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TV dynamics change Conference Analysis By Chris Forrester IBC’s 2014 Conference sessions kicked off with a humdinger keynote featuring a quartet of VIP speakers, each of whom used the occasion to make major announcements on the health of broadcast TV. Channel 4’s CEO David Abraham said that early next year Channel 4 would significantly change its 4oD on-line and on-demand offerings to ‘All4’ in order to better reflect the choices available from its 18 linear channels, as well as its on-demand and other upcoming options. “Today, technological innovation in TV is continual, pervasive and direct to the consumer in a hybrid environment of linear and IPbased delivery,” said Abraham, adding that it was vital that
broadcasters deepen their relationship with their audience, and with particular shows. “Broadcast TV is highly relevant, but viewers want mobility and connectivity, and there’s no reason why broadcasters should lose that relevance and salience.” Bruce Tuchman, president of Sundance Channel Global, explained how Sundance had been added to the AMC portfolio of channels and how success in original programming
(The Walking Dead, Mad Men, Breaking Bad) represented the backbone of its intentions. “Savvy channel companies will not only thrive but will drive increased value in this rapidly evolving world.” Charlie Vogt, CEO Imagine Communications, said that the greatest challenge his staff had to face was helping broadcasters save money without having to re-engineer themselves every three-to-five years. “There has been more
Next generation IP By George Jarrett The EBU (10.F20) has put weighty support behind several key technologies, but its director of technology and innovation, Simon Fell, had no hesitation in citing the BBC R&D presentation of a next generation IP network studio as the most crucial at IBC. “We believe very strongly that the future is based around finding an IP-based solution for network operations in studio environments. If we don’t have an affordable solution that’s
going to help companies plan the next big infrastructure, then we’ll never get the 4K services developed, and even the 8K services beyond 4K,” he said. “Our software development has increased this year and we want to be recognised for pushing the boundaries of what is possible.” The EBU has to find solutions that build on the benefits of using common IP technology with enough capacity and built-in future capability. At IBC BBC R&D is showing multi-format
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The official newspaper of IBC
Simon Fell: “We want to be recognised for pushing the boundaries”
live production in the IP domain it created during the Commonwealth Games in
change in the past five years than in the past 50 years. And the next 18-24 months will see even greater changes take place. But we are firm believers that video remains the absolute ‘killer app’. The network should not be the differentiator. The content and the logo should be the differentiator.” Dubai-based MBC’s CEO Sam Barnett explained how deliberate programme jamming in the MENA region was also forcing the broadcaster to think swiftly not least when some of its most popular shows are directly affected. “We had tens of millions of people watching a popular live show when the screen went dark. The fact is that in our region until the digital platforms can operate independently, we are at risk. They are exposed to national regulators who can switch the internet off. They can close down Twitter and other social media options. By and large the day-to-day controls that media authorities want to assert have not caught up with today’s technology. But they will.” Glasgow, with much of the outcome, like DTT transmissions in T2, being HEVC enabled. The EBU itself shot content at last month’s European Athletics Championships, and like the BBC, it recorded experimental high frame rate shots – plus some high dynamic range content. The problem has been finding custom-made displays to show the Zurich experimental content. “We collaborated with IRT and NHK to get a prototype made with specific features,” said Fell. “We have also worked with four camera manufacturers, and we are representing the BBC at The Joint Network Media Taskforce.”
Inside
IBC Content Everywhere An addition to the IBC programme, IBC Content Everywhere is designed to meet a new market Page 10
TV: It’s a messy business Mark Harrison, chair for The Digital Production Partnership, highlights the importance of creativity Page 16
A Night at the Opera The Vienna State Opera is to receive a Special Award at the IBC Awards Ceremony on Sunday evening Page 21
Exhibitor list and floor plan Plan your way around IBC2014 with the full exhibitor list and floor plans at your fingertips Page 57
Read our IBC news stories on the move… Published on behalf of the IBC Partnership by
theibcdaily For the latest show news and updates follow #IBC2014
A spectrum of difference Lars Backlund: “Further release or co-primary use of spectrum below 700MHz will severely impact viability of the terrestrial platform”
Conference Analysis By Catherine Wright Little room for compromise emerged during‘ The great spectrum debate’, chaired by Informity CEO William Cooper, which opposed public broadcasters and mobile operators, over the release of radio spectrum for mobile data communications. John Giusti, the head of public policy, government and public affairs for the GSM Association made a clear stand for the greater use of spectrum for mobile data. “This is not just about economic benefit to mobile operators, or to content developers, it is about the economic benefits to the public. If we ask ourselves which
industry brings greater economic value, the answer is unambiguous. The mobile sector in the EU in 2013
represented €269 billion, compared with €48 billion for terrestrial television. The amount of tax paid by mobile operators alone reached €53 billion.” Speaking in the name of the EBU, Simon Fell, its director of technology and innovation, argued on the contrary that the cost of switching over 120 million households to any alternative service would cost billions. “A study we have commissioned from AETHA with the BBC and BNE shows that there is clearly no economic case for switching off existing DTT networks across Europe: indeed the costs of clearing DTT from the spectrum outweigh the benefits by a factor of almost four.”
Former European Commissioner and WTO director general Pascal Lamy’s EC High Level Group report, which notably recommends that the EU should adopt “a common position against the coprimary allocation of the core audiovisual band (470-694 MHz0) to the mobile service at WRC 2015”, is an attempt to broach a compromise. But as Lars Backlund, secretary general of Swedenbased BNE (Broadcast Networks Europe), indicated, on many issues no consensus was reached. “To discuss further release or co-primary use of spectrum below 700MHZ will severely impact the viability of the terrestrial platform, destroy investment incentives and may cause a regulatory-introduced failure of an industry.”
Blackmagic acquires Eyeon Software By Carolyn Giardina Blackmagic Design has entered the visual effects business with the acquisition of Eyeon Software, the companies revealed at IBC. Eyeon is the maker of the Fusion compositing system, whose new version 7 is being demonstrated on the Blackmagic stand. Calling Fusion “one of Hollywood’s best kept secrets”, Blackmagic director of sales Simon Westland related that Fusion is used in small VFX boutiques as well as large
facilities such as Prime Focus, which has 1,500 seats of Fusion. It has been used on VFX for recent summer movies, including Maleficent, Edge of Tomorrow and The Amazing Spider-Man 2. Fusion was also used by Douglas Trumbull on UFOTOG, his inventive new production made in 3D, 4K at 120 fps. The company is hosting Trumbull’s Monday keynote at IBC. Industry-wide, there has already been some talk of the potential to more closely combine colour grading and compositing environments. To
that end, Westland said the acquisition of Fusion is “a really exciting fit with DaVinci Resolve [Blackmagic’s colour grading system]. Many Resolve users are also Fusion users. He reported: “As it stands, Fusion will remain standalone. Naturally we’ll ask how the two can work together, whether that’s round-tripping or closer integration of the toolsets. Obviously, there are already colour correction tools in Fusion. It’s too early to say what that might mean.” Westland said Blackmagic would continue to use the
The future is IP Imagine Communications
By Carolyn Giardina Asserting that the future of broadcasting surrounds IP protocols and software defined environments, Imagine Communications CEO Charlie Vogt predicted during his Thursday keynote that "the move to IP will happen faster than most people think. Over the next two years we’ll see more live over IP TV.” Underscoring its message, Imagine revealed a partnership with Microsoft through which it has developed a new software defined workflow management
platform available on Microsoft Azure. Additionally, the company announced that Sky Italia is deploying its new Magellan SDN Orchestrator as it transitions to an IP infrastructure. The new Zenium platform, which will be available on Microsoft Azure Media Services, enables customers to design and launch cloud-based media processing applications, workflows and services. Vogt asserted that this approach “provides broadcasters, MVPDs and enterprises with the most scalable, agile, and robust development environment. Microsoft Azure offers customers scale, value
product name Fusion, though it was not certain if the Eyeon brand would carry over. He also reported that Eyeon employees, including founder Steve Roberts, would remain with the company and continue to develop Fusion out of Eyeon’s Toronto headquarters. “We always look for opportunities to expand… and complementary products,” Westland said. Blackmagic announced the acquisition of DaVinci, and its plans to enter the colour grading space, five years ago at IBC. 7.H20 Massimo Bertolotti, Sky Italia: “We have been seeking a managed transition to an all-IP infrastructure”
economics, global networking and virtualised storage. Together, Imagine Communications and Microsoft will transform the cloud media services landscape.” Also supporting its IBC message, Imagine Communications reported that Sky Italia will adopt its Magellan SDN Orchestrator to create a redundant distribution system for both ASI and IP transport streams across broadcast
routers and commercial IP switches. The value of the deal was not disclosed. “We have been seeking a managed transition to an all-IP infrastructure that minimises disruption and preserves our workflow processes,” said Massimo Bertolotti, head of innovation and multimedia distribution at Sky Italia. “Magellan SDN Orchestrator allows us to work simultaneously in both IP and ASI realms by providing the ability to switch transport streams with complete operational transparency, facilitating our path forward to IP.” 7.G20
Euronews moves to HD with EVS EuroNews has inked a deal to place XS media servers and the IPDirector live production asset management suites at the heart of its new Live workflow. As the news broadcaster moves to HD, EVS news solutions will sit alongside Euronews’ existing Harmonic storage and playout systems. The XS servers will be used to enable either live or studio-based news productions – ingesting multiple feeds and playing out live coverage or playing out content on the screens behind the presenters in its studios. It will also allow Euronews to manage 16 audio channels from ingest to playout, which fits with a requirement to report news in 13 languages. The IPDirector system will be used to control ingest and playout commands, as well as manage content. Euronews head of AV support, Bernard Fournier, said: “In a breaking news environment, it is essential that we have fast, flexible and ultra-reliable technology that can be configured for both studio and live productions. Having the ability to edit on-the-fly while recording was also crucial in the decision for our production team.” 8.B90
Conference Highlights Today at IBC Keynote: Transforming TV and beyond: Google’s vision of video for everyone, by everyone, everywhere 10:00, Forum New consumer trends – The rise of social media and second screen technologies 11:30, Emerald Room The death of SDI? The promise of complete IP based production 11:30, G102/103 More pixels or better pixels? Making the case for 4K Ultra High Definition 14:00, Forum Give me the right: Consumer perspective on the rights and wrongs of rights 16:00, E102 Natural future: The new natural history documentary 16:00, G102/103 The 2020TV experience and how to get there 16:00, Forum Keynote: The challenges ahead 18:00, Forum theibcdaily 03
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Welcome to IBC2014 By Michael Crimp, CEO, IBC It is my great pleasure to welcome you to IBC2014, an event which I firmly believe to be vital in reflecting the industry’s innovation and enhancing all our understanding of technology and the electronic media business on a global level. Over the past year we have seen world economies stabilise, with budgets of corporations in some countries returning to prefinancial crash levels. But the
business climate has changed, in particular the approach of organisations to technology and purchase decisions. We see major capex decisions increasingly taken on the basis of return on investment and on a project-by-project basis. Ultra HD is one of the key driving forces, but investment in the infrastructure to bring it to consumers will be one of the key topics here at IBC2014. IBC is in constant motion and is different every year. Sometimes
the changes are obvious, such as with the development of ßthe IBC Leaders’ Summit and Rising Stars Programme, and this year’s launch of IBC Content Everywhere and IBC Content Everywhere Cloud and Workflow Solutions. However, sometimes it is incremental, such as the subtle reorganisation of this year’s conference programme into themed days, each one telling a different part of the innovation story of our industry and
Welcome from The Mayor of Amsterdam Dear IBC visitor, The city of Amsterdam is delighted to welcome you to IBC! This week, the IBC exhibition and its agendasetting conference will bring more than 52,000 industry professionals from all over
The Amsterdam Heritage Days – 13 & 14 September 2014 The Amsterdam Heritage Days annually explore and celebrate the city’s rich history by casting open the doors of important buildings, monuments and private homes to the public, all free of charge. With the theme of ‘Travelling’, the event returns on 13 & 14 September 2014. For more information, visit Iamsterdam.com.
the world to our city. Change and innovation are transforming the global media and entertainment industries. That is why IBC attracts the most talented and driven people from the worlds of broadcasting, ICT, consumer electronics,
research and technology. We welcome you to our city – and invite you to stay. I hope you will leave IBC with renewed creativity, innovative spirit and business ideas for the future. Eberhard van der Laan Mayor of Amsterdam
By Catherine Wright How do you keep track of the audience in the age of connected devices? Now that more and more people view content on their smartphones or tablets, have organisations like BARB come up with new and accurate measurement tools? At a conference moderated by media commentator and journalist Kate Bulkley, ‘Following the viewer: 04 theibcdaily
anchored by hard-hitting keynote sessions. Professor Brian Cox OBE is providing our Sunday keynote, and you can expect some truly incisive deliveries from the other pre-eminent thought leaders, including Channel 4’s CEO, David Abraham; vice president of Google Europe, Matt Brittin, and Tim Davie who is CEO and director of Global BBC Worldwide. One thing that does not change though is the great service that the IBC team provides, which means that, even with the economic climate still being a challenge, we are in
LiveTouch enters sports arena Quantel By Carolyn Giardina Quantel has launched its new studio sports highlighting system, LiveTouch, entering a market currently dominated by EVS with additional players including Grass Valley. Currently being tested by an undisclosed major sports broadcaster, LiveTouch has a scalable design and can support productions in several studios.
