content suited to

NEWS IN BRIEF

Designed to Perform www.evs.tv

31

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TVBEU R O PE N E W S & A N A LYS I S

Active Logging Root of revenue capture for VoD The system uses two Mac mini computers (one for ingest and one for playout), plus two AJA IO XT units for SDI video.

“That technology has brought this to a really affordable level,” said Harris.

It is not an off-the-shelf package, as it will require a certain level of customisation for a particular show or series. Once it has the right look for that series, then it is simple to upgrade for a particular episode.

Touch and go: Harris explains how metadata can be added to the Active Logging system

www.tvbeurope.com M A R C H 2 0 1 2

for whom it is an easy add-on, but Harris believes that Active Logging will be inexpensive enough to make it worthwhile for any production. www.root6.com www.sienna-tv.com

Thrilling moments –

By David Fox Root6’s new Active Logging module for its Sienna digital production workflow system makes it quicker and simpler to turn a live programme round for use in a video-on-demand service within minutes of it finishing on air.

Launched at BVE, it enables users to quickly edit the programme as it is transmitted, which will feed a realtime encoder. It will allow operators to add metadata, replace or add graphics and commercials, edit out content not licensed for VoD replay, and quickly link to other online material – making it easier to gain new revenue from services such as product placement.

As on demand services become an increasingly important part of how many viewers watch content, whether on their phone, tablet, or web browser, the time it takes to make that content available is becoming more important, particularly if broadcasters want to take advantage of how a show is trending on Twitter or social networks.

“The best way to grow revenue is to put a programme out as quickly after it has finished as possible, but that is hard,” said Root6 Director, John Harris.

The Active Logging system “allows us to encode as the programme goes out, but we are able to pause to put in new graphics – for example, to overwrite a live phone number that isn’t valid after the show – and to replace or cut out ads. It means that by the end of the programme, we have the reedited, encoded, programme ready, with new graphics or ads, within minutes of it finishing.”

An operator can use an iPad for active logging, which creates a timecoded XML file that includes all the necessary metadata, such as links related to a product shown on air, content information for search engines, or to drive automated ad insertion systems. The metadata on the iPad can be tailored to the content ahead of the live transmission to enable quick entry during the show, and can be selected by touching a picture of the talent show contestant, racing car or sports person involved in the programme.

Root6 is currently running trials with UK broadcasters. “The excitement in this is the revenue model, because you can repackage a programme so quickly,” he said.

Sienna is widely used, by hundreds of broadcasters worldwide,

fascinating perspectives.

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25 Years Experience in Wireless Video Transmission Phone: +49 6124 723900 | saleseurope@bms-inc.com | www.bms-inc.com 33

TVBEUROPE N A B N EW P RO D U CT P R EV I EW

New workflow designs Digital Rapids

By Jake Young New media transformation and workflow technology solutions will be unveiled for the first time at the 2012 NAB Show, along with enhancements to Digital Rapids’ established solutions.

The company’s Transcode Manager 2.0, the next generation of its automated, high-volume media file transcoding software, combines superior quality, intelligent automation, rich format support and outstanding performance for transcoding applications from production and archive to revenue-expanding multi-screen distribution. New features in version 2.0 include adaptive, logic-driven process automation with rich metadata support to reduce effort, errors and processing time; intuitive, visual workflow design tools; and elastic scalability with dynamic, ondemand deployment.

The new, carrier-grade StreamZ Live Broadcast hybrid live encoder combines Digital Rapids’ renowned multi-screen

Telestream

By Melanie Dayasena-Lowe Transcode Manager 2.0: Built on Digital Rapids’ Kayak platform

output versatility and quality with robust features for the unique demands of broadcast, cable, Telco and satellite television operations. StreamZ Live Broadcast features simultaneous H.264 or MPEG-2 encoding for traditional television applications and multiformat encoding — including adaptive bit rate (ABR) streaming — for any-screen delivery to devices including mobile phones, tablets, PCs, IPTV, over-the-top (OTT) services and more — all in a single encoder.

The StreamZ Live family of encoders provides superior output quality, outstanding reliability and flexible, multi-screen output format support for audience-expanding live streaming applications. Available in single or multi-channel models with HD, SD and IP input choices, StreamZ Live features rich adaptive streaming (ABR) support and simultaneous multi-format output for streaming to devices from mobile phones and tablets to PCs, game consoles and smart TVs. SL5624

sideKick HD for fast turnaround TV Fast Forward Video

By Jake Young

sideKick HD: a multiformat, straightto-edit camera-mountable DVR

SSD drives in native ProRes (for Apple Final Cut Pro) or DNxHD (Avid) NLE formats. Bringing files into the NLE environment is a simple matter of moving the disk from the sideKick to the computer; no time-consuming

Know your broadcast rights Pilat Media

By Melanie Dayasena-Lowe At NAB Pilat Media will highlight its Integrated Broadcast Management System (IBMS), which offers a flexible and scalable information backbone that can adapt to changing broadcast business requirements. IBMS is being further enhanced with new features and functions that enable a richer, 34

If you're on your way to NAB Las Vegas next month then you'll see the following selection of product innovations out on the show floor at the LVCC. If not, then through this month and next we'll do our best to preview the leading new broadcast TV products to be unveiled at the show. Part Two of our NAB Preview will follow in our April issue. — Fergal Ringrose

Vantage Agile integration

World launch for 220Mbps straight-to-edit DVR

sideKick HD, making its international debut at the 2012 NAB Show, is designed to ease production workflows and satisfy the demands of both producers and post production editors. It enables customers to get the most out of their camcorders without having to compromise on quality. While the onboard recorders of most camcorders typically deliver a data stream of only 30Mbps, the sideKick HD is able to record at 220Mbps. As a true straight-to-edit DVR, the sideKick HD records to offthe-shelf, removable 2.5-inch

NAB NEW PRODUCT PREVIEW

streamlined, and more automated multiplatform experience.

Pilat Media is announcing a new automated metadata workflow for IBMS that accelerates the process of acquiring and preparing content and building subsequent offers.

This new capability enables IBMS to import metadata automatically for large volumes of content, check and retrieve missing metadata from information suppliers, drive transcoders to prepare media for

ingest or transcoding operations are required.

FFV’s sideKick HD Studio is a new, rackmountable version of FFV’s powerful sideKick cameramounted DVR for use in base stations and studio locations.

Occupying only a half RU in width and 2RU in height, sideKick HD Studio is directly compatible with the camera-mounted sideKick HD, giving users the ability to transfer field footage stored on the unit’s 2.5-inch SSD directly into the sideKick HD Studio for easy integration with NLE systems and other content sources for fast and seamless editing and playback to air.

C6313 distribution, and create and place offers in the service navigation menu based on metadata values such as genre, resolution, and cast.

With new expanded rights management capabilities, IBMS becomes even more future-proof.

IBMS users can define an unlimited number of rights dimensions, ensuring that assets are fully utilised and contractual obligations are always met. Rights dimensions can include such parameters as broadcast resolutions, regions, devices, delivery platforms, and revenue models.

N4429

Among its full line-up of products at NAB, Telestream will present its Vantage video transcoding and workflow automation products and the new Pipeline Replay system.

Vantage video transcoding and workflow automation products will address specific workflow needs, including adaptive bit-rate streaming for OTT, enhanced Avid support for post production, and greater support for broadcast systems, cable IPTV set-top boxes, and improved audio support. Vantage products handle the complexities of automated transcoding, metadata management, standards conversion, video processing, media analysis, device interoperability, and delivery. A powerful workflow layer allows users to bring these processes together into unified, easy-tomanage workflows. For larger, highvolume workflows, Vantage enterprise system management products provide a high level of visibility, control and system optimisation.

For larger, high-volume workflows, Vantage enterprise system management products provide a high level of visibility, control and system optimisation

Telestream’s new Pipeline Replay system will make its NAB debut. Developed for the start of NASCAR’s 2012 racing season, Replay is a multichannel video player that combines with Pipeline HD systems to provide video capture and instant, synchronous playback of multiple high-definition camera feeds. The Replay system allows race or game officials to easily locate any camera and scrub forward or backward through any portion of the video.

SL1405

Fast results with QuiC family Harris

By Melanie Dayasena-Lowe The new Harris QuiC software family minimises the workload for video server operators in TV stations, network facilities and new media operations. Customers using QuiC software tools to analyse files ingested into video servers can achieve results faster through automated processes.

“The increasing emphasis on file-based workflows in today’s demanding broadcast, production and media operations creates a need for straightforward quality control processes,” said Harris Morris, president, Harris Broadcast Communications. “These new tools provide fast, effective and actionable results without false positives — allowing our customers to more effectively share, distribute and monetise media assets across many workflows and delivery platforms.”

QuiC Pro and QuiC Express integrate quickly into any operation or facility, with ready-to-go test templates and an intuitive webbased user interface. A web-service Application Programming Interface (API) enables communication with

QuiC Pro is ideal for use after content editing, during automated ingest, and for on-the-fly video transcoding and archival transfers

digital asset management systems and other workflow components.

Harris customers can easily integrate QuiC software products into workflow solutions featuring Harris NEXIO AMP servers and Invenio digital asset management software.

QuiC Pro offers the most flexible QC feature set for the creative process. It is ideal for use after content editing, during automated ingest, and for on-the-fly video transcoding and archival transfers.

QuiC View is a professional-grade viewer that offers added value for content owners seeking a fast and efficient way to inspect file-based assets.

N2502 www.tvbeurope.com M A R C H 2 0 1 2

TVBEU R O PE N A B N E W P R O D U C T P R E V I E W

‘World first’ DVB-T2 system for network monitoring and analysis Nativ has installed its MioEverywhere media management solution in the Switch SuperNAP datacentre in Las Vegas

Bridge Technologies

By Jake Young The 2012 NAB show sees the launch of what is claimed to be the world’s first complete monitoring and analysis solution for DVB-T2. The DVB-T2 system has been The VB330 media monitoring probe can deliver a 60GB monitoring capability popular with European operators for its characteristics in single frequency net- monitoring capability. Designed for smaller than a laptop computer. It has a wide works, and its 30% bandwidth efficiency extremely high-density applications at range of built-in interfaces for RF, ASI, and gain over DVB-T. points of maximum data throughput in IP, full TR 101 290 alarming and analysis, and Bridge Technologies will display the today’s 10GB core networks, the VB330’s supports all media transportation codecs.

VideoBRIDGE VB330, the first product to capacity offers telco’s, network operators, The VB252 is part of the industry’s first be based on the company’s 10GB architec- and digital media organisations a monitor- complete monitoring solution for DVB-T2, ture, offering what it says is the highest ing solution with the potential for scaling including the T2-MI protocol. The dualperformance-to-form-factor ratio available to match almost any level of throughput. input VB252 provides external GPS lock in the monitoring and analysis sector. With Designed for real-world use by engineers for accurate drift monitoring for SFN netthree blades fitting in a single 1-RU chassis on the road, the VB12-RF packs every works, high-quality MER measurement, and each VB330 probe having two 10GB required broadcast and IP interface into and level readings. interfaces, the system can deliver a 60GB a ruggedised chassis with a form factor SU9819

The CMS becomes enriched Netia

By Melanie Dayasena-Lowe GlobeCast company Netia will launch a new version of its Content Management System (CMS) and showcase upgraded radio automation among its latest products.

The CMS allows users to manage all processes within the global production environment — from editing through post and distribution — by simple, easy-to-manage workflows and task automation, accessed via one unique and easy-to-use interface. The The CMS GUI includes a greater number Netia software suite also allows users to con- of fields that can be personalised

nect all of their partners and vendors within a single production ecosystem, simplifying the sharing and managing of media assets.

The CMS includes enriched features within its metadata management module, as well as in its indexing functionality. The CMS GUI includes a greater number of fields that can be personalised, and the system’s metadata template can be customised by users. A multilingual thesaurus module available in this new CMS release ensures there are endless possibilities for very precisely describing content, in turn making it easier for users to access and retrieve specific content. Finally, the CMS will include an enhanced administration application that further simplifies system management.

SU812

Switch to cloud Nativ/Strategic Blue

By Melanie Dayasena-Lowe Teaming up to provide a new way for broadcasters and studios to buy technology is Nativ and Strategic Blue. With coordination and financial cloud services provided by Strategic Blue, Nativ is giving content owners access to a media management solution that combines world-class security and connectivity with the flexibility of the cloud, on a transactional ‘on-demand’ basis.