The company differentiates it by noting that LiveTouch offers bidirectional editor integration, “making it faster and easier to integrate editing and highlights operations.” More specifically, LiveTouch offers an optional integrated Quantel editing desktop and can work with other editing workstations on the same storage. The workflow is twoway, meaning that editors can access the highlights, with no media movement and the panels can play back any
BARB project Dovetail two years from market Conference Analysis
Michael Crimp: “IBC is in constant motion”
Audience tracking and measurement in the connected era,’ Justin Simpson, BARB’s CEO, gave the lowdown on project Dovetail, a hybrid measurement system that harnesses the power of BARB ‘traditional’ panel data (12,000 people from 5,100 homes in the UK) and devicebased data. “To my knowledge, nobody has delivered anything on this scale and ambition ever before,” he claimed. But he also admitted that the new hybrid measurement system was “probably two years
BARB CEO Justin Sampson discussed the hybrid measurement system
away” from hitting the market. One of the main challenges is obtaining universal acceptance for a standard of measurement that matches the accuracy of the traditional panel method.
completed sequence. For example, while the LiveTouch operator is capturing highlights on the fly and providing instant playback and slo-mos, an editor can be simultaneously editing the media recorded on the LiveTouch server, assembling the individual highlights into packages that are ready for playback from the LiveTouch panel the moment the live action is over. The media does not need to be transferred to a separate editor first. 7.A20
Jane Clarke, managing director of CIMM (the Coalition for Innovative Media Measurement), presented project BluePrint, which is attempting to develop such a cross-platform measurement system in the United States. The project, backed by some of the major US broadcasters such as CBS, Fox and NBC, and major advertising agencies such as Carat and Publicis, is in its “Phase 2” Pilot test. “SMPTE has approved the launch of a drafting room,” announced Clarke, a big step towards universal acceptance. But BluePrint is still about a year away from hitting the market. As Denise Turner, chief insight officer at Havas Media Group in the UK, indicated: “This is evolution, not a revolution.”
the enviable position of providing space for more than 1,500 world class brands, with innovation teeming across 14 halls. IBC provides the showcase to witness the latest advances in content creation, management and delivery with inspiration and surprises around every corner. So welcome to IBC2014. I hope you enjoy a productive time, whatever your interests and goals, and I look forward to seeing you around the show.
theibcdaily EDITORIAL Editorial Director Fergal Ringrose Managing Editors Melanie DayasenaLowe, Adrian Pennington, Andy Stout Reporters Kate Bulkley, Michael Burns, Chris Forrester, David Fox, Carolyn Giardina, Monica Heck, George Jarrett, Heather McLean, Ian McMurray, Will Strauss, Catherine Wright Website/Social Media Writer Neal Romanek Photographers James Cumpsty, Sander Ruijg, Chris Taylor Web Videographer Tim Frost IBC Chief Executive Officer Michael Crimp SALES Publisher Steve Connolly Tel: +44 (0)20 7354 6000 Email: steve.connolly@intentmedia.co.uk Sales Manager Ben Ewles Tel: +44 (0)20 7354 6000 Email: ben.ewles@intentmedia.co.uk Sales Executive Richard Carr Tel: +44 (0)20 7354 6000 Email: richard.carr@intentmedia.co.uk US Sales Michael Mitchell Tel: +1 (631) 673 3199 Email: mjmitchell@broadcast-media.tv ART & PRODUCTION Head of Design & Production Adam Butler Editorial Production Manager Dawn Boultwood Senior Production Executive Alistair Taylor Page Design Adam Butler Page Design at show Dawn Boultwood, Jat Garcha Managing Director Mark Burton Printed by Partnion +31 (0)6 1362 4321 Published on behalf of the IBC Partnership by Intent Media London, 1st Floor, Suncourt 18-26 Essex Road, London, N1 8LN, England © The International Broadcasting Convention 2014. No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners. Published on behalf of the IBC Partnership by
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MENA registration opens IBC Content Everywhere MENA, the new event for the Middle East and North Africa, is now open for registrations. Designed to deliver a new way to do business and offering unprecedented networking opportunities, the event takes place at the Madinat Jumeirah in Dubai, 20-22 January 2015. The region represents a huge media market. Analysts predict 77% annual growth in mobile data traffic in the Middle East to 2017. Much of this growth will come from media, so the time is right for a new event targeting content and broadband delivery. IBC has already secured ASBU (Arab States Broadcasting Union) as a Gold Supporter, Dubai Media City and Etisalat as Host Sponsors, and a list of exhibitors which includes Cisco, Nvidia, Quantel, Aspera, Irdeto, Vimond and Content Wise alongside the players who have shaped the regional media landscape. Among the unique attractions
planned for the event is the first display in the region of 120 fps 8K Super Hi-Vision by NHK. The three-day conference features a mix of local and international speakers delivering case studies as well as debates around the significant issues in the region. The central focus is around digital convergence and how this will deliver new revenues and business models for both content companies and telcos. The event will use the Touch & Connect technology, which IBC has developed to support a new approach to conventions. Through simply touching, device-to-device or device-to-tag, the visitor connects to a wealth of information and to a new network of peers. You can registration for IBC Content Everywhere MENA at: www.ibcCE.org/MENAreg. Find out more about the event at www.ibcCE.org/MENA.
SatLink partners with Pi SatLink/Pi Telecom By Ian McMurray At IBC SatLink Communications is announcing a new partnership with Pi Telecom, a specialist in the development and marketing of interactive video solutions for hybrid (DVB+IP), IPTV and OTT networks. Through this partnership, SatLink said it will bring the best of TV online by launching an end-to-end (E2E) OTT cloud-based platform. The platform will enable broadcasters and multi-channel TV operators to offer an immediate TV everywhere service to subscribers on all screens while generating new revenue streams. The E2E OTT cloud-based platform is being demonstrated on SatLink’s IBC stand.
The solution is available through what SatLink describes as a cost-effective, pay-perservice model, able to deliver a ready-to-launch managed service via the cloud within days, while avoiding the expense and time associated with creating an OTT broadcasting network. Designed for broadcasters and operators, the E2E OTT Cloud Platform is said to offer a full telco grade broadcasting experience from the aggregation of global multi TV channels, through to the transcoding, live content streaming, VoD library, management tools and creation of new feeds on an easy-to-use, TV-like unified user experience on all screens. Broadcasters and operators also have the option to distribute set-top boxes and maximise profits through the platform’s monetisation features, resulting, says SatLink, in their reaching more viewers on more devices and extending interaction with their audience. 5.A17
In Brief Compact 4K JVC camcorder on stream TV 2 goes for DVS
High-resolution handful: The prototype GY-LS300 compact 4K camcorder
JVC By David Fox JVC is demonstrating live streaming broadcast camcorders at IBC, along with a range of 4K technology prototypes, including the compact new GY-LS300 4K camera. The GY-LS300 handheld camcorder uses a new Super 35mm 13.6-megapixel 4K CMOS image sensor, developed by JVC’s sister company, AltaSens, for 4K 24/25/30p recording. The camera uses Micro Four Thirds lenses, originally developed for DSLRs to deliver cinema-quality images in a compact camcorder, and
accepts a wide variety of stills and video lenses (converters are available for PL-mount and other lenses). This first prototype uses an advanced codec and on-board 4:2:2 recording, providing 4K imaging on standard SDHC/SDXC UHS-I U3 memory cards. The camera’s dual codec system can also deliver simultaneous recording and streaming for both HD/SD and HD/proxy files. JVC is focusing on live streaming for its current camcorders at IBC, including a connection from a reporter, out and about in Amsterdam. It is also transmitting a live stream from the stand, showing its stage presentations at www.jvcpro.eu/ibc2014. 11.G30
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7.E25
e.tv prepares move with SI Megahertz Systems integrator and mobile broadcast production specialist Megahertz has won a contract to manage the relocation of South African free-to-air broadcaster e.tv. The station is moving to a larger space in a purpose-built facility in Roeland Park, about 2km away from its original location in Longkloof Studios in Cape Town. Roeland Park will be home to the transmission facilities for eight channels managed by e.tv, and the facility being built by Megahertz will include space for future expansion. Also to be transferred will be the operations of three existing studios, again allowing for expansion in the future.
11.F20
SBE award for DOZER
Flying high at IBC: A ‘Drone on a leash’ is one apt description for this clever device from Switzerland-based Fotokyte, a lightweight tethered remote control drone capable of supporting a GoPro or Sony RX100iii. Company founder Sergei Lupashin put the tiny helicopter through its paces at IBC, describing it as “aerial photography for all” he said it was being used in news-gathering, sports events and by professionals and amateurs for everything from skiing and boating to anywhere where an aerial shot would be a challenge. The Fotokyte is already approved in the US (as a kite) and the company expects similar regulations to apply in Europe. The partnership will allow SatLink to launch a new OTT TV platform
TV 2, a publicly owned television station based in Odense, Denmark, is upgrading its workflow with new gear from Rohde & Schwarz DVS. The R&S Venice ingest and production server and R&S DVS-SAN storage will be bundled into four independent set-ups. Two will each consist of 40 Venice channels, and one R&S DVSSAN with 100TB will be responsible for 24/7 playout of TV 2’s main channel in eight regional versions and five other national channels. Another set-up – comprising 32 Venice channels and another 100 TB DVS-SAN – will mainly be used for programme ingest and visual quality control. The fourth set-up with four Venice channels is mainly used to test software upgrades and new workflow options.
IP video traffic-smoothing technology DOZER, on show at IBC2014, has won the Society of Broadcast Engineers technology award for 2014. DVEO’s DOZERbox II IP gateways allow broadcasters, IPTV operators and OTT video providers to improve their video distribution over public internet or less reliable private lines by providing invisible packet loss recovery.
2.A34
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DVB tackles German DTT By George Jarrett One of the most significant and certain-to-happen demonstrations involving the new coding muscle offered by HEVC is the DVB Project’s delivery of seven HEVC encoded HD channels in a single 8MHz DVB-T2 channel. This introduction of HEVC encoded services is both a technology triumph and a startling political turnabout as inspired by Germany’s vision of DTT. “It is a U-Turn because there were numerous discussions in Germany about stopping terrestrial transmission,” said DVB executive director Peter Siebert. “The DVB is delighted to see that German broadcasters will upgrade the terrestrial platform to be compatible with satellite and cable. “The numbers for terrestrial as the primary distribution format in Germany are 10-11%, but there are many TV screens in with digital antennae and I am pretty sure that this new platform, delivering a wide range of HD services, will give a new push to DTT in Germany,” he added.
Peter Siebert: “It is a U-Turn because there were numerous discussions in Germany about stopping terrestrial transmission”
One of the first products to take advantage of now available HEVC chip sets is the Technicolor set-top box used by Siebert in the DVB demo. “My other partners are TeamCast for the transmission, Fraunhofer for the encoding, Rohde & Schwarz for the multiplexing, Arte and IRT for the content, Vestel for the display, and Sony for the mobile receive devices,” said Siebert.
Amira to go ProRes UHD ARRI By David Fox Users of ARRI’s documentary-style Amira camera will be able to upgrade to recording Ultra HD at up to 60 frames per second, in a paid firmware update due later this year. It will record all ProRes codecs in UHD directly onto the in-camera CFast 2.0 cards, thanks to what Arri promises will be “an affordable software license
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(and a sensor calibration for existing Amiras)”. The Alexa/Amira sensor has already proved it can deliver the image quality needed for 4K or even IMAX theatrical releases of such films such as Gravity, Maleficent and Iron Man 3, but this requires post production up-sampling, which may not be suitable for fast-turnaround or lowerbudget documentaries. The Amira’s UHD output uses the same efficient 1.2x up-sample filter that allows Alexa’s Open Gate mode to
“I took largely German partners here to emphasise relevance for the German market. I assume that many countries are looking closely at what is happening there. I think Italy is considering combining T2 with HEVC too,” he added. “It halves the data rate. For broadcasters, for a given service and a given quality it halves transmission costs. That is hugely relevant because in addition to the three traditional delivery networks we will see more and more IP delivered content.” EBU members will put their current bouquets in a reduced spectrum, but Siebert has one concern. “The open question is, what will the spectrum transition scenario look like: you need the currently available spectrum because you must do simulcast for some time to come,” he said. The DVB-T2 demo is done at 64 QAM and the data rate is 26.56 Mbps. The key element of robust transmission for indoor and portable reception is as good as it was with the first generation system DVB-T. “HEVC refreshes the terrestrial platform with T2,” said Siebert. “We know it will happen.” 1.D81
optimise image performance for 4K, which will take place in camera — in realtime. Wildlife cinematographer Rolf Steinmann, who was nominated for an Emmy for his work with Alexa on the BBC’s Wild Arabia, is currently using his Amira on a movie for Disney Nature. “For cameramen like me who own their gear, the UHD upgrade is a great way to stay future proof. From now on when there’s pressure from the production side to deliver UHD, I can continue to work with Amira and won’t have to compromise on image quality or on the camera’s robustness and reliability,” he said. 11.F21
Broadcast routing migrates to IP Grass Valley By David Fox Many broadcasters now see their competition as not just other broadcasters, but also online offerings, such as Google or Netflix, which are completely IP-based, making it simpler for them to launch new services. To give broadcasters that same agility, Grass Valley is showing a new non-proprietary Software Defined Networks-based system for managing IP networks that offers a familiar, broadcast-centric control environment for both SDI and IP. “SDI is extremely low latency and uses determinism, which is great for live responsiveness, but difficult to scale in an economic way,” said Mike Cronk, SVP of strategic marketing, Grass Valley, who believes IP routing is the best way forward for video, particularly as Ethernet switches are progressing even faster than Moore’s law. “We’ve made a very big investment in IP technology,”
Mike Cronk: “We’ve made a very big investment in IP technology”
and aim to offer the first live glass-to-glass IP video in the market, he added. The SDN control will embrace IP routing switchers from third parties using SMPTE 2022-6. “Our customers don’t want to be locked into proprietary switchers that are only controlled by a proprietary control system,” he said. SDN is an out-of-band control, like SDI, with a separate signal path that talks to the switch, and delivers lower latency with high availability. It will also control traditional SDI routers, to enable easier migration, using the same control panels. 1.D11, 1.E02
New live caption platform Ericsson By Ian McMurray Ericsson has unveiled its realtime platform that supports live captioning in various languages for broadcasters around the world using speechto-text, newsroom integration, and rapid offline content preparation. The live platform makes its IBC debut this year, and is a key part of Ericsson’s Broadcast and Media Services portfolio following the acquisition of leading media services company Red Bee Media in July. The schedule-driven software platform, which was developed in-house, uses the best possible speech recognition and
stenography technologies to power Ericsson’s live captioning services. It allows multiple captioners to prepare and deliver realtime services for clients while maximising re-use of the caption data after it has been broadcast. The platform is currently being used to deliver live captioning services for major broadcast clients, including the BBC. Simon Smith, head of Broadcast & Publication Operations at BBC Television, said: “We are already seeing a step change in live subtitling accuracy as a result of using this platform, and we view its ongoing development as a vital tool in delivering ever-greater access to live programs for the BBC’s deaf and hard-of-hearing viewers.” 1.D61
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IBC Content Everywhere As an industry we are on the brink of achieving a real goal for consumers. They want to be able to choose their content, when they watch it, where they watch it, and the device on which they watch it. All the technological elements are in place for this to happen. But to make it a smooth, seamless experience for the consumer, and to make it financially viable for the service providers, the industry needs new partnerships, new business models and new interconnectivity. Telcos, mobile network operators and ISPs are as much a part of this new industry as broadcasters and production companies. The technology platforms will be built on big data applications. They will run in virtualised environments or in the cloud. It will all depend upon very high speed connectivity. This is an exciting new world, and IBC has created a new venue for all these parties to come together to forge the future. IBC Content Everywhere is a new series of global events across Europe, MENA and LATAM. It extends IBC’s expertise and reputation in the broadcast market into this new and vitally important arena. This new market cannot be served by an old approach, and so IBC Content Everywhere has taken a very different angle.
While formal opportunities to discuss issues will exist, and products and solutions will be demonstrated in an exhibition, the emphasis is on growing a community of interests. Through the use of near-field communications (NFC) devices, delegates will not only have access to paper-free documentation, they will build up a unique personal community around who they meet, what they see and the solutions they discuss. Knowledge will be shared through the Touch & Connect Portal, providing an
involved in – the live trial of the technology behind this. IBC’s Touch & Connect devices proved themselves in the 2013 trial, and now form a central part of the plans for IBC Content Everywhere. The plan is for a series of global events, to be held in hotspots of interest for new media distribution. The first, IBC Content Everywhere Europe, is being held here in Amsterdam, in parallel with IBC. You will see its branding in a number of areas across IBC. The IBC Content Everywhere Cloud
IBC Content Everywhere is an addition to the existing IBC programme. It is designed to meet a new market immediate and intuitive exchange of ideas 365 days a year. It is not just about five days in Amsterdam, either. The IBC Touch & Connect Portal remains open through the year. Registered users can continue to share knowledge through this closely targeted social network. White papers and case studies will be published online in the future, and the IBC TV archive will be hosted within the Portal as well. Visitors to IBC last year may have seen – or even been
Solutions Theatre in Hall 3 and the IBC Content Everywhere Workflow Solutions Theatre in Hall 9 are part of IBC Content Everywhere. There is also an IBC Content Everywhere Hub in Hall 14. All theatre areas stage presentations and debates, as well as being networking points for like-minded visitors. All are open to IBC visitors, too, and the presentations are free for everyone. The advantage of registering for IBC Content Everywhere lies in Touch & Connect, so you can start building your community of
The IBC Big Screen Experience IBC has long been the plane to talk about, and experience, the latest in big screen technology and practice. This year the IBC Big Screen Experience will be even bigger and built around a programme of free to attend editorially led sessions under the theme of ‘Disruptive Cinema’. The programme takes place in the the RAI Auditorium, a 1,700 seat theatre which is
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converted into a state of the art cinema by the IBC technical team. This year that includes the Christie 6P 4K laser projector and Dolby Atmos immersive audio. There will be no finer environment in which to experience the latest in 2D and 3D big screen content. The IBC Big Screen Experience Programme will explore the latest developments and technologies in the world of
cinema and sessions start at 14:00 today, with a debate on how big screens and second screens can co-exist peacefully and profitably. Other sessions over the coming days include a look at the latest technologies for 3D, alternative content and on the big screen, and the prospects for virtualised movie production. There are showcases for Arri and Red cameras, and the
Touch & Connect is central to the experience
interest today. The next event will be held in Dubai in January 2015, serving the rapidly growing MENA market. Later in the year the event moves to São Paulo in Brazil. LATAM is another area of rapid growth, not least because of the Olympics which will follow in summer 2016 in Rio de Janeiro. Each will contribute further to the wealth of
annual European Digital Cinema Forum workshop and on Monday, the programme will take an intensive look at the challenges and rewards of laser projection. On Saturday and Monday evenings the IBC Big Screen also hosts complimentary movie screenings – Life of Pi and Dawn of the Planet of the Apes respectively – and on Sunday 14 September at 18:30 the RAI Auditorium is home to the IBC Awards Ceremony, which is guaranteed to be full of exciting clips and surprises that
information and opinion on the Touch & Connect Portal. IBC Content Everywhere is an addition to the existing IBC programme. It is designed to meet a new market, and it will do this in a new way, using technology to support the sharing of experiences, here and into the future. To find out more visit www.ibcCE.org.
will make the most of the IBC Big Screen technology. All of these events are free for all visitors to attend, and represent the very best in cinema technology. This is a rare opportunity to get caught up in the new magic of the silver screen. You can view the full IBC Big Screen programme online at www.ibc.org/bigscreen or within the Conference agenda on the IBC Mobile App, sponsored by Blackmagic Design.
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Today in the Hub
Free travel from IBC IBC’s home is the RAI Congress Centre, on the south side of Amsterdam. The city has an excellent network of trams, metros and buses to help you get around. Your IBC registration entitles you to free travel on public transport in the city, valid from today until Tuesday. IBC Conference delegates should find their travel pass in their bags; other attendees can collect a ticket from an ‘IBC Info Point’. With this pass you can travel on any services run by GVB, the Amsterdam transport
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authority, within the city boundaries, which of course includes IBC. Outside the main entrance of the RAI you will find a tram stop, served by tram 4 and the special IBC tram 11. They both go through the city to Centraal Station, following different routes and passing many of the major hotels. If you are not sure which route is best for you, there are maps at IBC Info Points. While extra trams run during IBC busy periods there can still be quite a crowd. A top tip if
your hotel is close to Centraal Station, or on the eastern side of the old town, is to walk to the RAI train station and get the sneltram route 51. This is a metro service which gets to the city centre in under 15 minutes with just a couple of stops along the way. If your hotel is not close to a tram route then check out the IBC shuttle buses. Information on routes and times can be found at IBC Info Points. To find out more visit www.ibc.org/travel.
To get the latest news and views on connectivity and multi-platform delivery, head to the IBC Content Everywhere Europe Hub. You will find it in Hall 14, and it is free to all IBC2014 attendees. There are two big debates today, which are independent and designed to stimulate discussions on key issues. At 13:00 the topic is social media. Given the ubiquity of Facebook and Twitter, what role can dedicated social TV platforms play, and where can they add value? Add your voice to the debate. Then, at 15.30, consider the question of audience measurement. There are established models which calculate television audiences with a high degree of confidence. With a fragmented audience, what do we have to do to know who is watching what? How can online metrics be integrated with
traditional methods? How will broadcasters – and advertisers – know who is watching what, and when? Around these two key debates there is an extensive programme of presentations from some of the key players in the industry. These will illustrate what tools are available for curating, delivering and monetising content across the whole range of delivery options. If you are registered for IBC Content Everywhere Europe and have a Touch & Connect device you can add to the experience by accessing exclusive content from the Download Walls around the show, and participating in exclusive competitions to win prizes. But all IBC attendees are welcome to join the debates and enjoy the presentations. To view the full timetable, visit www.ibcCE.org/europehub.