Nativ has responded to growing interest in the US with the installation of its MioEverywhere media management solution in the Switch SuperNAP datacentre in Las Vegas. MioEverywhere, a fully-featured digital asset management and workflow automation platform, will enable US studios, broadcasters, post houses and production companies, to remotely ingest and validate their content; centralise their assets; automate workflows and distribute content to any platform or partner; while keeping complete visibility without the huge costs of upfront capital expenditure.

This cloud-based solution within Switch’s United States Inter-Cloud Exchange represents an entirely new way of accessing content management solutions, and gives content owners the opportunity to reap all of the benefits of Nativ’s MioEverywhere platform.

N3222i

TallyMan launches TSL Professional Products

By Melanie Dayasena-Lowe Launching at NAB is TSL’s touchscreen TallyMan Virtual Panel. Designed to simplify control of multiple router I/Os, the user interface is designed to be more in-tune with the needs of creative operators.

“We’re seeing a change in the way that operators work across the broadcast chain, particularly in director, producer, EVS and graphics positions where crosspoint and mnemonic information needs to be accessed quickly and easily”, said Chris Exelby, managing director of TSL Professional Products.

“The TallyMan VP is designed with a user interface that is a lot less intimidating than traditional engineering hardware that requires esoteric knowledge”.

Not only does the software-based control platform remove the need to install individual hardware panels when a router is added, expanded or upgraded, it can interface with any third-party router, vision mixer or multi-viewer.

Ideal for news operations, sporting events and remote head-ends, the panel also allows users to switch equipment on and off remotely, while offering heightened security.

N1119 36

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TVBEU R O PE N A B N E W P R O D U C T P R E V I E W

Industry gurus speak live at NAB Vitec Group

By Melanie Dayasena-Lowe The Vitec Group will host well known figures in the broadcast and film making industry in its dedicated Live Event Area at this year’s NAB. The independent experts, ranging from directors of photography, to directors and filmmakers, will share their knowledge and expertise on the latest products, technology and techniques.

They will be joined in the Live Event Area by representatives from key Vitec Group brands to hold a range of informative sessions for visitors.

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

Speakers confirmed so far include director and Pulitzer Prize winning photographer, Vincent Laforet, who will discuss ‘Emerging Technology and Digital Storytelling’ on Monday 16 April,

12.30pm-1.30pm. Laforet is known for his forward thinking approach to image-making. He is considered a pioneer both for his innovative tilt-shift and aerial photography and in the field of HD-capable DSLR cameras.

Another ‘Meet the Experts’ slot will be hosted by the BAFTA nominated filmmaker, Philip Bloom, who will address the audience on Tuesday 17 April, 12.30pm-1.30pm about choosing the right gear for professional film making. He is one of the new breed of cinematographers and has been credited with helping to popularise the DSLR video revolution.

C6929

Director Vincent Laforet will discuss ‘Emerging Technology and Digital Storytelling’

DTT monitor completes toolset T-VIPS

By Melanie Dayasena-Lowe The TNS547 DTT Monitor extends T-VIPS’ portfolio of DVB-T2 solutions and enables ‘end-to-end’ monitoring — from the headend to the RF signals at the transmitter — delivering a

complete toolset ensuring Quality of Service in terrestrial networks The monitor provides true end-to-end monitoring for DVB-T and DVB-T2 operators. It is the newest member of the T-VIPS nSure product line and is designed to ensure the delivery of highquality video content by simplifying the monitoring and analysis of

DVB-T/T2 transport streams and services throughout a terrestrial network. This new solution has been developed in close cooperation with customers and will ship at the end of Q1 2012.

“With the switch off of analogue systems imminent, Quality of Service and reliability in DTT systems are of critical importance.

The

CONTINUITY PLANNER

WHATS’On updates our secondary events and verifies compliance before generating a ready-to-air playlist.

Even during the broadcast.

Discover our software at

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Errors and service breaks need to be detected the second they occur, and that is what we enable with our nSure monitoring and switching solutions,” said Johnny Dolvik, CEO, T-VIPS. “By providing the capability to monitor off-air signals at the transmitter site with the T-VIPS TNS547, we can now offer powerful end-to-end DTT monitoring – from the head-end to the transmitter site — for both DVBT and DVB-T2 infrastructures.”

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NEWS IN BRIEF Added value for scan converter Matrox Video Products Group has announced important new features for Matrox Convert DVI Plus HD-SDI scan converters. Automatic input detection is particularly important for A/V integrators who might regularly deal with a variety of input devices in the course of their work. The graphic overlay feature lets users add a custom logo or graphic to Convert DVI’s output. www.matrox.com/video

Sencore’s Media Choice Sencore has appointed Netherlandsbased distributor Media Choice Broadcast Solutions to resell the company’s full line of signal quality, transmission, and video delivery solutions to customers in the Benelux and DACH (Germany, Austria, and Switzerland) regions. “Sencore products are an ideal combination for broadcasters throughout these countries as they look to make a seamless transition to all-digital delivery while maximising bandwidth and existing infrastructure,”said Tony Oehlerking, general manager of international business development at Sencore. www.sencore.com

The The

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WHATS’On allows me to plan multimedia content on all channels and platforms from within one single system.

CTO The

WHATS’On seamlessly integrates with any MAM, sales, finance and playout system of our choice.

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TVBEU R O PE N A B N E W P R O D U C T P R E V I E W

NEWS IN BRIEF Hyperdeck update Blackmagic Design has released HyperDeck 2.5 public beta for its HyperDeck SSD recorders. The new software update allows timecode information embedded within the ancillary data space of HD-SDI video signals to be written to HyperDeck’s uncompressed or Avid DNxHD compressed video files. HyperDeck 2.5 software also adds the option to record and playback DNxHD QuickTime as well as DNxHD MXF format files, extending the ability to use Avid’s industry standard file encoding with a range of software and to suit specific workflows. www.blackmagic-design.com

Dimetis completes VICO-Project for SRG The VICO-Project, based on Dimetis Boss File Transfer Manager, has been integrated at SRG. The customised VICO-Application benefits from an user interface and intuitive usability that hides the complexity of processes.

Dimetis met SRG’s specific requirements, such as multi-lingualism (German, English, French, Italian, Rhaeto-Romance) and offered a preview-functionality for the video-files to be transmitted. The SRG solution can integrate as many interfaces to third-party providers as necessary. www.dimetis.com

Groovy streaming Groovy Gecko has released version 2.0 of its Live Presentation System (LPS). It’s a modular system designed to enable the delivery of complex, interactive webcasts and offers a new range of functionality. Version 2.0 enables a great deal of interactivity, helping companies to further engage their audience during a webcast. Slides can be fully animated and the LPS features sophisticated question moderation, supporting multi-language broadcasts, and harvesting of questions from both Facebook and Twitter.

“The social media functionality is very attractive, enabling our customers to engage even more with its audience before, during and after the webcast,” commented Eddie Robins, technical director, Groovy Gecko. www.groovygecko.com

Artemis makes Light work Calrec Audio

By Jake Young The Artemis Light, the newest member of Calrec’s Artemis family, will be demonstrated at NAB. The audio console introduces a new compact processing rack, dedicated to delivering digital signal processing (DSP) and routing capabilities in a 4U enclosure.

Like all Artemis consoles, Artemis Light incorporates Bluefin2 high-density signal processing and Hydra2 networking technologies in the same compact, powerful and scalable control surface used

by Artemis Shine and Beam.

Employing the same hardware and software architecture, the Artemis Light can be fully integrated with any existing Hydra2 network.

Calrec will also highlight its Hydra2 Operator (H2O), a remotely accessible management system that enhances the flexibility of the

Hydra2 network router. H2O allows the user to control the Hydra2 network independently from any console control surface. Users will be

Tools to calm loudness

in the US, include the D*AP LM4 and the D*AP LM2.

The company will also be showing a prototype of the V*AP 2-channel voice processor, a new addition to the *AP family that will be officially launched at IBC2012. The V*AP will come with either a microphone (optional dual high end Mic preamps) or AES I/Os so that it can be used with a mixing desk as a high end outboard dynamics processor.

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Jünger Audio

By Melanie Dayasena-Lowe Dynamics specialist Jünger Audio will present two new additions to its *AP family of loudness control processors.

These units are specifically designed to help US broad casters stay within the parameters of the newly introduced CALM legislation.

Peter Pörs, managing director of Jünger Audio, said: “When it comes to controlling audio loudness and ensuring that broadcast audio stays within the law, our *AP family provides broadcasters

with all the tools they need.

Major broadcasters around the world are choosing these products because they allow loudness consistency to be maintained in a very easy and cost effective way — and without any detrimental effects on sound quality.”

The two new additions, which will be on show for the first time

D*AP LM4 is a 4-channel Digital Audio Processor that can be used to control audio loudness while creating and editing broadcast content

New EVS Media Toolset EVS

Life for MBC

By Melanie Dayasena-Lowe

Dubai-based Middle East Broadcasting Center (MBC Group) has selected BFE as integrator for the deployment of Dalet Media Life, which has been selected as the programming MAM for the group’s 10 TV channels. The Dalet system includes an open, robust and flexible asset management platform that unifies disparate systems into an integrated workflow that streamlines programme preparation and facilitates content delivery to broadcast and other distribution outlets. At MBC, Dalet will integrate with several systems including Harris Broadcast Master for scheduling and SGL for archiving. “The openness of the Dalet solution was a very important aspect of this project,“ said Jürgen Loos, director of aales for BFE. www.dalet.com

Live slow-motion expert EVS will unveil its latest toolset for media exchange and file mastering at NAB. The Media Toolset can be used to streamline any broadcast and media workflow operations including the new version of the OpenCube server. OpenCube server combines the best of MXF file mastering technologies and advanced media conforming systems. The new generation of MXF file-based server is offering full mastering of AS02, AS03, and IMF formats, as required by Hollywood studios. Used to digitise the French National Archive (INA), the server’s a formatagnostic platform supporting all standard codecs on a full serviceoriented architecture.

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Artemis Light has Bluefin2 high density signal processing and Hydra2 networking

able to set up routes and configure access rights to all desks on a given network, as well as enter network wide I/O boxes and port labels for ease of identification. H2O offers users the ability to arrange ports into folders so they can be located more quickly and easily, and it also provides central management of network synchronisation.

Calrec’s Apollo is an additional showcase. The audio console provides a control surface with displays, touchscreens, and lightemitting knobs that detail function and status. In the fast turnaround environment of live broadcast television, users need to have more control at their fingertips: Apollo’s ergonomic design makes two layers of channels available simultaneously.

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Suited to any sports, CCast offers unlimited possibilities

Also on display will be EVS’ Sports360° solutions — XT3 and CCast. The XT3 is a future-proof recording and media server featuring eight channels in loop recording mode. This unique hybrid media-sharing network is claimed to be the industry’s first 3Gbps (single link) video in/out capable system with embedded high/low res management.

The new version of CCast, part of EVS’ Sports360°, represents the

industry’s first advanced multi-cam solution allowing instant distribution of multiple camera angles on web-connected screens during live productions. Suited to any sports, it offers unlimited possibilities for multiple audiences including television viewers, spectators, coaches, journalists and referees. With fully-modular and service-oriented architecture, CCast adapts to any kind of business or workflow, and offers advanced integration with third-party web systems and data import such as statistics, commercials and tweets.

In addition, EVS will showcase the new generation of Xedio file-based news editors, EVS’ end-to-end news production solution and REC2Post, which increase productivity of TV production facilities by reducing cost and complexity.

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Apps for iPhone and iPad: In addition to the Signiant software solutions on show, the company will unveil new products that combine enterprise-level security, management and control, writes Melanie Dayasena-Lowe. The company will present its Signiant Media Manager, a system-to-system solution designed to handle the administration, control, management and execution of all system activity — including workflow modelling — from a single platform. Ideal for batch transfers of large numbers of media files, users interact with the Manager through a web-based interface for system configuration, task automation and reporting.

Intelligent agents on the sending and receiving ends manage and monitor successful content movement. Signiant Media Exchange (MX) is a private cloud solution for fast, secure file transfer designed for the business needs of media content providers — from major studios and global broadcasters to regional post production houses.