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Back to the Future The IBC Future Zone, outside Hall 8, is the place to spot the killer products for future years. The best of the research labs and universities are invited to showcase their prototypes and discuss their thinking. Some projects may not get beyond this prototype, while others may be the hit product of IBC in 2020. The researchers presenting their projects are keen to get feedback on what they are doing, so a visit to the IBC Future Zone gives you the chance to influence this work. This year’s IBC Future Zone features 11 projects. 4EVER is a French collaboration between universities and industry, looking at the quality of experience in ultra-high definition TV and the HEVC codec. BBC Research & Development is showing its work in object-based media, panoramic imaging and automated metadata extraction. Additionally, for a look at the connected life and the internet of everything, visit Cisco and its partners. DAVID is an EU project
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looking at preventing damage and managing repairs in digital audiovisual archives, balancing content quality, risks of loss and long-term costs. From Korea the Electronics and Telecommunications Research Institute (ETRI) is showcasing some of its broadcast and media work, which concentrates on ultra-realistic media, including 3D, ultra HD and panoramic video, and holography. Also looking at new immersive display systems, the MPEG project is showing FTV – Free Viewpoint Television. This allows the viewer to move their viewpoint around in a 3D scene: could this finally be the Holodeck? For viewers who want to explore further information around a broadcast, LinkedTV is a solution which links web content to broadcast television, and will be demonstrated with news from German station RBB and cultural programming from Dutch station AVRO. A regular and very welcome guest at IBC is Japanese national broadcaster NHK,
Korean researcher ETRI has a solution for public TV audio
showing the latest developments in Super HiVision, its 8K television system. Technological advances this year include high frame rate capture and display, all linked by a single fibre. Also from Japan, NTT will be showing its latest work in robust IP transmission using MMPEG Media Transport, MMT, expected to be one of the key technologies in nextgeneration codecs. China is becoming a powerhouse for new technologies, and taking its place in the IBC Future Zone is the Academy of Broadcasting Science (ABS), part of the State
Administration of Press Publication, Radio, Film and Television. It will be showing some of the broad range of projects it is currently researching. Finally, and from rather closer to Amsterdam, VRT Research & Innovation is part of the public broadcaster in Belgium. Work on show from VRT includes multiplatform production, personalisation, enhancing the sense of “being there” at a live event, and managing archives. Alongside these practical demonstrations will be the poster section of the IBC Conference. These are ideas
submitted to the peer reviewers of the technical papers committee that are best published in a discussion format. The papers are displayed and their authors are available to discuss their ideas – which might make it in prototype form at next year’s IBC Future Zone. The zone is open to all IBC attendees and runs throughout the exhibition hours. You can find this feature area in the Park Foyer, near Hall 8. To find out more about the IBC Future Zone exhibitors and posters, visit www.ibc.org/futurezone.
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TV: It’s a messy business By Mark Harrison, chair, The Digital Production Partnership Hands up anyone who doesn’t want the activity of production to be creative. OK, that’s a noshow. So now we all agree we believe creativity is A Good Thing, what’s its defining characteristic? It’s messy. Very messy. Whoever heard of a creative person who wanted their programme to be like everyone else’s? Good creatives will, by definition, seize upon new techniques and technologies that give them an edge – that make their programmes distinctive. For this simple reason it is an enormous mistake for any organisation or product to seek to standardise or constrain the production process. ‘Well they’ll just have to do what we tell them!’ is about the most futile exhortation any operations manager can make. But this fundamental characteristic of production – that it needs to be allowed to be messy if it is to deliver the creativity we all crave – carries with it an odd twist. Creatives are also by nature very conservative. Successful delivery of their labour of love is paramount, and to that end they will return again and again to the people, processes and rituals that have worked for them in the past. It is hard to overstate the importance of the word trust in the production community. Combine this with the urge to do something new, and you can find yourself standing in an online suite trying to pick up the mess generated by the wrong people trying to wrangle a new technique. In many ways that is simply the price (and it can often be expensive!) we have to pay. Creatives need the freedom to
create; they need a range of products, craft talent, and production facilities to enable them; and they are bound to make mistakes. But here comes the real paradox. Everything about what it takes to make great content seems to require diversity in the means of production; but it’s a diversity the industry can no longer afford. Major trade shows such as IBC and NAB can trick us into thinking broadcast technology is a major global industry. And true enough global media – in all senses of the word – is big business. But the broadcast technology part of it really isn’t – not compared to the consumer end of the media industry. And furthermore, though they may not realise it, those media consumers really don’t want the broadcast technology industry to be big. Audiences have strong views about programmes, about channels and creative brands. They could not care less about the technology infrastructure and workflows that got those products to their living room, lap or palm. That’s why the whole process of content delivery needs to absorb as little cost as possible while causing the least trouble.
at once brilliantly messy, superstitious and constrained – as we make the fundamental shift in the means of production, from physical to file-based media. So however can we become a truly effective end-toend digital industry that ensures creativity remains uninhibited, supplier choice remains rich, and yet background processes are more efficient and elegant? That, in a nutshell, is the challenge the UK’s Digital Production Partnership (DPP) is seeking to address. And what has been intriguing since the partnership came into existence just over four years ago is the enthusiasm with which colleagues from across the industry are joining with us to meet that challenge. The DPP is led and paid for by three UK public service broadcasters – ITV, Channel 4 and the BBC. But the work it undertakes is supported by all the UK broadcasters, as well as an impressive role call of the industry’s manufacturers, service providers, post production houses, production companies and consultancies.
DPP’s ‘Delivery and Beyond’ session Saturday 13 September, RAI most significant G102/3 achievement has
Everything about what it takes to make great content seems to require diversity in the means of production; but it’s a diversity the industry can no longer afford Content commissioners and distributors would be inclined to agree with consumers: they’d rather spend their money on content acquisition and ownership than content delivery. Inhibition and efficiency This is the lovably crazy and paradoxical world of television –
The DPP offers opportunities for colleagues from all these different sectors to come together to share perspectives, problems and best practice. Incredibly perhaps that opportunity did not exist before; and it is telling how much people value it. Perhaps the Partnership’s
Future television technologies Conference Tomorrow By Chris Forrester This IBC Technical Stream session is produced in association with IEEE, and brought together by Triveni Digital chief science officer Rich Chernock. It promises to be a fascinating glimpse into how some giants of the industry see 16 theibcdaily
the future of television. Samsung’s Youngkwon Lim, a principal research engineer at the South Korean technology company (although based in the US) is perfectly qualified to address delegates given his background as a participant and chairman of many MPEG standards bodies. From 2000, he joined net&tv Inc. and has been leading the development of domestic and international
Mark Harrison: Right now the whole TV industry in the UK is working together to meet the 1 October filedelivery deadline
standards of DMB (Digital Multimedia Broadcasting). He joined Samsung Research America in Dallas in 2012. He has been chairman of the Systems subgroup of ISO/IEC JTC 1/SC 29/WG 11 MPEG since 2009. He is also serving as a chairman of ATSC Specialist Group on 3D-TV and its Specialist Group on Management & Protocols, which is developing the ATSC 3.0
been to define a common standard for filebased programme delivery in the UK – and to bring that standard into practice by 1 October 2014. Right now the whole TV industry in the UK is working together to meet the file-delivery deadline in what we believe is the first panindustry process change to happen in a single, coordinated, big-bang moment. The transition to HD has taken a decade; the move to file delivery is happening in the space of a few months. More interesting still, the creation of a single file-delivery standard has created a domino effect of coordinated, collaborative change. The DPP has found itself working with industry colleagues to look at product compliance and interoperability; digital storage and connectivity; workflow best practice; and opportunities for
standard. His research interests include multimedia systems and convergence between digital broadcasting and internet. Also presenting is Dr Deep Sen, director of Multimedia R&D Labs at Qualcomm, who leads Qualcomm’s 3D-Audio research team at their San Diego HQ. From 1994-2003, he was at Speech and Audio labs at AT&T Bell Laboratories, USA and from 2003-2011, he was a faculty member at the School of Electrical Engineering, University of New South Wales, Australia. He has over 60 peer-reviewed publications. Dr Sen is a
further common standards – notably in that part of the television chain which benefits from simplicity, namely delivery, distribution and storage, rather than the part that thrives on diversity, namely production. These new conversations are crossing the boundaries of public service and commercial. What has been exciting, and surprising, is that the DPP has discovered that the unspoken truth of TV – that the start of the production chain benefits from freedom, but the end of it benefits from constraint – is something everyone wants to shout out loud. Let’s not pretend making TV suddenly got easy. Nor should we pretend the DPP has all the answers. But the Partnership does seem to have started a conversation that pretty much everyone wants to take part in. And when we speak with one voice, the mess suddenly seems manageable.
member of the Acoustical Society of America (ASA), Audio Engineering Society (AES), a senior member of IEEE and an elected member of the IEEE Speech & Language Technical Committee.
Saturday 13 September Emerald Room 08.00-10.00
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Boxes set for channel delivery PlayBox Technology By Michael Burns The new CaptureBox PRO multichannel ingest server is being debuted at IBC, alongside the latest incarnation of the AirBox playout and streaming automation system. CaptureBox PRO allows multiple channels of HD or SD content to be captured from HD/SD SDI digital feeds, analogue sources and MPEG transport streams. Four video sources can be monitored on a single screen and controlled via a new streamlined user interface. Audio levels can be monitored as loudness/truepeak displays and adjusted when required. The latest version of the AirBox system features a new GPU-enhanced graphics mixing engine, which allows realtime
video rotation and depth-order layering. Logo animation facilities are also added for applications in titling, captioning or channel branding. "AirBox forms the nucleus of every PlayBox Technology
installation," said PlayBox Technology CPO, Plamen Georgiev. “Besides its powerful playout features, AirBox offers simple yet flexible broadcast automation which can be programmed locally or remotely
to operate unattended every hour of the day, every day of the year. Integral features include multi-language audio, graphics and subtitle insertion, lastminute playlist changes and clip editing.” Audio capabilities are also expanded with SureCode for Dolby E and Dolby Digital Plus.
“Such capabilities facilitate proper content handling when audio channel re-mapping is needed,” said Georgiev. “Handling Dolby encoded signals 'in the box' gives additional operational flexibility and saves the need for expensive external equipment.” 8.C30
New TV Everywhere platform Anvato By Monica Heck A new TV Everywhere platform designed to power personalised TV for service providers, such as pay TV operators and multichannel video programming distributors, is on show at the Anvato stand. The hybrid-cloud TV Everywhere platform provider recently unveiled Anvato Watch, a new cloud-based turnkey TV everywhere platform and mobile application that resides in the cloud and still leverages onpremise hardware resources and data. Anvato Watch streamlines OTT broadcast operations from live stream generation for playback on desktop and mobile devices and includes monetisation options. In addition, each subscriber receives personalised content based on geographic location, subscription rights, and user preferences. Anvato Watch provides a scalable, personalised television experience on connected devices, It offers live streaming with industry leading quality and reliability, full in-stream ad insertion capabilities and video players for all devices. 14.C02 theibcdaily 17
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IBC2014 after hours We all come to IBC to share knowledge. We talk to each other in conference sessions, on exhibition stands and over a coffee. Then, at the end of the day, we still need to exchange views so we head out into the city. The good news is that the excellent facilities of the RAI Congress Centre are matched by Amsterdam, one of the world’s great cities. It is friendly, cosmopolitan and cultured, and it is on IBC’s doorstep. There are good restaurants within walking distance, but of course all IBC attendees qualify for a free travel pass. This is valid 24 hours a day, Friday to Tuesday, on the city’s buses, trams and metro lines. The routes are simple to understand, and will get you around town and to your hotel. The centre of the city is compact enough for many to explore on foot, searching out some of the more quirky restaurants, bars and coffee shops. The more energetic
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Everyone qualifies for a free travel pass
A quiet zone with Wi-Fi
IBC Business Lounge might want to rent a bike and join the many thousands of Amsterdammers who commute on two wheels. Taxis are a good option, too, but be sure you choose a licensed cab. The narrow streets of Amsterdam make hailing cabs anywhere impractical, but there are
plenty of ranks in and around the city. The meter should calculate the official fare, which is a little under €3.00 to hire plus around €2.00 for each kilometre travelled. The meter will also print out a receipt. Find out more about the city of Amsterdam at www.ibc.org/yourtrip.
IBC is a busy, buzzing place, but what if you need somewhere quiet for a detailed discussion? You might be finalising details of a system integration, signing up a new distributor or even discussing a change of job. Whatever the reason, if you need somewhere quiet to sit and talk, head to the IBC Business Lounge. This year it is in the Park Foyer, near Hall 8. Despite being just a couple of paces from the showfloor it provides a quiet environment
to help you finalise your deal. There are tables and chairs for small group discussions, and bookable meeting rooms if you need more privacy. The rooms can be booked in the lounge, or online at www.ibc.org/businesslounge. The area also has Wi-Fi, and hosts are on hand to help with catering and photocopying. All IBC visitors are invited to use the Business Lounge. It is free, and open from 10:00 to 17:00 each day, closing at 15:00 on Tuesday.
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Opinion
Unleashing the power of cloud for live events The FIFA World Cup broke viewing records in several countries thanks to streaming via the cloud, explains Michelle Munson, president, CEO and co-founder of Aspera As consumers have embraced new technology and devices that have influenced their viewing habits, broadcasters and content owners are looking to stay ahead of their growing demand to view content anytime, anywhere and on any device. Live event broadcasting is evolving in strides with breakthrough technologies and IT infrastructures that enable both new viewing experiences for consumers as well as new monetisation opportunities for broadcasters and content owners. A prime example is this year’s World Cup football tournament, which broke television viewing records in several countries around the world. With over half the global audience expected to watch coverage online, broadcasters and technology vendors came together to create a revolutionary cloud-based
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content delivery workflow that enabled viewers to consume live HD media in ways they never have before. For the first time in history, the World Cup introduced a large-scale system for highresolution end-to-end live streaming in the cloud to second screens. Live video feeds from up to 24 cameras were transferred in realtime using high-performance WAN transport from the stadiums in Brazil to the cloud platform in Europe for realtime processing into multiple formats and bit rates through a scale-out cloud video platform. These were then delivered to broadcasters, who were able to live stream multiple feeds as well as offer video-on-demand coverage from up to 24 camera angles. With 243 different live streams per match, amounting to 2,799,360 minutes of encoded streams, high-speed
file transfer technology including cloud storage transfer capability was critical to delivering consistent transfer of the live feeds despite heavy round-trip latency and packet loss. Instead of having to settle for one live TV feed, consumers were able to enjoy live and near-live coverage of the games from any laptop or mobile device with optimised viewing, and from multiple camera angles. And rather than having to rely on just one live stream from the game’s central production site, broadcasters had access to all the live camera feeds from the game, giving them far greater freedom in what online live streaming and edited content they could distribute. The World Cup set a new record for the most video
content streamed as football fans accessed live content online in greater numbers than ever before. 24 million unique users watched some 15 million hours of content. The whitelabel second-screen app was downloaded more than 10 million times in more than 20 territories, with up to three million fans accessing videos, statistics and live match content each day. As the biggest multimedia sporting event in history, the World Cup has set a precedent for the industry. By unleashing the power and scale of cloud video processing, live events can be broadcast in radically new ways, satisfying both consumer demands, and broadcasters’ and content owners’ desires for new revenue opportunities. 7.G30
IBC TV: Bringing you content everywhere IBC TV is transforming itself this year, into a 24 hour a day, linear web channel which can be accessed on any IP connected device at any time. And yes – you can still wake up to IBC TV: IBC has negotiated free Wi-Fi in many of Amsterdam’s hotels to help you catch the latest stories. Every keynote session will be streamed live, including this morning’s presentation from Matt Brittin, president of Google Europe. Following the keynotes, industry experts will analyse and debate what they have heard, in conversation with presenter Rob Curling. Other conference sessions will also be covered by IBC TV, and of course there will be the usual mix of technology, business and general interest stories. The popular weather forecast will also be there. The new look IBC TV is designed to bring you content everywhere. Presentations from the theatres in the three dedicated areas – IBC Content Everywhere Workflow Solutions in Hall 9, IBC Content Everywhere Cloud Solutions in Hall 3 and the IBC Content Everywhere Hub in Hall 14 – will also be available online. Much of the IBC TV output, including all recorded sessions from IBC Conference and the showfloor theatres, will be made available as video-on-demand via the IBC Content Everywhere Touch & Connect Portal, which has been substantially re-designed and enhanced since its introduction last year. IBC TV VoD content will also be clearly signposted from the IBC, IBC Content Everywhere and IBC TV websites. IBC TV will create more content, more analysis and more news from IBC and IBC Content Everywhere than ever before. The live streaming service is available from now until the show closes on Tuesday afternoon, and all of the sessions, features and interviews will be available on demand afterwards, extending the value of the IBC debate into the future. Visit www.ibc.org/ibctv to find out more.
theibcdaily For the latest show news and updates follow #IBC2014 Crack your file-based conundrums
Working Workflows With broadcasters and content owners moving towards filebased environments, they can now plan their operations to make the best of human and automated resources. Workflows can be designed for maximum efficiency and throughput. IBC has long supported this with a dedicated Workflow Solutions area. This year it forms part of IBC Content Everywhere Europe, the launch event of IBC’s new venture for everyone
involved in content creation, management and distribution. IBC Content Everywhere Workflow Solutions can be found in Hall 9. The area showcases the productivity and economic benefits available from the disruptive technologies of file-based content management. At the heart of the area is a theatre, which will house a series of presentations on successful implementations of advanced workflows. These
A Night at the Opera Among the many highlights in this year’s IBC Awards Ceremony will be a Special Award to the Vienna State Opera. As well as collecting the award, they will be bringing some stunning 4K and surround sound video clips. Best of all, the IBC Awards Ceremony is free to all IBC attendees. The ‘Wiener Staatsoper’ – Vienna State Opera – is one of the world’s greatest opera houses. It offers more than 300 performances a season, and averages more than 99% attendance. To help more people enjoy those world-class performances, it has created www.staatsoperlive.com. Using nine remote cameras in the house, and a sophisticated production system, it makes 45 performances a season available to anyone, anywhere in the world. More than just showing the opera or ballet, there is a host of additional features, from scores synchronised on second screen apps, through to subtitles, including bonus content such as rehearsals, educational material and access to the archives. All of this is available on a wide range of platforms. That includes the Samsung Smart TV range, which prompted a special event in May of this year. Verdi’s opera Nabucco was shot in 4K and streamed live to an extremely enthusiastic audience. As well as Samsung, technology partners included Civolution, Nous, Ooyala and PocketScience. For all its work in bringing great performances to as broad an audience as possible, Vienna State Opera is to receive an IBC Special Award. Dominique Meyer, director of the Vienna State Opera, said, “For us as an opera house with 150 years of tradition, presenting an art form that
looks back on 500 years of history, to be rewarded with one of the most renowned awards in this highly innovative industry is a wonderful acknowledgement. It shows how vivid we are, looking from a glorious past into a promising future.” All attendees to IBC are
will be given by broadcasters and facilities who have put the technology in place, and they will talk frankly on how they have succeeded and the pain points. All of these presentations are
Wiener Staatsoper is to receive a Special Award at the IBC Awards Ceremony on Sunday evening
invited to enjoy some Verdi – and much more – at the IBC Awards Ceremony, which is free to all attendees, although places are limited. Be in your seats in plenty of time for the 18.30 start on Sunday evening, in the RAI Auditorium. Visit www.ibc.org/awards, for more details.
free to all IBC attendees. If you have been upgraded to an IBC Content Everywhere Club Member and obtained your Touch & Connect device, you will be able to access exclusive additional content from your
Your IBC badge Before you can do anything else at IBC, you need to pick up your badge. If you have registered in advance this is simple; if you have not yet registered it is still simple. Registered in advance? You will have been sent a QR Code as part of your confirmation email. Go to the relevant registration area, scan your QR Code, and your badge will be with you in seconds. There are registration areas in a number of locations around the show depending on your pass type. Visitors can collect their badge at the entrance to Hall 14, Conference delegates and Gold Pass visitors have dedicated desks in the Forum (just follow signs for the IBC Conference), and IBC Content Everywhere Europe visitors need to head to the Onyx Lounge near the Auditorium.
personalised Touch & Connect Portal. Today on stage at the IBC Content Everywhere Workflow Solutions Theatre you can hear presentations on how major vendors like Microsoft and Telestream have boosted productivity for users. The day starts with the Advanced Media Workflow Association talking about the importance of standards in delivering maximum efficiency and interconnectivity. Visit www.ibc.org/workflowsolutions for more information.
If you have not yet registered, you can do so now. The process is the same: go to www.ibc.org/register, enter your information, and your badge will immediately be available for collection. If you do not have an internet-connected device with you, please head to the registration area in the Elicium Passage to register onsite. If you want to upgrade to add access to the conference to your registration, or upgrade to a Gold Pass for the full VIP experience, go straight to the Forum where staff will be happy to help. They can explain the benefits of the various types of pass, and adapt your registration for you. We issue badges containing an RFID chip that allows us to accurately track the number of attendees onsite. The demographics on our visitors form a vital source of information that helps us plan for even better events.
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IBC and IET collaborate The Institution of Engineering and Technology – IET – is once more working with IBC to bring the best of the IBC Conference to an even wider audience. IET is once more publishing a special edition of its journal, Electronic Letters, which includes a number of IBC Conference Papers. ‘The best of IBC and IET’ puts selected IBC Papers alongside relevant articles drawn from the IET’s own publications. It gives IET members, along with
interested businesses and academic institutions, a single source of the most important research and development in broadcasting and media technology. The IBC contributions are selected by members of the Technical Papers committee. To reach the IBC Conference, the papers are carefully peerreviewed by the committee. As well as selecting for the IET publication, the members of the committee also determine the year’s best paper, which
receives an award as part of the IBC Awards Ceremony on Sunday 14 September at 18:00 in the Auditorium. This year’s Best Conference Paper Award goes to Gino Alberico along with three colleagues from Italian national broadcaster RAI. Their paper describes their research into the DVB-T2 Lite transmission system, and how it might be used to broadcast HD content to mobile devices. It will be one of the IBC Papers published in ‘The best of IBC
The judges’ decision is final
and IET’. IET is one of the IBC partner organisations. You can find out more about its work, and pick up a copy of the new
publication, at the IBC Partnership Village. This is in the Park Lobby, outside Hall 8. To find out more, visit www.ibc.org/technicalpapers.
Opinion
2014 a breakthrough year for 4K 4K is the next big leap in broadcast and TV, and there’s little benefit in standing still, writes Canon Europe’s Peter Yabsley Television manufacturers are betting Ultra HD will be the next big thing in home entertainment, bringing out a range of sleek new UHD sets despite there not being much in the way of 4K TV available at present. Netflix and Amazon are believers, promising to deliver 4K video via internet video streaming services well in advance of traditional broadcasters. In the vernacular of savvy media types, 4K is ready to go OTT (or Over The Top). There are, of course, plenty of sceptics who believe this 4K push is premature. They point to a dearth of content, nascent standards and inadequate broadcasting infrastructure. And while 4K offers four times the resolution of today’s ‘full’ HD, there’s considerable debate as to whether pixel count alone actually creates a
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better viewing experience. The Ultra HD picture is clouded by a lack of clarity on a number of fronts and a roadmap for 4K TV delivery is desperately needed. Sky Deutschland head of Innovations and Standards, Stephan Heimbecher has made his position clear: “UHDTV must represent a step change in the viewing experience for it to be a success.” This slow and steady approach to 4K delivery has not stopped some of Europe’s more ambitious broadcasters from forging ahead. The satellite operator SES revealed that it has carried out tests for major European clients including Sky Deutschland, Sky UK, and Canal Plus in France and Spain, predicting there will be multiple 4K/Ultra-HD channels as soon as autumn 2016.
The creative director of BBC’s Natural History Unit also went on the record to say he couldn’t imagine returning to HD after shooting the new nature series, Survival, in 4K. Sky Sports conducted the UK’s first live 4K broadcast back in September during a Premier League football game and found the format had 'real potential.' The momentum building for 4K TV underscores just how much the television market has evolved in the decade since HD was rolled out. Back then, even with satellite channels, TV was defined by scarcity. Now, the TV is one screen of many. Consumers have come to expect choice and control in the media they consume. Netflix CEO Reed Hastings, believes we have reached an inflection point where the traditional model of linear TV is
giving way to a new world of applications across a raft of devices. Of course, this could be viewed as a threat to traditional broadcasters - but it also provides fresh impetus for those looking to push the boundaries. The producers who are embracing 4K now are the ones likely to be wowing audiences when European broadcasters finally flick the 4K switch. A recent report by US market research firm Park Associates predicted 4K TVs will reach mass-market pricing in the next two to three years and top 80 percent of US households in 10 to 12 years. “4K TV adoption is following the same pattern as HDTV but prices are dropping more quickly,” explained the firm’s president Stuart Sikes. If its estimates are accurate, 4K TV will grow at an even faster rate than HDTV.