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Ficus Web simplifies workflows Tedial

By Melanie Dayasena-Lowe Mathematically lossless compression with some video content

More compression choice Nevion

By Melanie Dayasena-Lowe Nevion will enhance its compression offerings with the introduction of an advanced H.264 encoder and decoder solution. The VS904 provides H.264 4:2:0/8-bit and MPEG-2 4:2:0/4:2:2/8-bit capability with bitrates from 2Mbps to 80Mbps. A myriad of audio codecs are also supported including SMPTE302 pass through, MPEG-1 Layer II, HE-AAC, AAC-LC, and AC-3. In addition, the VS904 offers a low latency option of 250ms (end-to-end) while maintaining high visual quality.

At NAB Nevion will introduce the next generation in audio and data transport over IP/Ethernet networks. The VS906 provides a highly robust solution for contribution audio (analog, AES, and MADI) and data (E1 and T1) transport for

IP/Ethernet networks which can be deployed quickly, efficiently, and in a scalable fashion. It features state-of-the-art protection capability and provides less bandwidth intensive, standards-compliant Forward Error Correction (FEC).

Also on show will be the widelydeployed Ventura VS901-IED-GEP JPEG 2000 solution, which now provides mathematically lossless compression for HD-SDI transport supporting bitrates up to 800Mbps.

Using JPEG 2000 lossless filters, it can now achieve mathematically lossless compression with some video content, while with highly complex content, gains in video quality have been attained that previously weren’t possible. Even with complex content, the use of lossless filters results in up to 10dB of PSNR increase over the use of lossy filters at intermediate bitrates.

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Making several worldwide debuts is Tedial, who will present its range of software for broadcast ranging from Media Asset Management (MAM) and Hierarchical Storage Management (HSM) to Business Process Management (BPM).

Following in-depth feedback from customers, Tedial has redesigned the interface to its Tarsys MAM solution; further enhancing operator experience and providing additional features for cataloguing, editing and exporting media to thirdparty systems. The new GUI has been specifically designed to simplify collaborative working between professionals in any media enterprise and beyond.

To enable the implementation, monitoring and execution of production workflows in a full webbased environment, Tedial will unveil its Ficus Web Client. Delivering unique features including proxy editing followed by the

automatic creation of a high resolution version, the Ficus Web Client makes tasks such as segmentation of media as well as compliance editing possible. The new Ficus Web Client will further simplify business procedures and workflows.

With new support for closed captioning, Tedial can now provide support for closed captioning throughout the entire lifecycle of content and execution of media workflows.

Tedial’s ingest management tool provides full control of a wide range of VTRs and other devices. The latest version, which will be demonstrated on the stand at NAB, supports industry standard protocols for routers and features a powerful source scheduler application. This enables operators to schedule, access and plan work around any current or future ingest feed.

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Flexible networks media network, including integrated signal processing, at the cost of simple multiplexing point-toBy Melanie Dayasena-Lowe point products. With a network Manufacturer of realtime net- bandwidth of 50Gbps MediorNet works for video, audio and com- Compact provides enough capacity munications Riedel Communi- for bi-directional transport of 12 cations presents MediorNet HD-SDI signals, dozens of MADI Compact and the Connect AVB streams or Gb-Ethernet signals and solution at this year’s NAB. hundreds of audio channels or interMediorNet Compact is the cost com ports — ideal for streamlining effective and easy-to-use entry into the infrastructure of any mobile, the Riedel MediorNet world of studio or live event application. integrated media signal distribution MediorNet Compact provides and processing. It provides the flex- connectivity for up to 12 3G/HD/ ibility of a true realtime SD-SDI signals, four AES ports, two MADI interfaces as well as four analogue audio I/Os with highquality microphone preamps and a dynamic range of 117dB. Furthermore, MediorNet Compact features an interface for Riedel RockNet digital audio networks, two DisplayPort outThe Riedel suite of AVB products includes the AVB-108 G2 puts, three Gbit Client, the Connect AVB and Connect AVBx8 panel interfaces Ethernet ports

Riedel Communications

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and connections for serial data and GPIs. One Sync input and three Sync outputs complete the device’s interfaces.

MediorNet Compact is fully compatible with other MediorNet systems and supports all network topologies including ring, daisy-chain, star or any combination of these.

MediorNet Compact comes in a 3RU housing and features integrated broadcast-quality signal processing tools such as frame store synchroniser, embedder/ de-embedder, test pattern generator, on-screen dDisplay and timecode insertion at every port.

Connecting intercom panels over an IP-based LAN environments has been the dream of many system planners. But issues inherent to IP like latency, reliability and missing synchronisation prevented them from doing so.

Riedel’s AVB product line overcomes these issues and provides a realtime solution for professional intercom users. This allows for new approaches in system and facility design providing significant savings in infrastructure investments.

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There are two versions of the O-Focus DM, the Photo Set and the Cine Set, each with its own unique transmission ratio

Hand on the wheel OConnor

By Melanie Dayasena-Lowe OConnor, part of Vitec Videocom, a Vitec Group company, has announced the O-Focus Dual Mini, a compact, double-sided direct drive follow focus unit optimised for both still and cine-style camera lenses, to meet the needs of professional camera operators and assistants.

The precision gear drive of the main bridge is designed with a gear ratio of 1:0.75 so that 360˚ of input results in 270˚ of output (ie, rotation on the drive gear).

There are two versions of the OFocus DM, the Photo Set and the Cine Set, each with its own unique transmission ratio. The difference is accomplished by the use of two

different types of handwheels that interface with the main bridge to generate optimised transmission output. Changing the transmission ratio is as easy as changing a lens.

Without requiring tools, the handwheel(s) can be easily swapped out and the user is ready to shoot.

The Photo Set uses a new Hard Stop Handwheel, which has a transmission ratio of 1:1 (input: output).

When coupled with the O-Focus Bridge, it yields a follow focus industry first; a 1:0.75 transmission ratio. This translates to longer, more exacting focus pulls when using limited barrel rotation still lenses for digital cinematography, and allows more precise lens control than has previously been available for these camera configurations.

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Monitors for the show Wohler Technologies

By Melanie Dayasena-Lowe The new DVM-2443 MPEG video monitor is a cost-effective fourscreen monitoring system that offers broadcasters advanced test and measurement features in a standalone 2RU configuration.

The DVM-2443 MPEG video monitor incorporates four 4.3-inch 16:9 ratio LED backlit displays for flexible and at-a-glance monitoring of programme content from MPEG2/4 ASI streams, as well as PID table metadata, waveform, and vectorscope overlays, and audio-level meters.

Wohler will debut a new dual input SDI audio monitor that

offers high-performance monitoring of embedded audio in 3G/HD or SD-SDI streams. The 1RU unit de-embeds and provides metering and monitoring of any or all of the 16 audio channels in the selected 3G/HD or SD-SDI stream.

Also on display at NAB will be the new RMQ-230 quad split video monitor, which allows users to watch video and monitoring data in up to four display windows on a single 23-inch 1920x1080 LED backlight screen.

RMQ-230 series monitors accept 3G/HD/SD-SDI, analogue composite, and HDMI inputs in varying configurations tailored for different monitoring applications

and price points. In addition to allowing broadcasters to mix and match video input formats on a single screen, RMQ-230 monitors can display waveform and vectorscope while also providing audio de-embedding, audio metering of up to eight channels, UMD, timecode, and various markers. While the new Wohler LCD monitor can display video and monitoring features in four uniform areas, broadcasters also can configure the system as a single full screen or with one large and three smaller windows, the latter being ideal for simultaneous PC workstation screen and audio/ video confidence monitoring usage.

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RMQ-230 monitors can display waveform and vectorscope while also providing audio de-embedding, audio metering of up to eight channels

Thunder strikes at NAB Telecast Fiber Systems The Power-Cache server can archive source masters for production or entire projects for post production

Reporting your new status Cache-A

By Jake Young The Power-Cache Archive Server combines Cache-A’s noted appliance functionality with ultrafast disk array and networking for more expandability and accelerated archive and retrieval transfers.

Power-Cache features a separate SSD drive for its operating system to ensure peak archiving and restore performance and reliability at all times. It also offers greater flexibility for staging content, making duplicate tape copies and working with Cache-A Library and Expansion units.

The compact one-rack unit can control up to four LTO-5 drives with up to two concurrently at full speed. Library24 or Library48 options and a one-rack unit expansion chassis that can hold one or two LTO-5 tape drives can be connected in any combination of up to four tape drives.

To simplify the archiving of large projects, the Cache-A Library24 and Library 48 work with the Power-Cache or ProCache to automate archival workflows and provide the ultimate in system flexibility. Cache-A’s Library24 option can accommodate up to two internal tape drives and up to four tape drives on the Library48 option when driven from the new Power-Cache model.

Power-Cache is launching with Cache-A’s latest version 2.1 software release, which contains many new capabilities for all models. The top feature is the ability to queue www.tvbeurope.com M A R C H 2 0 1 2

jobs from multiple users or events, enabling any Cache-A device to be more responsive in demanding user environments. Cache-A systems now offer the ability to directly mount Apple file shares, improving performance and convenience in Mac environments.

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By Melanie Dayasena-Lowe The new Thunder system from Telecast Fiber is a cost-effective, compact, and versatile fibre-optic solution for transporting audio, intercom, and data in mobile production, broadcast infrastructure, and live sound applications. Using just one or two strands of fibre and just 1RU of space, the scalable Thunder system transports up to 80 bi-directional channels of audio, data, and/or intercom signals, configurable in up to 10 eightchannel blocks. Alternatively, rows of 16 XLR and DB9 connectors

New members join the Thor family of fibre optic extenders

can be added to provide traditional audio, intercom, and data interfaces when those connectors are preferred. In addition, the system can be equipped with a portable, throwdown ‘Stage Box’ offering

32 analogue inputs, eight analogue outputs, and two intercom channels in a hardened, ruggedised enclosure.

Also new is the Terrapin TRD6, a compact, bidirectional throwdown device that features both a fibre optic (ST) input and a copper (BNC) input, as well as a fibre optic output (ST) and six copper (BNC) outputs. A single push-button operation makes it easy to switch between four modes, permitting the Terrapin TR-D6 to act as an HD/SDI distribution amplifier with six BNC outputs and a fibre optic output, a fibre optic transceiver with six BNC outputs of the received signal or the local copper signal, or as an optical repeater with a sixoutput BNC tap.

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Shared resources: Unveiling new features and enhancements to its Mosart systems, Mosart Medialab will also present the brand new Mosart Multi-Studio Solutions newscast automation system, writes Melanie Dayasena-Lowe.

Mosart Multi-Studio Solutions is a fully featured Mosart newscast automation system designed for the multi-studio broadcaster, providing highly efficient, streamlined sharing of resources and coordination across several control rooms. Scarce resources such as video server ports and graphics engines can be shared for optimal use of infrastructure, and workflow for journalists and production staff is optimised through template sharing and an automated template database, making it possible to create templates that can be re-used in multiple control rooms.

Mosart Newscast Automation 3.0 includes a range of new features and functions, including a redesigned graphical interface with full user configurability. New for 2012, Mosart 3.0 now also includes interfaces with Harris Nexio and Grass Valley K2 video servers, Calrec and Stagetec audio mixers, Casper, Xpression and Pixelpower graphics, Brainstorm Virtual Studio and Camerobot systems. The Mosart open-systems compatibility is extended with new support for Annovaâ&#x20AC;&#x2122;s OpenMedia and Octopus in addition to ENPS, iNEWS, Dalet News, and NorCom. N1820

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Yellobrik syncs for broadcast LYNX Technik

By Melanie Dayasena-Lowe Provider of modular interfaces LYNX Technik will be exhibiting its range of broadcast quality HDMI conversion yellobriks.

The companyâ&#x20AC;&#x2122;s CHD 1812 â&#x20AC;&#x201D; HDMI to SDI Converter + Frame Sync (3G) unit supports SD/HD/3G-SDI formats, provides 3D support and includes an integrated Frame Synchroniser. A flexible reference input allows the unit to be crosslocked between formats. With this brick, facilities can convert HDMI to high definition or SDSDI such as sources coming from broadcast video cameras as well as PC and MAC computers.