The science fiction author William Gibson once memorably remarked “the future’s already here, it’s just not very evenly distributed.” That’s very much the picture with 4K at present. Our role at Canon is to help facilitate creative expression at all ends of the spectrum. That’s why we already have two 4K cameras, and recently launched a 4K cinema-servo lens that reflects the evolving needs of broadcasters. Change is never easy, especially when the stakes are high and the outcome uncertain. But when it comes to technology, the only way is forward. The only question is how quickly we adapt. 11.E50
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DVB over IP: The building blocks By Alexander Adolf, DVB Chair TM-GBS Over the past few years, OverThe-Top (OTT) has been the hot topic; and it has woken up – if not shaken up -- the players in the broadcast industry. But as often, the reports of the death of broadcast have been greatly exaggerated; OTT hasn't taken over the market just yet, and it doesn't seem it is going to this year either. But broadcasters have learnt from the OTT hype that IPbased technologies, beyond being a threat by enabling new players in the entertainment space, can also play a positive role in their own portfolios. As first steps in embracing them, we have seen broadcasters rollout catch-up archives and HbbTV apps. Technically, the foundations for all these are web technologies. The underlying IP
networking technology however has a lot more to offer than serving as a transport for HTTP. OTT and IPTV remain segmented, with no signs of any technological convergence. Thinking about standardised solutions centered around web technologies, I am often asked what DVB has done – if anything – in this area. So let's have a look at those individual DVB technologies and solutions that have already been designed with IP, the internet, and the web in mind. Physical and link layer The second generation of DVB modulation schemes with DVBS2, DVB-T2, and the recent releases of DVB-C2 and DVBNGH have certainly generated the most buzz in the DVB space recently. Of course they are spectacular by making new HDTV and UHDTV use cases commercially viable, thanks to
FIGURE 1: DVB-GSE PROVIDES A LINK LAYER FOR IP TRAFFIC OVER SECOND-GENERATION DVB BEARERS
FIGURE 2: OVERVIEW OF WEB- AND IP-FRIENDLY DVB STANDARDS
Head in the Cloud It seems that everybody is talking about the Cloud. How can we take advantage of the flexibility and potential of Cloud processing to allow us to create, manage and distribute content better? Answers to these
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questions and many more can be found at IBC Content Everywhere Cloud Solutions, a new and free zone in this year’s IBC. You can find it in Hall 3. The theatre is host to a series of free-to-attend
Alexander Adolf: Whatever 4-to-6 transition strategy you have chosen, or will choose, your investments will be safe with DVB
their tremendous increase in link capacity. But they also brought a no less important innovation: in addition to MPEG-2 Transport Stream, they all provide a Generic Stream (GS) mode, which is used by DVB-GSE, the Generic Stream Encapsulation. DVB-GSE is a link layer for carrying IPv4, IPv6, and other networking protocols as its payload, and enables routing of IP multicast streams from any other networking infrastructure over DVB systems. DVB-GSE also defines a Logical Link Control protocol enabling auto-configuring receivers and dynamic network management by in-band signaling of the RF and network configurations of the links in the broadcast network. That way, IPTV-like systems can easily be built on DVB broadcast infrastructure. Combined with a suitable return channel emulation (see Figure 1), even existing IPTV systems can easily be deployed over DVB infrastructure. Such scenarios are currently studied with great interest in the cable industry.
box. Whatever 4-to-6 transition strategy you have chosen, or will choose, your investments will be safe with DVB.
Transport layer For managed IP networks, the DVB-IPTV suite of specifications enables rich IPTV services by allowing for auto-configuring receivers (Service Discovery and Selection, SDnS), efficient use of precious network resources with error-free multicast transport and hands-free management of the installed receiver base. The recent release of the DVB profile of MPEG-DASH allows for a low-cost receiver, and the content provisioning efforts for web streaming and catch-up archives will also largely be reduced. Needless to say that of course all IP-related DVB technologies already support IPv6 out of the
Application layer The DVB-IPTV suite of specifications comes with content delivery modes for Live Media Broadcast (LMB), and for Content on Demand (CoD). The content offering can be discovered in a rich, searchable, linkable, and inter-linked content guide. To enable a hybrid delivery network consisting of both MPEG-2 TS and DVB-IPTV infrastructure, and offering rich content flexibly across both platforms, the DVB profile of TVAnytime for MPEG-2 TS is defined as a compatible subset of the IPTV content guide. Receivers can retrieve the content from wherever it currently happens to be available: MPEG-2 TS, IPTV live streaming, IPTV on demand, or the web. To support interactive apps like eg. DVB-GEM, or HbbTV to access broadcast and
master class presentations. Today they start at 11:00, with Piksel asking which Cloud? Other sessions today are presented by Dimetis, Civolution, JVC and Avid, and cover topics from network management to collaborative production and news. The theatre is part of this year’s new initiative, IBC Content Everywhere. If you
have registered for IBC Content Everywhere Europe you will be able to access exclusive additional content on the Cloud using your Touch & Connect device. Many of the sessions in IBC Content Everywhere Cloud Solutions will be recorded by IBC TV. These are available for streaming, through the IBC Touch &
IPTV resources from a browser environment, we have further defined the ‘dvb’ URI scheme. This enables web browsers e.g. on Connected TVs to allow web pages to access broadcast resources via hrefs beginning with "dvb://". Conclusion Overall, we are proud to say that specifications for DVB over IP are available across the board and deployed in the market (see Figure 2). At DVB we are keeping a close eye on how things develop, and are constantly evaluating with our members to determine when it's time for taking things to the next level. We also take pride in protecting your investments in DVB technology by maintaining compatibility with previous versions and making sure viable migration paths exist. So wherever DVB will be going in the future, you will be able to follow us and continuously take advantage of the most deployed TV standard in the world.
Connect Portal, so you can catch up if you miss an important topic. Whether or not you are registered for IBC Content Everywhere Europe, you are welcome to visit the IBC Content Everywhere Cloud Solutions area and enjoy the debates and presentations. View the timetable at www.ibc.org/cloudsolutions.
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Opinion
One tool for a smarter workflow Whether it's automation, video or graphics, broadcasters need a complete streamlined control system in a single solution says Petter Ole Jakobsen, CTO, Vizrt As the broadcast market becomes increasingly competitive, there is an evergreater challenge to create more content without compromising quality. At the same time budgets continue to be spread further and wider, so there are fewer resources available for networks to be creative. While larger broadcasters have the resources to build a traditional control room with all the necessary digital broadcast equipment, those systems can be cost prohibitive and impractical for smaller stations, as well as for networks looking to offer secondary channels and online content.
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We recognised a need in the market for a complete streamlined control solution for broadcasters looking to launch a new, cost-effective channel on any platform. Viz Opus, which is being introduced here at IBC2014, delivers Vizrt’s industry-leading Viz Mosart newscast automation system, Viz Engine realtime graphics and video compositor, and Viz One media asset management system – all in a single solution. The cost-effective package offers users high-end graphics, audio mixing capability, video playout, asset management, vision mixing, multiple SDI and IP inputs, multiviewer functionality, all controlled by
the Viz Mosart automation system. This powerful tool creates a smarter workflow by combining newsroom graphics and video workflow with complete control room automation capability. This results in operational efficiencies that simplify the complexity that broadcasters face today. The efficiency also enables production personnel to concentrate on tasks that generate revenue, like creating more dynamic, compelling content. In addition to financial and operational advantages, broadcasters benefit from highend production tools that give their output a more professional and consistent look.
Viz Opus can also be used as a very cost-effective backup to a regular control room or act as a secondary control room where parts of a playlist can be executed, freeing up the primary control room for other tasks. The cost-effective Viz Opus workflow enables broadcasters to do more with what they have, fitting perfectly into an
established graphics and video workflow within a newsroom. Broadcasters will continue to face greater content demands and increasing complexity. The real challenge is choosing and implementing the right tools to simplify workflows, minimise errors, and create an environment that allows more time for creativity. 7.A10
theibcdaily When I’m 60, FOH: Fischer celebrates its 60th anniversary this year with the new FOH 2-2 hybrid connector According to the script: QMaster Remote simplifies getting scripts to your iPad
18x zoom lens makes news Fujifilm Europe By David Fox
Connecting newsrooms to iPads Autocue By David Fox The new QMaster Remote will enable Autocue users to easily deliver the latest newsroom or studio rundown to an iPad in the field. It can take any live updates from the newsroom computer system via Autocue’s QMaster PC software application and exported them to an FTP or Dropbox account. One further push of a button and the rundown is downloaded to the iAutocue app on the iPad. “For several years, studios and newsrooms have been using our QMaster/QBox solution to connect, with continuous updates, to a fieldbased teleprompter. QMaster Remote extends similar functionality to the iPad, making prompting in the field even more portable and cost effective,” said Autocue CEO, Richard Satchell. The iPad can be mounted on
one of Autocue’s lightweight prompter rigs, or the video output from the iAutocue app can control a traditional teleprompter monitor, using the iPad as an edit station and scroll device. QMaster Remote will be available to existing QMaster users as a low-cost, software upgrade. New users can buy it as part of a QMaster/QBox purchase, or standalone as a cut-down, on-location prompter. Autocue’s QMaster/QBox is an IP-based prompting system. QMaster communicates with the QBox scroll engine via Ethernet (wired or wireless). This means the QBox can be positioned any distance from the operator and the PC, being fed with live, continuous updates from the newsroom system. The video is generated locally (on location) so there is no delay between what the operator sees and scrolls in the studio and what the presenter sees on location. 11.F45
Fujinon’s new HA18x5.5 is a portable HD lens for 2/3-inch sensor bayonet mount cameras, covering the focal lengths from 5.5mm to 100mm. It uses highprecision large-diameter aspheric elements, designed with Fujifilm’s proprietary optical simulation technology, that are claimed to achieve sharpness at the centre as well as all corners for edge-to-edge image quality. The lens has a minimum focus distance of 40cm, and its built-in 2x extender brings the focal length on the telephoto end to 200mm,
allowing it to accommodate a broad range of needs. “With the combination of wide angle performance and telephoto reach this could be the ultimate news lens,” said Stefan Czich of Fujinon distributor Pyser-SGI. The lens also has built-in servo drive units for zooming and focusing, while ergonomic design should reduce the physical load for hand-held shooting. It has a 16-bit encoder, which outputs focus and other lens data at high resolution, for easy integration into virtual studios or robotics applications. The compact design weighs 1.97kg with a total length of 240.5mm. 11.C20
News of the world: Fujinon’s new HA18x5.5 HD lens is claimed to be “the ultimate news lens”
Hybrid fibre for power and data Fischer Connectors By David Fox Following the successful launch of the Fischer FiberOptic Series with two (FO2) and four (FO4) fibres at the end of 2012, Fischer Connectors now offers a hybrid version with two fibre channels and two electrical contacts (FOH 2-2) in one small high performance connector. With both fibre and electrical (10A/400v) contacts now offered in a single rugged hybrid connector, so that power and data can be transmitted on the same cable, it will save space, design and installation time, offer premium optical performance in all environments, indoor or outdoor, and reduce costs. The hybrid FOH 2-2 benefits from a mono-block mate adapter for easy access to ferrules, allowing easy field cleaning and maintenance. 11. F32
Opinion
Revolutionising live multimedia distribution Reaching consumers with an enhanced content experience on any of their connected screens is the new goal says Joop Janssen, CEO, EVS As media formats increase, budgets tighten and quality demands grow, so too do the challenges of live production. Highly effective production asset management tools are essential, and will continue to feature prominently. Since 2006, EVS has led the industry in the design of Live Production Asset Management (Live PAM) tools for live and fastturnaround productions. Today’s EVS Live PAM suite, based on IPDirector integrated asset management, including IPBrowse content access tool and C-Cast Xplore webbrowsing interface for immediate access to live multicamera recording feeds, enable content access, control and delivery – when and where it matters. Continuing innovation around four key technical priorities – 28 theibcdaily
metadata management, post production integration, archive exchange and remote connectivity – enables the most advanced collaborative workflows while guaranteeing the instant content control and ultra-reliability required in highly demanding live environments. We’re working to support our customers’ transition towards video-over-IP technology, allowing them to benefit from significant flexibility in networked technology without comprising on the highest reliability standard in broadcast. We’re also striving to create synergy between our enriched live video production systems and innovative technology developed by DYVI Live, which has designed a distributed, ITbased, frame accurate, live production switcher that allows production teams to access
and manage all of their content in realtime – and from anywhere in the world. EVS has always been first to respond to new formats and protocols made available through software upgrades. Whether implementing the first 4K replay, innovating around IPcompliant tools or introducing breakthrough remote production capabilities, we’re focused on delivering cutting edge production systems that are compliant with new and emerging standards and formats. EVS is setting new rules that enable broadcasters and content owners to address new viewing behaviours for the consumption of live programmes. Based on our cloud-based technology, we’re developing the ultimate generation of live multimedia
distribution tools and services that many broadcasters successfully experienced during this year’s FIFA World Cup (through the implementation of host broadcaster HBS). It’s no longer just about capturing, creating and distributing content to the TV screen, it’s about reaching consumers with an enhanced content experience on any of their connected screens – whenever and wherever they might be. We’re developing solutions so that content owners can maximise the value of their media and satisfy the needs of today’s connected consumers. Our objective is to deliver technology that enables faster and highly efficient production, management and distribution of content in a live or fastturnaround setting to deliver on
three key goals: Enhanced programme quality through enriched media, better content selection, and higher standards Increased distribution and quicker access to media content for connected production teams and audiences Improved production efficiencies due to accelerated data and content processing We’re all faced with a changing media world that requires both the refinement of current tools and standards and the creation of entirely new ones. Success for solution providers and our customers is a path that combines both of these realities. 8.B90
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What real benefits from Cloud?