The CHD 1812 converter supports SD/HD/3G-SDI formats

A key feature of this yellobrik is the built-in frame synchroniser, which eliminates the need to

Manage your own CDNs Broadpeak

By Jake Young The OperatorCDN solution offers operators a way to control the quality of content and increase revenue by managing their own content delivery network (CDN) rather than working with a third-party CDN service provider. Broadpeak will introduce this solution at NAB. Based on the Broadpeak BkM100 Mediator CDN management platform, it provides an advanced statistics display tool referencing all the www.tvbeurope.com M A R C H 2 0 1 2

sessions per content, per region, and per format. Operating a wholesale content delivery network through the OperatorCDN allows a network service provider (NSP) to offer a CDN service to local content owners, who can negotiate the price directly with NSPs. Broadpeakâ&#x20AC;&#x2122;s solution generates new revenue streams for NSPs carrying a growing share of local content.

It also increases Quality of Experience (QoE) and, as a result, revenue, as well as offering a new geo-content replacement option that replaces content according to

purchase a separate and expensive 3Gb frame sync unit. It is an ideal solution for any application that requires a fully synchronised SDI input from an external asynchronous HDMI source.

The integrated frame synchroniser solves a common problem in broadcast and video HDMI to SDI (PC and MAC) conversion applications. In a production environment in the US, a 59.94Hz frame rate is typical for SDI video applications and often, an HDMI output runs at 60Hz. The integrated frame synchroniser adjusts for this minor difference, providing users with a perfectly frame synchronised 59.94Hz SDI output from a 60Hz HDMI source.

N4433 the current geographical location of the subscriber.

The CDNâ&#x20AC;&#x2122;s servers address all types of networks with both live and on-demand applications; formats include Microsoft Smooth Streaming, Apple HTTP Live Streaming, Windows Media streaming, and Adobe Flash RTMP. Broadpeak will also unveil the new +screensCDN (pronounced â&#x20AC;&#x2DC;morescreensCDNâ&#x20AC;&#x2122;) solution, a streaming system that manages bandwidth and storage usage, increases QoE, and eliminates churn.

The +screensCDN also features content recovery mechanisms to preserve QoE for live and VoD content delivery (RTP retry).

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UQC, iCR and Bruce’s Shorts training AmberFin

By Jake Young AmberFin is to unveil the latest version of its Unified Quality Control (UQC) solution and the next phase of Bruce’s Shorts training programme, as well as new multi-transcode capabilities for iCR at NAB 2012.

Built around user-feedback, AmberFin’s latest version of UQC (a solution for content, ingest and transcoding operations) will feature an improved user experience

Bruce’s Shorts: The popular broadcast-IT-workflow training programme

including third-party plug-ins to add new levels of quality control, integrated ingest capabilities and a streamlined workflow interface.

UQC combines an automated process with a human touch, enabling more efficient and effective decision-making and levels of confidence in the file creation and transformation processes.

The file-based workflow company will also unveil new softwarebased multi-transcode capabilities for iCR that will enable users to run up to eight different transcode nodes simultaneously

Swift swing through file formats Softel

By Melanie Dayasena-Lowe The Softel team will showcase its full range of feature-rich closed captioning, and video description software, which allows content producers, broadcasters and network operators to quickly and efficiently comply with the latest FCC Twenty-First Century

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Communications and Video Accessibility Act (CVAA) mandates for content delivered over the internet.

Softel offers Swift, a range of closed captioning and video description solutions that enables the creation, repurposing, encoding, transcoding, insertion and transmission of closed captions in a wide array of file formats while increasing reliability and productivity.

Other highlights at the show include Swift Create, a sub titling and captioning software and workstation that allows the preparation and repurposing of subtitles and captions.

Swift Create supports all formats of Open, Closed and DVD/Blu-ray subtitles and closed captions.

Softel Swift vTX enables broadcasters to repurpose

The Softel team will showcase its full range of feature-rich closed captioning, and video description software

content regardless of file format.

It allows users to switch easily between standard and high

on a single PC, thereby dramatically reducing the cost per channel while obtaining even better use of their PC hardware.

In addition AmberFin will announce the next phase of Bruce’s Shorts, a free technology-based training programme hosted by Bruce Devlin, AmberFin’s CTO and co-author of the MXF format.

The next phase of Bruce’s Shorts will include an enterprise version as well a series of new hot topics including XML basics, streaming basics and workflow troubleshooting skills. The new enterprise version will allow organisations to sign up their workforce for tailormade broadcast IT workflow training videos and webinars.

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definition formats to facilitate multiplatform and worldwide distribution. Swift vTX supports a large array of files, wrappers and playout formats, allowing the integration of subtitled or captioned content across a wide range of media servers and editing solutions.

Swift TX from Softel is a flexible subtitle/caption management and transmission platform that reduces workflow com plexity and increases reliability and productivity.

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More channels, more media Chyron

By Jake Young Graphics provider Chyron will showcase several products including its Channel Box2 branding and promo system.

Version 4.6 of the channel branding system features 2D/3D design with a complete data acquisition toolset for all branding applications. Built on Chyron’s Lyric technology, Channel Box2 allows users to access and publish data including RSS feeds, traffic, financial, weather, elections, tickers, promos and snipes. Its software introduces an asset viewer that allows an operator to validate, package, and query assets, as well as new data binding tools for improved panel control.

Also demonstrated at the show will be MediaMaker. The technology integrates Chyron graphics with file-based workflows, giving

Channel Box allows publication of RSS feeds, traffic, financial, weather, tickers and promos. It also features data binding tools

video editors and graphic designers access to the same graphics and animations that are being used live on the air. MediaMaker also takes producer-created

graphics from a wide range of newsroom systems for repackaging into the edit suite.

Desktop Multi-Viewer gives any operator the ability to monitor

Leadership quality in view Net Insight

By Melanie Dayasena-Lowe At NAB 2012, Net Insight, a provider of efficient and scalable transport solutions for media, IP and broadcast networks, will demonstrate its MSR functionality that provides service-centric network management, QoS (Quality of Service) Enhanced

Links and lossless routing. This functionality enables Net Insight to deliver 100% QoS and enhances the service integrity and performance of IP networks.

At the show, Net Insight will launch the Nimbra 310, a compact one-box access media switch router for true multi-service transport of media and data services, targeting the increasing demands for transport

of realtime sensitive media and data applications with guaranteed QoS. Applications range from highend video services such as studio production and contribution, to broadcast distribution in IPTV/ cable TV or DTT/mobile networks.

Due to its attractive pricing it is well suited for use as a remote access for video contribution or in DVB-T/T2 distribution networks

and control multiple remote desktop systems simultaneously from a single desktop within a single application. The software-based application displays each system in a view only grid without affecting any on-air devices.

Also on display will be Axis World Graphics, claimed to be the world’s only cloud-based graphics creation system designed specifically for broadcasters. It allows users to create templates in Chyron’s Lyric PRO 8.1 software, further streamlining integration within the broadcaster’s existing workflow or within Chyron’s BlueNet workflow.

Chyron will also demonstrate BlueNet, a solution that addresses broadcasters’ requirements for streamlined end-to-end graphics workflows. In fast-paced news or sports workflows that require many complex graphics, BlueNet minimises the cycle time from creation to air.

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and fills a gap between simple video IP media converters and the higher end MSRs for aggregation/core use.

Preemption in the Nimbra MSR network enables the operator to have complete control over which services can be preempted, and guarantees that the establishment of one video service does not affect existing video services.

It will only affect services that the operator has explicitly configured as preemption candidates in the case of network congestion.

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NEWS IN BRIEF Mistika reaps the 3D awards Four of SGO’s Mistika-related projects have scooped awards from the International 3D Society in Hollywood.

The winning projects include: The Animated 3D Feature Award for The Adventures of Tintin, Paramount Pictures, which was post produced using Mistika at Park Road Post in New Zealand; A special ‘Jury Prize’ for Excellence went to PINA, Neue Road Films, post produced using Mistika by Christian Troeger and Sven Heck, based in Germany; The Short 3D Motion Picture/Narrative award for The Foundling, RSA Films, which was post produced by David Cox using Mistika at The Framestore in London; and The Electronic Broadcast Media (Television) Award – Live Sports for the Champions League Final, BSkyB, post produced using Mistika’s technology in the UK at BSkyB. www.sgomistika.com

zeebox at SMPTE The Society of Motion Picture & Television Engineers (SMPTE) has announced that Anthony Rose, the co-founder and CTO of the connected TV startup firm zeebox, will moderate a panel on the content of the future at the SMPTE Forum on Emerging Media Technologies from 13-15 May in Geneva and produced in collaboration with the European Broadcasting Union (EBU).

Rose will lead The Forum panel ‘Content of the Future,’ which will focus on the kinds of content people will want — and be willing to pay for — amid the rapid convergence of broadcast, internet, wireless, and social media technologies. www.smpteforum.org

Intercom system for Broadcast Networks Clear-Com

By Jake Young Broadcast Networks has selected the Clear-Com Encore partyline intercom system for its new Land Rover Live Production Vehicle.

Broadcast Networks opted for the partyline system for its ability to adapt to the changing uses of the truck, which include SNG, audio, film and live production. It will be used primarily for communications between the OB van staff members within the truck and in the field.

“The Clear-Com partyline system is able to interface with and support the maximum number of cameras that we can use in the vehicle. It has everything we need in a convenientsized package,” said Paul Wallis, sales director for Broadcast Networks. “We’ve designed a cutting-edge 4x4 live production vehicle, and we needed to have intercoms that won’t let us down during productions.”

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TVBEU R O PE N A B N E W P R O D U C T P R E V I E W

Dolby battles it out for post-CRT monitor crown and presents new field calibration service

Top professional references Dolby

By Melanie Dayasena-Lowe The Dolby Professional Reference Monitor has recently been used on a number of high-profile projects, including David Fincher’s Girl With the Dragon Tattoo, Superbowl commercials such as Honda’s Ferris Bueller’s Day Off sequel as well as commercials for Lexus and Suzuki and the upcoming film Mirror Mirror.

Filling the gap left by the CRT, the Dolby Professional Reference Monitor delivers true blacks, exceptional dark detail, high contrast, wide dynamic range, and precise colour rendering. It is one of the most consistent, accurate reference monitors for creating any type of colour critical content.

Dolby’s patented dual modulation technology is the core behind the 42-inch Grade 1 monitor’s

The Dolby Professional Reference Monitor delivers true blacks, accurate dark detail, high contrast, wide dynamic range, and precise colour rendering

ability to display unprecedented black levels, along with precise colour accuracy at all luminance levels, and also a wide dynamic range. It supports native viewing of both 10-bit and 12-bit formats.

As advanced 12-bit high dynamic range workflows replace existing 10-bit workflows, the Dolby monitor will be capable of displaying

the advanced high-dynamic range output of cameras, colour grading systems and other production and post production devices.

At NAB, Dolby is announcing a new field calibration service.

Dolby is providing post houses with an easy way to ensure they can maintain the most precise colour accuracy and true black

levels at an affordable price.

Software updates to the Dolby Professional Reference Monitor introduced at NAB include Nucoda 3D LUT support, additional high frame rate support, expanding support for the MPAA’s ACES workflow, and releasing several user LUTs. Dolby will show the growing support for Dolby Digital Plus and its capacity to enable the delivery of authentic, high quality audio experience across any device and any distribution workflow, including broadcast, overthe-top, online and on-demand.

The Dolby Digital Plus platform includes scalable and bandwidth efficient multi-channel coding designed for bandwidth constrained delivery networks, in addition to pre and post-processing technologies such as loudness control and device playback sound optimisation.

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New breakthrough for MAM-driven workflows Dalet

By Jake Young Dalet Enterprise Edition and Dalet’s production workflow solutions will be showcased at NAB 2012. The company’s MAM platform unifies disparate systems, improving workflow productivity and facilitating content distribution to broadcast, web, VoD and mobile platforms.

Dalet Enterprise Edition will be shown in combination with the company’s tailored production suites for news (Dalet News Suite), sports (Dalet Sports Factory) and radio (Dalet Radio Suite). The next major version of the Enterprise platform will be announced for year-end release.

Dalet will be demonstrating several integrated modules for Dalet

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Media Life, which is focused on workflows for programme preparation, MAM for production and archives. These modules are focused on the many steps involving media transformation and content enrichment in the production chain.

“Our MAM offering transforms multisystem linear workflows into a fully integrated, federated and centralised workflow,” said Kevin Savina, director of product management, Dalet. “We’ve integrated tools in Dalet Media Life that include ingest, QC, clip creation, storyboarding, subtitling and closed captions. Tailored work-facilitating tools are also available for our news and sports solutions.”

Several features in the current Dalet product line will also be shown.

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Q-Ball rolls into the US: The latest version of Camera Corps’ remote-controlled camera, Q-Ball, will be launched into the US market at NAB, writes Jake Young.

Now in full production, Q-Ball Pre-Set allows 18 shot settings (each comprising pan angle, tilt angle, zoom and focus) to be stored prior to a live or realtime recorded shoot. “Many operators have requested the ability to capture and recall Q-Ball head settings,” remarked Camera Corps Founder and Managing Director Laurie Frost. “With over 200 systems now in operation around the world, we recognised that this feature was well worth developing both for customers and for our own direct involvement in televising reality shows and major outside broadcast events.” Pre-Set enhances the efficiency of a production team by allowing detailed settings to be rehearsed ahead of a live event. This is particularly useful when covering major sports events or public concerts. All settings are saved in non-volatile RAM, so remain safely stored even if the Pre-Set system is powered down between rehearsal and actual performance.

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The Starter Pack is aimed at DSLR users who want to take their footage to new levels by adding sweeping crane shots to their mix

DSLRs taken to new heights Polecam

By Melanie Dayasena-Lowe Showing for the first time in the US in its final form, Polecam’s Starter Pack is aimed at DSLR users who want to take their footage to new levels by adding sweeping crane shots to their mix.

The PSP weighs in at just 33lbs, comes in a specially designed foam insert designed to drop straight into a Pelicase (model 1770) and is compatible with the latest DSLR and lightweight video cameras.

Polecam cranes were used as part of the kit the BBC took with it to the Arctic to film the November BBC1 hit series Frozen Planet.

Polecam’s Managing Director Steffan Hewitt said: “Whether you’re shooting a high-end wedding or filming BBC’s Frozen Planet, a corporate film about fork-lift trucks or winter sports, the Starter Pack will give you professional quality footage at an affordable price.”

He added: “We’re excited to be bringing the Starter Pack back to NAB as a finished product. We’ve done all the tweaking we needed to over the last year — and now it’s ready for action!”

The Polecam team will also be demonstrating the newly developed Wire Strut System (dubbed Horns and Tails by Polecam USA’s Greg Salman), which is designed to give added stability to the pole while still retaining the crane’s trademark flexibility and versatility.

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www.tvbeurope.com M A R C H 2 0 1 2

Observer: more than just logging Volicon

By Melanie Dayasena-Lowe A new logging and monitoring system and new loudness monitoring module by Volicon will be shown at NAB this year. The newly enhanced version of the Observer TS MPEG Transport Stream logging and monitoring system accommodates an even broader array of inputs, including ASI, QAM, 8-VSB, and DVB-T MPEG TS interfaces; improved system density for HD and SD programmes; and simpler ease-of-use interfaces.

The system allows users to record (log) MPEG transport streams continuously, and monitor the A/V content including BS.1770-2 loudness, NAVE, and other correlations of data and video. Observer also allows users to remotely stream and export content to all stakeholders in the media enterprise. Because Observer TS logs the full transport stream, the user is able to go back an hour, a day, a week, or a month to examine and/or export content and effectively eliminate chronic issues with service handoffs.

With commercial and programme loudness being legislated worldwide, broadcasters, networks, and video service providers need to be able to monitor loudness

Express Box and a hybrid Glensound Electronics

By Melanie Dayasena-Lowe Glensound will unveil two product launches, the Express Box commentary system and a digital hybrid and mobile unit.

The Express Box is a two position commentary box for those requiring a cost effective system without compromise. Two identical full commentary positions each have their own mic inputs with selectable 48v phantom power and compressor/limiter. There are two common talkback circuits available to each commentator along with four common inputs and a sidetone control for headphone monitoring.

Also new is the GS-MPITBU, a 1U 19-inch rack featuring a digital POTS hybrid alongside a GSMPI005 Broadcastersâ&#x20AC;&#x2122; Mobile Phone.

There is a single input and output on the rear panel that is switched via a front panel toggle switch to be using either the phone or the hybrid.

The GS-MPI005 part of the system is a quad band 2G GSM phone enabling broadcasting specification interfacing to the mobile phone network. The audio is RF shielded so is unaffected by the RF of the antenna.

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in realtime, as well as provide an affidavit of compliance for regulators and advertisers. Equipped to measure AC3 dialnorm levels and compliant with ITU BS.1770-1 and BS.1770-2, ATSC A/85 RP 2011, CALM Act

(FCC Report 11-182A1), EBU R128 (Tech 3341/2/3/4), and ARIB TR-B32, Voliconâ&#x20AC;&#x2122;s Observer system offers a powerful combination of logging and loudness measurement.

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The Observer system allows users to record (log) MPEG transport streams continuously, and monitor the A/V content

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TVBEU R O PE N A B N E W P R O D U C T P R E V I E W

Robotics track well Ross Video

By Melanie Dayasena-Lowe This year Ross Video will present new features and additions in

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each product line as well as the introduction of Ross Robotics.

Ross’ Vision Series high-end production switcher family continues to evolve with v15 software that will be showcased at NAB

Carbonite C1M: a 1 MLE production switcher with 24 direct access source buttons

2012. This new version extends the rich integration between Production Switcher, XPression Graphics system and the OverDrive Automated Production Control system. Sports and News workflows will be demonstrated that previously would have required multiple CG channels across multiple platforms, streamlining production tasks without compromising that perfect on-air look. Also at the show will be new Vision control panel modules that accommodate additional external device control. Vision offers tremendous operational flexibility — cost effectively, making it the smart choice for mid to large production systems.

The company’s new mid-sized switcher line-up adds the new Carbonite C1M, a 1 MLE production switcher with 24 direct access source buttons. Version 6 software will also be demonstrated, bringing several important enhancements to this highly successful product. New features will include expanded MultiViewer capabilities, providing users with far greater monitoring flexibility and unprecedented control over screen layouts and labels.

In addition audio playout capabilities have been added to the Media Stores for playout with animated transitions. This version will include many other valuable features and be available to all existing Ross Carbonite users via a free download from the Ross Video website.

NAB 2012 will also see the preview of v12 software for OverDrive. Version 12 completes the set of redundant options, which include: HotSwap to switch between OverDrive servers, DeviceSwap to manage sync rolling of video servers, and FrameSwap allowing two Vision switchers to be operated synchronously from a single OverDrive system. Additionally, support has been added for Traditional Chinese text, .5MLE Vision switcher models and device status indications in GlobalView. Also featured this year will be the QuickTurn new media workflow, which enables concurrent creation of web and broadcast streams.

Realtime motion graphics XPression has gone through some major enhancements. With the introduction of v4.0, users can now load multiple projects simultaneously, or even single graphics, without disrupting onair operation. In addition, in a MOS newsroom environment XPression can now apply different styles to the same graphics in a rundown.

In other news, last month Ross Video acquired FX-Motion, which brings a whole new product line to the Ross booth. Furio Robotic Camera Systems uses a unique absolute positioning system and rail-based tracking along with lift and PTZ head. It is ideally suited to automated studios as well as virtual set and augmented reality applications.

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TVBEU R O PE N A B N E W P R O D U C T P R E V I E W

G&D KVM DVI systems Modular solutions designed to grow with you

FLEXXITY Output page rendering QuickTime ProRes files

FLEXXITY for Mac: Software fine-tuned Digital Film Technology

By Jake Young In addition to supporting a Linux workflow, FLEXXITY for Mac provides the post software tools for dailies, playout, and archive applications for facilities with an existing Apple infrastructure.

Visitors to the DFT NAB booth can receive a demonstration of the new FLEXXITY v1.5 software, and receive a hands-on experience for how it can apply to their specific post production workflow.

Whether working with film or digital, onset dailies, post dailies, playout and mastering, or archive workflows, FLEXXITY offers a specialised software suite that aggregates a number of key functions in one software interface. FLEXXITY helps facilities maximise their value and delivery of their content by streamlining audio ingest, image ingest, audio/video

synchronisation, metadata logging, grading, and playout/file generation. It runs on Linux or Mac, making it an ultra-stable, high performance, and high-throughput post production software tool for a variety of workflow pipelines.

The scale-up flexibility of FLEXXITY allows users to implement a software system that is fine-tuned to their specific needs from single-user seats, to multiuser workgroups.

FLEXXITY Dailies can be used as an on-set or post tool for both digital and film dailies. It provides native support for ProRes, QuickTime, MXF and DPX files as well as most digital cinematography camera formats. FLEXXITY Dailies performs simultaneous image and audio synchronisation, timeline editing, colour correction, image scaling as well as layout and file generation of many different file formats.

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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

Extreme first for ultra-motion: At NAB, I-MOVIX will show the brand-new X10 system, claimed to be the industry’s first live ultra-motion solution, to deliver continuous extreme slow-motion in full high definition at a groundbreaking 300fps (or 600fps in 720p), writes Melanie Dayasena-Lowe.

Developed in partnership with EVS, the X10 system is used with an EVS XT3 production server under Multicam LSM control. It smashes the performance ceiling of existing continuous super-slow motion systems, which are restricted to three times slower than real time, or 75fps. The X10 system is designed for continuous slow-motion at frame rates far in excess of existing systems. It provides a consistent and familiar user interface and controls that any broadcast crew can use immediately without any special training.

I-MOVIX will also show the benefits of the new SprintCam Vvs HD 1.2 software release.

This updated version of the SprintCam Vvs HD technology features refined functionality inspired by feedback from the community of SprintCam users.

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TVBEU R O PE N A B N E W P R O D U C T P R E V I E W

NEWS IN BRIEF Christmas at Vatican VDM Records completed the recording of one of the Vatican’s most memorable and notable concerts of 2011 on 21 December using Merging Technologies’ Pyramix MassCore workstation as the primary recorder. Using 2 x MADI coaxial PCIe Mykerinos cards, Igor Fiorini, the lead engineer, was able to record 96 inputs over the hours of performance at the Christmas Concert 19th Edition.

Once the recordings had been finished, Fiorini then used the same Pyramix system to edit and mix the entire show for an upcoming DVD and CD release.

Using Pyramix’s integrated mix engine and CD mastering tools allowed the whole project to stay inside the Pyramix application from beginning to end. www.merging.com

Crystal Vision in BBC upgrade BBC Studios and Post Production has upgraded Studio Three at Television Centre in London with Crystal Vision supplying 133 of the interface boards purchased by ATG Broadcast. The studio is the second to be designed for full 1080p 3Gbps HD-SDI. The upgrade allows for 1080p production with minor changes to the vision monitoring and camera channels. A total of 25 synchroniser boards were purchased for the new design. This included 22 of Crystal Vision’s multifunctional synchroniser SYNNER-E 3G. Eight of Crystal Vision’s Up-Down-A 3G converters and six of the Up-Down-AS 3G synchronising converters are being used for routing any conversion needs on the matrix. www.crystalvision.tv

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The MRD 5800 will decode and output Full HD 1080p60, ensuring compatibility with video formats in use today

Decoding video formats Sencore

By Melanie Dayasena-Lowe Making its debut is Sencore’s upcoming MRD 5800 receiver/ decoder, which supports today’s highest quality contribution video feeds and provides full H.264, 4:2:2, and 10-bit decoding. In

addition, support for up to eight audio PIDs gives operators the flexibility to tackle all of their multi-language, multi-channel, and multi-format delivery challenges.

The MRD 5800 will also decode and output Full HD 1080p60 video, ensuring compatibility with popular video formats in use today and well into the future.

The company will also introduce OTT adaptive stream monitoring enhancements to its VideoBRIDGE line of probes and software that will help operators ensure desired QoS from the point of origination, through the delivery network, and onto the customer-premise end viewing devices. VB owners will be able to monitor quality of all popular

Archiving the next generation SGL

By Melanie Dayasena-Lowe At NAB 2012 SGL will continue its rollout of next-generation archiving technology by announcing its support for writing AS02-wrapped files (part of the MXF standard) to LTFS tape. SGL’s support for LTFS provides instant content portability between systems and streamlines file-based workflows.