Ahead of the curve: The interior of Videohouse’s new OB14
IBM
Videohouse’s radical OB truck ProjectBuilders By David Fox Videohouse, Euro Media Group’s Belgian operator, has added the new OB14 to its fleet. Rather than replicate previous designs, its in-house system integrator, ProjectBuilders, unleashed what it believes is a radically new design – as can be seen in the Outside Exhibit area. The company wanted to create an optimum, future-proofed working environment with maximum flexibility and, together with system consultant, Crosspoint, identified new concepts, particularly a separate corridor through the truck. “Outside broadcast trucks are busy, with people coming and going all the time,” explained Michiel Spaepen, project manager at ProjectBuilders. “By separating internal sections operators don’t need to pass through the main production area making it quieter and less disruptive.” The equipment racks have externally removable sliding trays, making it easy to load gear for each job, “allowing sharing of equipment amongst the fleet, reducing stock holding,” he explained.
An IHSE (7.F33) Draco tera compact KVM switch gives staff direct access to servers and production equipment from individual workstations. Operators can easily switch between source devices, such as character generators, rasterisers, servers and slow motion devices via hotkey selection as they need to. “Maximum flexibility is achieved by allowing every operator position to be set to personal preference,” said Spaepen. “The tera delivers instant switching of sources without video or data latency; essential in live broadcast production, creating a truly flexible and efficient workflow.” The 32-port Draco tera switch provides access from 16 individual servers and computers to 12 operator workstations over a dedicated Cat7 network with USB2.0 support. Extra pairs of KVM fibre cross-repeaters enable remote connection of peripheral sources or displays up to 10km away. “Operators aren’t aware of the KVM switch; it simply operates in the background delivering the instantaneous connection and switching of sources they demand in a live broadcast environment; exactly as it should be,” added Gert Vandoninck of Crosspoint. OE110
By Adrian Pennington Cloud computing is coming of age, with companies of all sizes across varying industries now fully embracing this new way of accessing technology solutions. Experts predict this trend will continue to grow as more companies seek to exploit the benefits of Cloud. Despite the obvious benefits, though, some companies are hesitant about adopting Cloud, citing several drawbacks. According to IBM there are concerns over data security since the data is only as safe as the Cloud provider's security mechanisms. In particular, personal data, governed by various country specific data protection regulations, must be adequately protected, and organisations can face large fines for loss of such data. Another concern, states IBM, is the
Cloudy future?: Paul Drinkwater chairs today's IBC conference session
service levels offered are typically the same for all clients based on the 'standard service'. Consideration must be given to how adequate the standard service is, particularly in the context of service availability, scalability, and software currency. Paul Drinkwater, IBM, partner and media industry lead, chairs the session 'Can Broadcasters get real benefit from Cloud Computing?' today at 14.00 where the benefits and drawbacks of Cloud for the broadcast industry will be aired. MS22
WinPlus Remote prompts iPad app Autoscript By David Fox WinPlus Remote, an iOS-based teleprompting system that delivers up-todate scripts anywhere in the world, has been launched by Autoscript. The technology is also suited to remote news bureaux and smaller newsroom operations, and works on an iPhone or iPad. The software enables a script to be automatically uploaded to an FTP site where it can be downloaded onto an iPad and kept constantly updated. It works in conjunction with the iOS app, picoPrompt, and is supplied with a hand control. “There have been iPad prompting apps on the market for some time,” said Robin Brown, product manager, Autoscript. “However, the link to the newsroom has been missing, which effectively means that there is no access to live updated scripts on location.” But, WinPlus Remote will mean that users “will always have the
latest version of the script on their iPad.” It has been trialled by Channel 4 News, whose senior programme director, Martin Collett, said: “We worked with Autoscript and picoPrompt to integrate iPad prompting into our workflow. Previously we might have relied on presenters or reporters learning scripts and delivering from memory. Now we can deploy an iPad and simple prompting hardware and get a reliable prompter where otherwise we’d be struggling. There are some clever tricks in the setup that minimise the amount of data transferred during each update, so even on a low bandwidth connection we can still see script updates. We’ve used WinPlus Remote on numerous tricky live assignments with great success.” Broadcasters don’t need to be WinPlus users. “If a newsroom is running other prompting software, WinPlus Remote can be used in parallel. It effectively runs in the background and enables technicians to take the same script as their current prompting solution and upload it to the FTP site,” explained Brown. 11.E55 theibcdaily 29
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SMPTE to debate latest UHDTV developments By Hans Hoffman, SMPTE fellow and EBU senior manager The development of standards for ultra high definition television (UHDTV) offers tremendous promise for enrichment of the inhome viewing experience. Adoption of such standards, and the subsequent rollout of UHDTV services, is becoming increasingly attractive with the ongoing evolution of imaging, processing, and transport technologies, as well as the near completion of the HD migration in many areas. Manufacturers of display systems rightly see ‘beyond HD’ standards and services as drivers for consumer adoption of premium next-generation products. At the same time, pay TV operators and even streaming video service providers understand the standards’ potential to support their launch and delivery of premium programming and channels. How exactly can UHDTV standards move the industry forward and facilitate provision of betterquality content? The standard for true UHDTV that is defined in ITU Recommendation BT.2020 and SMPTE ST 2036-1 incorporates parameters for higher resolutions, with UHD-1 specifying 4K and UHD-2 specifying 8K, and also for higher frame rates (HFR) and bit depths, with a wider colour gamut. UHDTV standards dictate frame rates of up to 120 frames per second (fps), compared with the current standard of 50 or 60 fps that ultimately could yield much smoother movement and better detail during camera pans. With this increase in frame rate, which is perceptible at up to six times the picture height, the UHD-1 and UHD-2 standards stand to add significant visual value for the consumer. By defining a much higher bit depth (the number of bits used for each color component of a single pixel) of 10 or even 12 bits rather than the 8 bits specified in the HDTV standard, UHD-1 and UHD-2 pave the way for two key gains: much better colour precision and the ability to express a broader range of colours. At the same time, the higher dynamic range (HDR) indicated by UHDTV standards ultimately has the effect of
Hans Hoffmann: The fact of the matter is that true UHD is a long-term goal
Sunday 14 September Go with UHD-1 or Wait for UHD-2? making 16:00 Emerald the differences Room between light
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and dark areas of an image much more perceptible for the viewer. Together, these enhancements hold out the possibility for more realistic colours and better visibility of elements within the image. There is no question that UHDTV’s combination of higher resolution, HFR, higher dynamic range, and wider colour gamut promises significant improvements to the quality and impact of moving images. Other cited benefits include a stronger sense of ‘realness’, in addition to the larger field of view that brings the cinema experience to the home, and these gains are complemented by enhanced audio specifications and technology. For many broadcasters and other content providers, however, a number a critical questions persist. Among these is whether to embrace UHD-1, which would indicate a commitment to 4K resolution, or to wait and go with UHD-2, which would require the leap to 8K. A broader palette This is a nontrivial matter, given that the move from HD to 4K
alone requires significantly more data. With the shift to 8K resolution, demanding many times that yet increase in pixel resolution, as opposed to the other factors examined here, offer the least perceivable impact for viewers positioned more than a couple of yards from the screen. That said, the growing volume of content acquired at higher resolution and in higher-quality formats is providing value to broadcasters long before delivery. In practical terms, they offer a broader palette with
UHD video, and the impact of UHDTV on the services they currently provide. Questions on the technical side include standardisation — or at least minimisation — of different profiles used to set parameters for frame rate, resolution, and bit depth, as well as how best to optimise the end-to-end chain (whether streaming, satellite, or OTA) for a UHD format and maximise efficiency. The technical and practical aspects of delivering UHD content to home viewers requires the attention of
UHDTV. Speakers will consider the adoption of UHDTV technology from the points of view of content creation, asset management, and delivery to the consumer. Their presentations will be followed by an informative discussion in which they will review professional industry and consumer roadmaps for the two phases of UHDTV and the requirements for standards. The large investment in product development for UHDTV and its speed of acceptance in some areas
Many broadcasters have small budgets, and those limited resources are currently focused on finalising the HD shift which to work, and this is particularly valuable for premium programming such as live events, which often are characterised by unpredictable lighting and speed of movement within the frame. Considering future plans for UHDTV from the business side, UHD content creators and distributors will likely need to address factors such as an initial scarcity of content, the higher costs involved in creating and delivering content, the limited number of consumer displays equipped to receive and display
standards bodies worldwide, and also of platform and network operators, the professional production industry, and consumers. Produced in association with the Society of Motion Picture and Television Engineers (SMPTE), the ‘Go With UHD-1 or Wait for UHD-2?’ session on Sunday 14 September 2014, at 16:00, IBC2014 brings together major players in the international broadcast industry to discuss UHDTV challenges and opportunities and to outline their strategies for moving toward
promise to make this session both controversial and educational. The fact of the matter is that true UHD is a long-term goal. Many broadcasters have small budgets, and those limited resources are currently focused on finalising the HD shift and on establishing trimedia operations — taking an integrated approach to radio, broadcast, online, and streaming media. Though the move toward UHDTV will take an extended effort, activity across the industry is looking very promising.
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Launch of advanced IP MDUs Canford By Heather McLean
One of the more unique features of the Canford IP MDU is the ability to control door locks remotely. This
enables off-site personnel to grant engineers or support team’s access to either server rooms or locked racks and
cabinets. Configurable aspects of the unit include: MDU current monitoring; MDU power
monitoring (volts, amps, power factor and kWhrs); per socket control (on, off, time delayed and sequential start up); per socket monitoring; and environmental sensors (rack/room temperature and humidity). 9.C01
A new range of advanced IP addressable Mains Distribution Units (MDUs) has been announced by Canford here in Amsterdam. Building on the hardware of its standard MDUs allowed Canford to focus on the most important aspect of these new IP MDUs; the user interface. A user friendly experience via the web interface has been achieved without compromising accessibility from smartphones, tablets and PCs, or any device with an HTML browser and an internet connection. Controlling the many available features is simple and intuitive, the company said, and is possible from anywhere at any time.