Users can now benefit even further as AS02 files written to LTFS tape allow the simple transportation of primary video/audio content and the related metadata. As well as demonstrating this important

development in current archive practices, SGL will also highlight an end-to-end Avid InGame workflow using its FlashNet archive management software solution.

Making its worldwide debut at NAB is the support for AS02/LTFS, a new user interface and the endto-end Avid InGame workflow.

SGL is continuing to drive interoperability forwards with LTFS and AS02. The nature in which LTFS describes the content held on tape dovetails with AS02, which like LTFS is self-describing. Although LTFS describes the files that are written to tape it doesn’t describe the content itself. Now, when SGL FlashNet writes AS02-wrapped

files to an LTFS tape, the user has all of the requirements to transport video, audio and metadata anywhere, and to ensure that the receiving system has all the information about those files, ready for both playout and archiving.

Demonstrating end-to-end Avid InGame workflow: SGL will provide a full demonstration of Avid InGame, a complete video production and archive solution for sports broadcasters. The combination of Avid Interplay, SGL FlashNet archive management software and the high-density Spectra T50e data tape library enables time-saving browsing of archived assets.

N1520

adaptive bit rate streaming protocols by adding licenses to their existing VB probes, by including the OTT options with new probe installations, and by installing VB software modules directly onto multiscreen client devices. The new options will monitor every aspect influencing the multiscreen viewer experience including extensive protocol breakdown, peak, average, and total bandwidth utilisation, and advance packet loss and jitter metrics.

The Sencore TXS line of MPEG-2/4 transcoders has been updated for 2012 with must-have features, including audio transcoding and simultaneous PiP (small format video) generation. As always, the TXS delivers a flexible, high-density, high-quality package providing multiple channels of transcoding or transrating in a 1-RU chassis.

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AViTA aids operator comfort Hi Tech Systems

By Melanie Dayasena-Lowe The AViTA production control system from Hi Tech Systems will be displayed at NAB 2012 including the launch of a new sports application. The com pany has developed a unique hybrid control system using the very latest touchscreen technology and modular hardware panels to allow multiple users to access multiple server ports over a network.

Tom Favell, managing director, said: “AViTA takes Hi Tech’s control expertise right to the heart of production workflow, providing financial and operational benefits to our customers.” Launched at last year’s NAB, AViTA is now installed in a number of key broadcasters who use it for news playout and live studio productions.

NAB 2102 sees the introduction of AViTA Sports — a specifically designed software application and an associated T-Bar hardware panel module for accurate slow motion replay.

AViTA is a live production system that is designed to capture, edit and playout media from multiple sources very easily and quickly — for example pressing the ‘record’ button instantly initiates the creation and recording of a clip. Using more traditional controllers, the clip would typically need to be created and named before recording commenced, potentially missing vital seconds from the incoming source. The user interface is clear and uncluttered with menus that slide in and out of view as required and the system is built to allow easy conversion to languages other than English.

N5020 www.tvbeurope.com M A R C H 2 0 1 2

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TVBEurope is the proven European market leader in television broadcasting technology analysis. Through our monthly magazine, electronic newsletters and constant news presence at www.tvbeurope.com we publish more original, journalist-written content every month than all our competitors combined.

EDITORIAL CALENDAR 2012 MONTH

ISSUE FOCUS

TVBEurope leads the market in discussion of digital

April

NAB Show Issue

Media Asset Management

workflows for acquisition, operations, post, playout and delivery â&#x20AC;&#x201C; with a business-led approach that is insightful, readable and relevant.

May

London Olympics Countdown

Broadcasting in the Cloud

June

NAB Wrap-Up

In addition to the Issue Specials outlined, in every

July

London Olympics Issue

August

IBC Product Preview

September

IBC Show Issue

October

Best of IBC Editorsâ&#x20AC;&#x2122; Awards

November

IBC Wrap-Up

December

Media Asset Management

issue our three established core sections anchor TVBEuropeâ&#x20AC;&#x2122;s reporting of the television broadcast workflow. News & Analysis delivers headlines, context and explanation of the big stories. The Workflow is our bedrock coverage of end-user moves to HD, tapeless operation, an IT infrastructure and multi-platform delivery. And The Business Case is still unique to TVBEurope: every issue, an examination of a vendorâ&#x20AC;&#x2122;s business and how it impacts the European marketplace.

ISSUE SPECIAL

Archiving & Storage Reference Monitor Shoot-Out IT Broadcast Workflow Wrap-Up 3D Production Close-Up Audio For Broadcast Tapeless Video Recording News Broadcast Workflows

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TVBEU R O PE N A B N E W P R O D U C T P R E V I E W

Archiving strategy A in motion

new ViBE hits NAB

Thomson Video Networks

DIVArchive V7.0: Now for a broader array of applications

Front Porch Digital

By Jake Young The products highlighted at NAB illustrate an archive that is open, active and connected, said Michael Knaisch, president of Front Porch Digital.

LYNX is an integrated, cloudbased environment for managing assets on a global scale, from any device and any location. It offers media organisations an outstanding range of benefits in adaptability, on-demand scalability, capital cost reduction, and simplified maintenance.

Front Porch Digital DIVAdirector is an easy-to-use and

cost-effective media asset management (MAM) system that enables operators to search, locate, and retrieve stored media assets directly from their desktops using their web browsers. Front Porch Digital will introduce DIVAdirector v5.0, with a host of new features for even easier, more versatile media asset management. V5.0 boasts HTTP-based adaptive streaming support, whereby client internet browsers can seamlessly and dynamically switch between different video and audio bit rates depending on available network conditions and CPU power. The resulting user experience is one of reliable, consistent playback without stutter, buffering, or last mile congestion. In addition, DIVAdirector V5.0 offers portability across operating systems (Windows 7, Mac OS), browsers (Internet Explorer, Safari, Chrome, Firefox), proxy formats (WMV & H.264), and an increased number of concurrent users.

Front Porch Digital will also showcase its DIVArchive v7.0 content storage management (CSM) system (pictured). New features and capabilities make it ideal for a broader array of applications. With its support for complex DPX packages, DIVArchive V7.0 enables videolike operations on film-carried content, making it desirable for film production and post production applications.

SL3815

By Melanie Dayasena-Lowe For the 2012 NAB show, Thomson Video Networks is introducing the ViBE CP6000, a new dedicated high-performance platform for contribution; the ViBE EM4000, a powerful new multichannel HD encoder; and a new IP-enabled version of the Amethyst switcher. Thomson Video Networks’ booth will

also feature the ViBE VS7000 platform for OTT and convergent TV services, together with solutions for MPEG playout and ATSC MDTV. The ViBE CP6000 is a dedicated multiformat, high-performance platform for contribution of live video. With the product’s modular implementation of the optimal MPEG-4 contribution codecs, an unprecedented eight HD channels per 1RU chassis, and industryleading compression performance,

The ViBE EM4000 delivers valuable energy savings and reduces the complexity of head-end infrastructure

New multifunctional interface

TANDEM 310: Analogue and digital piggybacks can be mixed

Crystal Vision

By Jake Young

High Performance Broadcast LCD Monitors HD2line PRO represents the newest generation of Broadcast LCD Monitors from Penta, utilizing state-of-the-art p g hardware combined with the video and audio processing most precise LC display technology available today.

The latest interface products will be shown at NAB 2012. The new modules are designed for embedding, synchronising, up and down converting and delaying 3Gbps, HD and SD signals as well as transmitting them over longer distances.

TANDEM 310 is a combined embedder and de-embedder for

3Gbps, high and standard definition sources with the ability to embed and de-embed a mixture of up to eight AES and analogue audio channels at the same time, by fitting two audio piggybacks. It includes audio routing, audio and video delays, audio and video processing and integrated fibre I/O. TANDEM 310 can also be optionally fitted with a Dolby decoder top board, which includes a

Serving up storage Sonnet Technologies

NEW 55" Displays 17" 17 to 55" 55 Penta Studiotechnik GmbH Ludwig-Erhard-Straße 10a, 85375 Neufahrn · Germany Fon: +49 (08165) 9533 - 0, Fax: +49 (08165) 62300 E-Mail: sales@HD2line.com, www.HD2line.com

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the ViBE CP6000 is a substantial advance for contribution applications. MPEG-4 and MPEG-2 codecs can be enabled as required with software licensing, and the high-density support simplifies the infrastructure and saves energy costs. The ViBE 6000’s support for XMS control and telecom transmission streamlines large deployments. The ViBE CP6000 is available for commercial deployments starting in June 2012.

SU3012

By Melanie Dayasena-Lowe Provider of storage systems and media readers Sonnet Technologies will be demonstrating its latest innovations in direct attached and shared storage and how these can deliver dramatic new efficiencies for all types of mobile and studio broadcast workflows.

Sonnet’s Xmac mini Server (previously known as RackMac mini Xserver) 1U rackmount

PCIe 2.0 expansion system with two Thunderbolt Ports mounts a Mac mini inside a specially designed enclosure with a 150W power supply, and an installed Gigabit Ethernet card. “Our new Xmac mini

stereo down mix from 5.1 surround sound.

SYN-A 3G is a video frame synchroniser for 3Gbps, HD or SD sources containing up to four groups of embedded audio, which can synchronise sources timed to a different reference or correct any processing delays. It can synchronise mixture of linear AES and Dolby E in same audio group and will automatically align Dolby E. It includes crosslocking, flexible video and audio delays, AFD insertion, video proc-amp, tracking audio delay, audio routing and resampling and integrated fibre I/O. AVDELAY 3G is an audio/video delay for correcting large lip-sync errors on incoming 3Gbps, HD or SD signals containing up to four groups of embedded audio that have a big timing difference between the video and audio paths, often caused by sending the video and audio signals back to the broadcast station by different methods.

N1815 Server PCIe 2.0 expansion system packs a lot of punch into a 1U rackmount with features such as dual Thunderbolt ports and dual x16 (x4 mode) PCIe 2.0 slots — extending powerful expansion and connectivity capabilities to Mac mini users,” revealed Robert Farnsworth, CEO of Sonnet Technologies.

SL8713

Xmac mini Server mounts Mac mini inside a specially designed enclosure

www.tvbeurope.com M A R C H 2 0 1 2

Making a Play for sports Orad

By Melanie Dayasena-Lowe Among its NAB line-up, Orad will present its state-of-the-art on-air graphics, studio, sports, MAM, and video server solutions for the broadcast industry.

Orad’s TD Control allows technical directors (switcher operator) to select different video box compositions and assign different video sources to each of the video boxes, enabling tasks that could not have been achieved before, like switching on air from six video sources to completely different video sources with one click of a button.

PowerPlay is a turnkey solution that manages fast turnaround sports productions from ingest, through instant highlight editing, to dedicated sports media asset management in a post production environment. PowerPlay is designed to provide a complete solution for large-scale sporting events, focusing on fast turnaround and advanced data management tools.

PlayMaker, Orad’s SD/HD, slow-motion video server, is designed to meet the growing challenges of live sports productions.

PlayMaker provides up to eight I/O channels of high quality ingest in multiple video formats, including DVCpro, DNxHD and JPEG200, with synchronised slow motion replay and powerful yet simple editing tools. With its ‘PlayNet’ module, PlayMaker provides

Gigabit network file sharing between servers for preview, copy, or instant playout of clips from remote servers. For an extremely fast turnaround workflow, PlayMaker introduces instant import and export

capabilities to almost any storage or NLE environment. PlayMaker supports tapeless workflow with the export and import of video footage to and from NLE systems.

SL4524

PlayMaker provides Gigabit network file sharing between servers for preview, copy, or instant playout of clips from remote servers

®

STUDIO LIGHTING

THAT PAYS FOR ITSELF

COST SAV A ING LED FRESNELS AND PANELS > > > > > Encompassing graphics: Pixel Power has announced that Encompass Digital Media UK has purchased a range of its channel branding technology, writes Jake Young.

Encompass is installing 12 Pixel Power LogoVision 3Ds — six live, six redundant — plus Pixel Promo at its London centre.

“The LogoVisions will be used for a wide variety of channel branding — the basic lower third straps/logos then moving on to dynamic branding including now/next/later and DVE squeezes and ultimately for moderated SMS message display,” said Gary Finnerty, senior solutions manager with Encompass Digital Media.

“The dynamic scheduling — batch processed at this stage — is handled totally automatically by Pixel Promo and third-party Muvi2 middleware, a company that works closely with Pixel Power.”

N2034

www.tvbeurope.com M A R C H 2 0 1 2

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TVBEU R O PE V I S I O N M I X E R S

Getting the right TV mix The market for vision mixers (production switchers) is picking up, and remains competitive across all areas of TV broadcast production. Philip Stevens leads TVBEurope’s unique Vision Mixer Roundtable in conversation with Blackmagic Design, FOR-A, Grass Valley, NewTek, Ross Video, Snell and Sony to talk about the trends in the sector What are the biggest challenges facing the manufacturers of broadcast vision mixers right now? What are the greatest innovations in the sector in the last 10 years? What role does 3D now play in the broadcast production environment? How much delay is acceptable in OB production — and what does the future hold for broadcast vision mixers? Are the current range of vision mixers really self-op friendly – given the pressures for directors to cut their own shows?

The participants (in alphabetical order) in TVBEurope’s first Roundtable discussion are Stuart Ashton, EMEA director of Blackmagic Design; John Carter, senior product manager at Snell; Andrew Cross, chief technology oficer, NewTek; Andrew Hotten, product specialist group leader at Sony; Peter Jones, managing director FOR-A (UK); Scott Murray, VP Product Marketing, Grass Valley; and Nigel Spratling, marketing product manager at Ross Video.

TVBEurope: What has been your greatest challenge over the past 12-24 months?

Carter: Our greatest challenge is to continue getting the word out about the multi-format capabilities Kahuna can bring. One exciting announcement is the launch of the Kahuna 360, the world’s first true 1080p switcher.

Cross: Our challenge has been looking at the industry with an eye toward changing things — instead of accepting the status quo. Our goal is to provide inno-

vative products that help more people deliver dynamic, professional live video content to every screen, from LED displays to laptops to mobile phones.

Hotten: Probably the biggest challenge has been the requirement for 3D production. Our MVS range of switchers has been used for many 3D productions and can be configured to handle either 3D dual link (separate L + R connections) or 3D on 3G (where a single 3G interface can handle both channels together).

Jones: The overall market for live vision mixers is picking up, which is a good market sign.

FOR-A is market leader in small mixers, but our challenge is to become the same for large mixers.

Murray: The greatest challenge is not a technology problem but the economic situation. The production community has been pushed to even higher standards — HD, more cameras, more graphics and effects — but at the same time is having to work within ever tighter budgets.

Spratling: Ross Video business was up 47% in the past year, so I guess our main challenge has been to grow our business while continuing to offer the great customer support and service for which we are known.

TVBEurope: Vision mixers have come a long way in the past 10 years or so – what do you think has been the greatest innovation?

Carter: When Kahuna was launched, it revolutionised live production as the world’s first vision mixer to offer multi-format

MEs) and integrated multiviewers without having to create new hardware.

Stuart Ashton: “If we can offer further functionality for the same price, then we always try to do that”

John Carter: “Users are looking for more flexibility to share resources and build the exact systems they need”

“The production community has been pushed to even higher standards — HD, more cameras, more graphics and effects — but at the same time is having to work within ever tighter budgets” — Scott Murray

Grass Valley’s Scott Murray said the greatest challenge he has faced is not a technology problem but the economic situation 54

operations within the same mainframe — providing a means of progressing from SD to HD operations. This has brought about a fundamental shift in the market for vision mixers.

Cross: First, the addition of streaming video into the production workflow. Secondly, the collective innovations that have made it possible for a whole new breed of video producers to get into the market. While broadcasters and traditional video producers have embraced new integrated video mixer systems, it is now

possible for those who would never have been able to get ‘on television’ to create and distribute original productions, live, to a global audience.

Jones: Over the last decade vision mixers do more than they did before. For example, DVEs are often included. You can also get very useful infrastructure built-in such as frame synchronisers and up/down converters. They can accept a wider range of signals — such as video from PCs. Another feature is the built-in multi-viewer. If you add all that

Andrew Cross: “The company has been looking at the industry to change things instead of accepting the status quo”

up and can squeeze it into a small rack-frame box you have very useful on-the-road mixers.

Murray: Bringing more functionality with more creative capabilities. In particular, our customers tell us they need to produce multiple feeds from the same event. It might be a different output for SD and HD, or it might be separate home team and away team cuts from a game, or feeds for in-vision screens, or online services.

Spratling: The exponential growth in Field Programmable Gate Array (FPGA) technology has allowed vision mixers to be designed with many additional functions that required external devices 10 years ago. This technology has allowed Ross to achieve industry firsts like AuxKeys (multiple mini-

TVBEurope: What features have proved to be the most popular?

Carter: Without a doubt, FormatFusion — the underlying technology that enables SD material from any source to be integrated into an HD production without the need for upconversion. I’d also include powerful mix/effect architecture, DVE package, internal storage, and a simple means of control.

Cross: With the increased demand for live video and the direction that budgets are headed, an integrated solution like the TriCaster comprising multiple capabilities is very important. For instance, a small crew in a van or OB truck can now cover a game, in situations where it used to take a bigger vehicle.

Jones: Built-in up-/down converters and synchronisers, built-in multiviewers, to size down rack frame sizes, adding central controls for effects and sources.

Spratling: While there are many new features and functions, it’s probably the consolidation of features that provides the most benefit and popularity. Certainly moving multi-viewers internally stands out, but having more MEs, keyers, mini-MEs, internal Media Storage, signal conversion and the ability to automate production control, combine to make a much more desirable product.

TVBEurope: For many productions, only a fraction of the capacity of the mixer is used. Is the massive capability of the equipment a request from users?

Ashton: We always want to give the user what they want and more. If we can offer further functionality for the same price, then we always try to do that. Our customers need to be prepared for any eventuality, especially with the growing trend of ‘pop-up’ television stations and the immediacy of today’s news. Which is why we offer a variety of switchers, to fit in with any workflow, and it’s the users’ choice to pick the best solution.

Jones: User requests have driven the development of multiple MEs. This is not for throwing tons of effects on to the TV screen, but to make TDs’ life easier and make complex live productions manageable. But then if you drive on unexpected terrain, www.tvbeurope.com M A R C H 2 0 1 2

TVBEU R O PE V I S I O N M I X E R S it is always good to have some extra horsepower and security on board.

Murray: We make modular mixers for this very reason. The big trucks used on premium sports know they need as many inputs as they can get. For a smaller truck or studio you might want fewer inputs, and maybe even one or two fewer M/E banks. With a modular mixer like the Kayenne or the new Karerra, you have exactly the same functionality with the keys in exactly the same place on a smaller switcher.

Spratling: The answer is – both.

Many sports producers require the ability to make snap production decisions and multi-ME mixers allow the TD to have alternative choices set and ready in this highpressure environment.

TVBEurope: Many production facilities and broadcasters are getting directors to carry out vision mixing.

Are the current range of vision mixers really self-op friendly?

Ashton: Yes, at the forefront of our products is the desire to make them user friendly, which is why Blackmagic Design offers solutions for small, medium and large studios. We also offer a common software interface and both of our hardware control surfaces are

for example, two clip transitions can be loaded on two separate buttons and labelled ‘Team A Goal’ and ‘Team B Goal’. When a goal is subsequently scored the director can instantly run the animation effect and create the required on-air effect.

TVBEurope: How are you gearing up to handle the demands for 3D production?

Ashton: Blackmagic Design has been developing products for 3D production for a number of years now. We have various internal and external cards for 3D workflows, which includes our DeckLink, Intensity and UltraStudio range.

More recently, we announced the acquisition and release of the Teranex VC-100 for 2D to 3D broadcast conversions. Like with any new technology, if our customers ask us for it, we’ll do our best to meet their demands and if possible, exceed them.

“User requests have driven the development of multiple MEs. This is not for throwing tons of effects onto the screen, but to make TDs’ life easier and make complex live productions manageable” – Peter Jones

Nigel Spratling: Growth in (FPGA) technology has allowed vision mixers to be designed with many additional functions

easy to use and have intuitive menu systems.

Carter: One feature geared to directors (and unique to Snell) is Galaxy, an event-driven tool that allows directors to automate elements within a show. This helps the director stay focused on the show and not on the mechanics of the mixer.

Cross: TriCaster allows not only directors, but also new members of the television staff to cover whole new events, programmes, stories, breaking news that were never covered before because of budgets and personnel considerations. But is it really self-op friendly? We have customers with productions where volunteers run an entire show.

Hotten: Using the smart and legend-able buttons on the control surface it is very easy for any operator or director to cut a programme. Any complex effects can be pre-loaded in advance on to a specific button and labelled accordingly. In a football match, www.tvbeurope.com M A R C H 2 0 1 2

Carter: Kahuna does indeed handle embedded audio, enabling the user to easily select the source desired for use on a given output.

Also, our ClipTrax feature takes advantage of embedded audio, allowing users to add audio accompaniment to a clip transition such as a breaking news jingle.

Murray: The problem is that some of the things you can do in a production switcher need an enormous amount of processing. That introduces latency through the switcher, which may not be consistent because of the way you build effects.

The jump in latency will be invisible, but it will be very distractingly audible. The solution we have at the moment is an option by which you can put the switcher in a fixed delay mode, so there are no audio glitches, at the expense of a latency which may be longer than you ideally want.

Carter: Snell switchers handle 3D production as simply as 2D production — in fact, we had the industry’s first switcher to manage both 2D and 3D signals within a single unit, with built-in capabilities that can help bring left-right disparity and other image quality issues back within acceptability.

Built-in 3D features include common stereoscopic control such as convergence correction, camera calibration, and camera orientation.

Hotten: In a very basic way the majority of switchers can handle 3D production. As long as you can link two sources (on two separate busses) you can make a 3D transition. We also offer a dedicated 3D mode. Once the L & R signals are connected to the relevant BNCs and 3D mode is enabled the operator can cut the programme from a single ME strip.

TVBEurope: Moving to some technical questions posed by users, can today’s vision mixers fully handle embedded audio?

TVBEurope: A studio manager states: “The delay, especially these all-in-one-production-in-abox units, is a real frustration.

Three frames is completely un-usable in any live ‘on to big screen’ environment.”

Ashton: Latency is a big issue, especially for live events. There is a level of acceptability though and we find one line latency when all the sources are synchronised is okay for most people.

Jones: True! That’s why FORA mixers have a low delay mode to make sure what happens on stage matches with what is happening on the large screens behind! Our mixers can have a delay of about half a line, which makes it a real vision mixer as far as I see it.

Spratling: We agree, delay is a bad thing in live production and many new small mixers have built-in format conversion and synchronisation, which if used will add processing delay.

Andrew Hotten of Sony explains that flexibility and integration are two key areas for ongoing development

channels of video. The future is in pushing the technological limits while also making it accessible and powerful.

Hotten: Flexibility and integration are two key areas for ongoing development. Customers in fixed installations are requesting the ability to control any studio from any gallery and move all the associated resources by flicking a switch. They are also requesting greater integration with external devices and the ability to control all parameters of the switcher from an automation system.

Jones: Technical resources such as chromakeys or effects will be floating inside the engine to wherever they are needed. Several control positions or even two or more control rooms and different productions will access the resources of one single central point of production.

Peter Jones: The market for live vision mixers is picking up

Murray: NAB is just coming up. I strongly recommend you visit our booth to see what we see as the future in functionality, realtime control and — perhaps most important — pricing.

Spratling: Adding more functionality for less cost while continuing to bring the rest of the production equipment under the TD’s control is always our goal. Our OverDrive Automated Production Control System is a Vision add-on that enables complete control over video, audio, robotic cameras, video servers and graphics from one person. www.blackmagic-design.com www.snellgroup.com www.newtek.com www.sony.co.uk www.for-a.com www.grassvalley.com www.rossvideo.com

TVBEurope: Finally, what is your prediction for the mid-term market developments?

Carter: Users are looking for more freedom and flexibility to share resources and build the exact systems they need. We have responded through the development of our MakeMe technology, which allows operators to custom-build their own M/E feature sets to match specific production requirements.

Cross: Increased complexity combined with the need for easyto-use equipment. TriCaster provides HD virtual sets at a quality and complexity never seen before in a video mixer. In our latest models, there is the capability to ISO record up to eight 55

TVBEU R O PE T H E W O R K F L O W

Changing the rules of playout Melanie Dayasena-Lowe meets ABS Broadcast, Trilogy and VSC Design for a tour of ABS’ newest playout centre and to hear of plans for further MAM and digitisation Independently-owned playout and TV facilities company ABS Broadcast has opened a brand new 32-channel playout centre in Park Royal, London to meet its growing customer base. Now boasting two active playout centres, ABS has grown to meet needs in an ever-changing technology environment.

Sass Jahani, managing director of ABS Broadcast, says the company first started over 20 years ago.

Originally a BBC broadcast engineer, Jahani left to start the company Advanced Satellite concentrating mainly on systems integration work in Africa. When Sky Digital launched in 1998, he started to receive enquiries from channels about setting up and looking after their facilities in the UK. A year later ABS Broadcast launched its first playout, starting with six-to-seven channels and growing up to 15 channels. This is where British companies such as systems integrator VSC Design and Trilogy Communications became involved in the project in terms of design and technology supply.

As one of the new players in the playout sector, Jahani explains how his company changed the rules: “We were the first server-based playout, and people weren’t too sure about servers.” In 2004 the second playout was built, handling 25-30 channels with more channels being added every five years.

The newest playout centre has been designed and installed by VSC Design and kitted out with Trilogy equipment among other technology systems. The first playout centre has since been decommissioned.

UK-based VSC Design has been working with ABS for 10 years. “We were initially engaged

by ABS to build a 12 channel playout system at their premises in Park Royal. The facilities were then expanded in 2003 with the addition of a new 16 channel system in a new building,” explains Martyn Hales, managing director.

This existing relationship led to VSC’s involvement in the newest playout centre. Hales adds: “We has built their original playout channel facility and then upgraded it to capacity. This led to the requirement for the new playout centre to allow ABS Broadcast to expand its channels’ capacity even further.”

Trilogy’s Mentor XL’s manage the transmission of many major TV channels across the globe and was selected by ABS Broadcast as it was the only sync pulse generator that was able to meet all the desired functionality while keeping to the required budget. It avoids the need

I think it is something that is here to stay. It is going to be the bedrock of some of the broadcasters to get MAM established.”

The other area of growth is digitisation where broadcasters can turn material on tapes into digital content to maximise revenue. “We’ve made investment and we think the way it’s going to go is people who have hundreds or thousands of hours of content sitting on shelves will realise that

“I see digitisation as step one of getting into MAM. Putting MAM in is a scary thought for a company with 300-400 people because you have to break down some departments to get MAM” — Sass Jahani The Master Control Room in the newest playout centre features MAM as one part of its Absolute Delivery Platform

ABS Broadcast’s Sass Jahani and Trilogy Communications’ Barry Spencer in the data centre at the new 32-channel playout centre

Martyn Hales: “We were careful to design a flexible system that would allow future requirements with a minimum of modification”

solution for a customer’s problem is what I do. The physical delivery of how you put it together, make it work, run the cables and do the final design is what VSC is brilliant at.”

Hales describes how the installation has been designed to meet future growth prospects. “ABS will add channel functionality to meet their future clients requirements. We were careful to design a flexible system that would allow any future requirements to be handled with a minimum of modification.” ABS also needed

a flexible monitoring solution, which would provide alarms to operators should there be any breaks in transmission. VSC developed a design based around Miranda Kaleido X multiviewers to meet this requirement.

Among the technology chosen for the new playout centre was Trilogy’s Mentor XL master reference generators. VSC Design first introduced Trilogy to ABS Broadcast back in 1999 and Jahani was impressed by the company’s support and attitude.

for numerous option boards or factory upgrades by allowing optional features to be activated via a standard IP connection.

The Mentor XLs were also specified with GPS receivers, which allow for all video, timecode and audio signals to be locked to a single stable reference. The other key benefit of using GPS as the reference source is that it also allows the Mentor XL to act as an NTP server for all other PC-based broadcast equipment.

Barry Spencer, general manager Broadcast, Trilogy Communications, says: “Our aim is to put it all in one box because it all needs to be reliable. It needs to have a detection and changeover system in the event of failure. It needs to log to one reference source so everything is synchronous.

“It’s not like we’re pushing the boundaries of broadcast with 3D technology; we’re providing a core infrastructure product that has to do the job that’s needed now and in the future — and we’re constantly evolving it.”

MAM at the ready The new ABS playout centre has an area dedicated to Media Asset Management (MAM) and digitisation. “Where we are trying to move to is MAM,” says Jahani. “It’s a big investment for some of the channels.

by digitising it they could create some revenue.

“When a dashboard view is put together for people to browse and buy it, new income streams will appear for some of the content owners. We’re trying to get some of the digitisation going and get MAM to enable those people to then browse, search and buy etc,” he explains.

Jahani sees MAM and digitisation as complementary. “I see Continued on page 58

Technology at a glance l New

Miranda multiviewer Vision distribution l Miranda ‘Solo’ audio monitoring l PubliTronic servers l Snell routing l A small studio, designed by VSC Design, based on a Tricaster vision mixer, three cameras, lighting using a floor standing grid due to the limitations of the location l Trilogy Communications Mentor XL master reference generators l Crystal

The right kit When it came to technology choice, Jahani at ABS Broadcast had his own clear idea of what he wanted. “I am looking at PubliTronic, Grass Valley, Trilogy — putting these technologies together to deliver a www.tvbeurope.com M A R C H 2 0 1 2

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TVBEU R O PE T H E W O R K F L O W

AD INDEX

Taming Gorilla’s monster projects

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Archive & Restore

33 3 55 51 56 IFC 22 39 59 31 9 40 49 1,21 32 11 20 30 53 13 37 7 45 52 47 41 26,57, 25,27, 29 19 48 46 15 10 16 44 56 35 42 36 43 23 28

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AJA Argosy B4M Blackmagic Design BMS Bridge Technologies Clearcom Cobalt Dalet Digital Rapids DVS Ensemble Evertz EVS Fujinon Glensound Guntermann & Drunk Harris IBC IPV Kit Digital LAWO Lite Panels Matrox Mediagenix Miranda Omnitek Penta Studiotech Phabrix Pixel Power Playbox Riedel

The Gorilla Group, Wales’ largest TV facilities group, has been beta testing Marquis Broadcast’s Project Parking product since early 2011. It is a new Avid archiving solution, that supplies a fast archive and restore process by creating a complete copy of any Avid project onto any storage device.

By David Stewart Gorilla, which provides studios, dubbing, grading, graphics, VFX, OB facilities and editing services, works with customers such as the BBC, BBC HD, Channel 4, S4C, CBeebies, CBBC, Disney and Animal Planet. Ken Burnett, chief engineer at Gorilla Group, explains the facility’s storage requirements: “We have half a petabyte of Avid Unity ISIS storage across three sites in Cardiff. With nearly 100 Avid editing systems there are many ‘monster’ projects in progress at any one time. That makes archiving completed projects, or moving temporarily delayed projects onto near-line storage a critical task that is hard to complete accurately.”

This is where Project Parking came in. “Despite policies about where media should be stored, it is still difficult to identify all the media associated with a particular project and almost impossible to be sure that you have found it all

when archiving the project,” he confirms. “The problem is compounded when projects move from one edit suite to another, leading to a plethora of project files.

“Project Parking presents a tree view of the projects on the shared storage; the user navigates to the one they want to archive and chooses a location to which to archive. The product starts by analysing the project and finding the media associated with it, whether just in a bin or a sequence.

“This analysis phase is useful just on its own,” observes Burnett.

“It is a common problem that media is in the wrong place, perhaps on a local drive or USB drive: the analysis identifies this quickly, avoiding what could have been a long search for the media across many workstations.”

Continued from page 57

digitisation as step one of getting into MAM. Putting MAM in is a scary thought for a company with 300-400 people because you have to break down some departments to get MAM.”

can be confident that the archive is a faithful copy. This is such an important step that we are happy for the copy to take a little longer in order to check that the sums match. The

“We have half a petabyte of Unity ISIS storage across three sites in Cardiff. With nearly 100 Avid editing systems there are many ‘monster’ projects in progress at any one time” — Ken Burnett Faithful copy “Project Parking then goes on to copy all the project files, directory structure and any referenced media to the archive location,” says Burnett. “As it does so it calculates a checksum for each of the files before and after copying so that the user

Project Parking “lets me get the most out of my edit storage”

Rohde & Schwartz Ross Video Screen Subtitling Shure Snell SSL Studiotech TBA Telestream Thales Angenieux TV Logic TV One Two Four 54 Wohler

Baselight grading suite at Gorilla: The facilities group provides studios, dubbing, grading, graphics, editing, VFX and OB services

The final part is delivery, says Jahani. Once content is on the platform, it’s available to anybody who needs it. ABS has developed its Absolute platform to be cloudbased. “The other part of broadcast that’s a given is cloud — do I

user can add notes to the project to help explain what it is.”

Once the archive is complete, two XML reports are written out; a summary with the user notes and a detailed listing along with the checksums. These provide a record that the archive is a complete and correct duplicate of the project and its media.

Burnett is keen to use Project Parking at the beginning of a project as well as at the end: “Capturing the rushes for a project is a great way of creating a baseline archive in case media goes missing,” he says. “Later archives can be added as incremental versions to this archive and will only contain the files which have changed since the first archive was created, saving space on the near-line storage.

“The product has improved a great deal since the first beta,” says

“Don’t worry about it, you give me your DigiBeta that you are familiar with, we will take care of the rest in terms of managing it, digitising and delivery,” says Jahani.

The new playout centre went live with two channels in mid-January

Absolute power ABS has packaged this as the Absolute Delivery Platform, explains Ted Gush, head of marketing at ABS Broadcast. “The claim we make is that it will take content from any content owner anywhere in any format and deliver it to any broadcaster anywhere in any format. Then you start looking at how that happens? Most people in the MAM space are only at the delivery end, not at ingest and digitisation at the front as well.”

The Mentor XLs were specified with GPS receivers, which allow for video, timecode and audio signals to be locked to a single reference

really care where it is? I just want to make it available to people. We’re definitely going in that direction.”

The facility takes the pressure off content owners by handling content in different formats:

and the facility is launching or migrating channels at the rate of one per week. It has a programme of 20 channels going live in 20 weeks.

The Master Control Room in the newest playout centre features MAM

Burnett, “Marquis has done a great job of following up on suggestions, even doing some development on site at Gorilla. Just small additions have been really helpful and saved me a lot of time.”

When it is time to restore a project archive, the operator can choose how the Avid workspaces that existed when the archive was created are mapped onto the workspaces that exist today. “This was a key improvement during the beta testing, one that really responded to the reality of how things are in a busy post facility,” explains Burnett.

“This feature gives me the ability to combine a project that was spread across multiple workspaces into a single one. Once the restored project is opened in Avid, it appears just as it did when it was archived, helping the editor get down to work with the minimum of preparation.”

He concludes: “Project Parking is a fantastic tool which lets me get the most out of my edit storage. It gives me the confidence that I have captured every media file needed by a project and have an authentic copy of them. Archiving our Avid projects was a monster challenge, which has now been tamed by Project Parking.”

as part of its Absolute Delivery Platform. The facility’s digitisation centre receives tapes, digitises them using Flexicart or VTRs, put it into the digital storage archive and ABS provides 24/7 management support.

“We can then sell MAM as a service rather than just selling kit.

We digitise it and we look after the content.” The facility can digitise up to 150,000 hours a year in SD/HD, he says.

The new unit was launched with its larger customers such as Farsi1, part of News International, and Sony channels such as SET, SAB and MAX. Eleven Sony channels are currently being migrated to the new unit. “An international feed comes to us, we localise it, chop it up, regurgitate it, put commercials in, time delay it and send it to various territories – from here to Canada, US, Europe, UK, Africa, India,” Jahani explains. www.tvbeurope.com M A R C H 2 0 1 2