Spotlight on social media Vigiglobe By Monica Heck Social TV analytics solutions for TV producers, broadcasters and editorial teams are on show at the Vigiglobe stand this year. The company, which specialises in social media intelligence, is demonstrating the power of its social media integration platform and analysing in realtime the flow of Twitter conversations about IBC and its keynote speakers. The platform, called VigiLabs, is designed for all producers and broadcasters who want to analyse social media content in realtime, curate and broadcast live social media content, interact with and understand their audience and attract new viewers. According to Vigiglobe, all of its proprietary solutions and algorithms operate in realtime, in a multi-language environment and cover millions of data-sources. The company is an official media technology partner of Twitter and a public content solutions partner of Facebook. 14.G03
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Take your picks: PixPlay works with HyperDeck or Ki Pro
D*AP8 Codec Edition launches Jünger Audio By Heather McLean Digital audio specialist Jünger Audio has launched a new Codec Edition of its D*AP8 Digital Audio Processor here at IBC. This unique device has a vital role to play in today's broadcast environment because it is the only combination of broadcast audio codec and processor on the market that can carry out real time metadata emulation, Jünger Audio claimed. The D*AP8 Codec Edition features a built-in Dolby Metadata generator and Dolby decoder that allows users to decode Dolby-E, Dolby-D (AC3) and Dolby Digital plus (EAC-3).
Peter Poers, CEO of Jünger Audio, stated: "Following Dolby's decision in 2013 to discontinue its DP570 Multichannel Audio Tool, we are now the sole company in the world making and supplying a product that fills that gap. Our D*AP8 Codec Edition incorporates a Dolby decoder as standard and with a choice of optional encoders means that broadcast engineers in post production, DVD and DTV facilities can check the quality of Dolby Digital AC3/E-AC3 encoded audio prior to transmission. “Without this product, it is fair to say that broadcast engineers would not be able to carry out precise realtime metadata emulation in recent build production environments and would therefore have no way of checking exactly what
New edition: The Digital Audio Processor allows broadcasters to check Dolby Digital encoded audio prior to TX
PixPlay for slo-mo PixPlay
television audiences hear at home," Poers concluded. Mike Babbitt, senior manager, professional support, Dolby Laboratories, added: "Dolby is happy to partner with Jünger Audio in bringing critical and innovative broadcast-enablement products to the worldwide broadcast community. Through our technical partnerships with valued partners like Jünger Audio, Dolby is continuing to enable current and next generation broadcast and OTT workflows to provide consumers with the 'In Dolby' experience." By incorporating SDI I/O with 3G/HD/SD auto detection, the D*AP8 Codec gives users the option of dealing with all 16 channels of SDI embedded audio at the same time. 10.A49
By Carolyn Giardina PixPlay is a new software option that allows any Broadcast Pix integrated production switcher to provide slow motion control to a Blackmagic Design HyperDeck Studio or AJA Video Systems Ki Pro disk recorder. Originally developed to help game officials review footage for high school and college sports, PixPlay can be used during production for a range of sports applications. According to Broadcast Pix, an operator can replay footage manually using controls on the front panel of the HyperDeck Studio or Ki Pro, but with the addition of PixPlay, VTR control is ported to the production switcher along with six preset replay speeds. Users can also
“scrub” or single step through a scene. PixPlay also includes “in” points as part of a playback EDL, which instantly cues the proper scenes. All scoring plays during a football game, for example, can be selected and cued for playback at one of PixPlay’s preset replay speeds. “Broadcast Pix systems already work well with AJA and Blackmagic file-based recorders via our PixPad interface, but our new PixPlay adds a new level of integration and functionality,” said Steve Ellis, CEO of Broadcast Pix. “The workflow is remarkably easy and delivers great slo-mo imagery at a fantastic price.” Regularly priced at $495, PixPlay will be offered free to customers purchasing a new Flint, Granite or Mica production switcher until 30 September. 7.B21
Opinion
The 64 billion Euro opportunity Software-defined video is the answer. Keith Wymbs, chief marketing officer, Elemental poses the question The past nine months illustrate the innovative spirit and competitive nature of the video industry, with broadcasters and pay TV providers alike answering the challenge of new online video subscription services and multiscreen offers. New media companies such as Netflix and Amazon continue apace with launches of new and higher-resolution services to entice consumers. 4K/HEVC broadcast and streaming milestones have been achieved at events ranging from the world’s largest sporting events to opera performances and rock concerts. At the same time, industry leaders feel the pull of two forces: IP as it becomes the world’s dominant video delivery
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technology, and connected device proliferation as it is predicted to reach 50 billion by 2020 – 15 billion of which will be video-enabled. The key question is: how to keep pace with rapid changes in video technology and consumer demand without breaking the bank, overprovisioning resources, and taking unnecessary risks? Traditional video infrastructure must give way to flexible models that accommodate new and emerging requirements. New solutions also need to support business models that are shifting from high-fixed and low variable costing to lowfixed and high variable infrastructure expenditures. Broadcasters, pay TV
operators, and new media players rolling out premium video streaming services can immediately respond to changes in consumer demand, strengthen their competitive position, and speed time to market by deploying softwaredefined video as the core of their next-generation infrastructures. Software-defined video frees video providers from the constraints of dedicated equipment by allowing for the best architecture and processor combination to be used for a particular application – even if that application changes over time. This infrastructure-agnostic approach to video processing enables the transition to new
video codecs such as HEVC, advanced audio codecs, advanced colour spaces, increased colour bit depth, forensic watermarking and new display formats such as 4K Ultra HD. Because software-defined video relies on general-purpose processors, specific video processing functions can be virtualised in public or private data centere or reside in cloudbased infrastructures. Integrated cloud platforms can ramp resources up and down depending on demand, preventing over-investment in infrastructure. One of the hottest topics at IBC this year will be timeshifted services that enrich live TV experiences, can be adapted for multiscreen viewing and offer new ways to package live content alongside targeted advertising. Increasingly, consumers expect their video anywhere, on any device and to view that content with DVR controls like time delay, pause or repeat.
With a software-defined video delivery platform, multiscreen delivery of advanced live-toVoD services such as catch-up TV, start-over TV and nPVR can be integrated at any time, at any time, allowing for even more flexibility and scalability. An example of this is Elemental Delta, which is making its public debut at IBC. With origin services, just-in-time packaging and end-to-end content protection, Elemental Delta lets content owners and distributors implement timeshifted TV services and dynamic ad insertion while reducing video distribution costs for multiscreen delivery. 4.B75
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HbbTV: innovating a rising standard By Bram Tullemans, senior project manager broadband technology and online services, EBU Hybrid Broadcast Broadband Television (HbbTV), the standard designed to enrich broadcast channels with interactive services over the internet, is expected to continue to grow in popularity with the advent of a new version. The simplicity of a single point of access, the ease in rolling out services, and the enthusiastic uptake by the industry are fuelling the deployment throughout Europe and Asia. HbbTV V2 will be finalised towards the end of the year, supporting HTML5, MPEG DASH, HEVC and synchronisation with other connected devices. These innovations are key in solidifying the HbbTV’s place in the market and continued growth of services. The support of HTML5 in the new HbbTV version is a nobrainer as it is the de facto standard in web technology. HbbTV makes use of the HTML5 browser already found in my connected TVs to overlay interactive interfaces on the live broadcast channel. Using standard web techniques is a cornerstone of HbbTV and the use of HTML5 brings functionality to a new level while retaining ease for application development. HTML5 is well known in the development teams of the content providers and will enhance the available toolbox they can use for the creating the interactive services. The expanded support for MPEG DASH will make it possible to now deliver both live and on-demand content and even expanding the quality to UHD using HEVC. This will facilitate an enhanced quality of experience in the catch-up services and alternative live streams during sport events. These might, for example, be shown picture-in-picture over the broadcast signal. Support of common encryption via DASH makes it possible to use DRM opening the possibility for paid services. The HbbTV V2 specification will refer to the recently published DVB MPEG-DASH specification as well as the important ongoing DVB work
to standardisation to the HbbTV Association.
Bram Tullemans: The support of HTML5 in the new HbbTV version is a no-brainer as it is the de facto standard in web technology
related to synchronised TVservices in the multiscreen ecosystem. Migrating to V2 HbbTV’s success is based on profiling of existing widely used technologies rather than defining new techniques. This approach lowers the implementation costs for both the consumer electronics (CE) manufacturer and the content provider. Profiling limits the test implications for CE vendors. Content providers have easy access to qualified developers, and can maximise the reuse of applications for other delivery platforms. The first HbbTV services were launched in 2009 and its proven these services are more cost effective than for dedicated mobile applications. We note from GfK figures that 92% of the televisions currently sold in Germany are HbbTV compliant. This figure is representative of the HbbTV deployment in other territories.
Dutch public broadcaster NPO is using HbbTV 1.5 for both the free proposition (top two) and paid DRM-service (bottom two called NPO Plus). From left to right: catch-up service, playout screen, EPG and access code for the protected environment
We also note that markets currently supporting alternatives to HbbTV are proposing migrations to HbbTV V2: UK and Italy have announced plans to migrate to HbbTV. These moves will fill in the blanks in a European HbbTV map, but it doesn’t stop there. Freeview Australia will launch HbbTV applications shortly,
References: HbbTV: http://www.hbbtv.org DVB MPEG-DASH: https://www.dvb.org/resources/public/standards/a168_dvb-dash.pdf
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representative of an uptake in the Asian market. The hybrid standard flourishes particularly well in DVB-T(2) countries or with satellites services for a global reach. Regional cable operators pick up the standard for their interactive services. In heavily cabled countries, the larger cable operators are also starting to facilitate HbbTV applications on their networks. The success of the HbbTV standard prompted the Open IPTV Forum this year to transfer all its technical activities with relation
A cross-industry service The single point of access is the strongest proposition of HbbTV services. When an HbbTV enabled device is connected to the internet and the audience is watching a channel enriched with HbbTV, a message notifies the viewer that they can access an interactive portal via the red button. Even when the device is not connected to the internet, a message embedded in the DVB broadcast signal can encourage the user to avail of the full HbbTV service by connecting his device to the internet. Only when the appropriate DVB signal does not reach the HbbTV connected device, which happens when a set-top box or CI-Plus card is used that does not process the HbbTV-signal, interactivity will not be available on that screen. Thus HbbTV can incentivise the consumer to connect his device – a valuable cross-industry service. HbbTV uses the best of both worlds, the efficiency of broadcast technology to deliver highly quality pictures to a larger audience and the capability of internet as an interactive return channel. Combine the two, and the viewer experiences linear merged with on-demand content. Broadcaster experience shows that the most popular services are the catch-up services and vast media archives that become available on the big screen in the home. Once found, people come back regularly to watch new content. But one finds a vast richness of interactive employments in the current HbbTV propositions, for example: enriched Electronic Program Guide (EPG) information, interactive commercial propositions, voting results that are immediately used in the live programme, related content propositions, visual radio channels, overlays of social media, personalisation offerings, second screen integration and even links to services of other broadcasters and the ability to change to their channel. Modern broadcasters don’t just deliver linear channels. Their content proposition is a combination of linear broadcast channels with integrated application signalling to their ondemand portals allowing them to engage further in the direct communication with their audience. Interactivity is nowadays an intrinsic part of the broadcast content proposition.
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Loudness metering on all 16 channel monitors Bel Digital Audio By Heather McLean
accordingly removing any need for manual selection. They also accept eight AES 3id pairs and up to 10 analogue inputs via the comprehensive input and output
choices on the rear panel. Visible monitoring of each channel of audio is by high resolution bargraph metres with adjustable colour transition
points featuring a peak-hold facility. Four user assignable scales and ballistics are also available. Audible monitoring is via magnetically shielded
speakers. All units feature medical grade internal power supplies for reliability, while also removing the need for any external power adapters. There is also the facility for SDI re-clocking and loop-through on each device. 10.A30
Bel Digital Audio has announced at IBC that all of its 16 channel audio and audio/video monitors will now feature loudness metering as standard. The current range of eight variants of 1U and 2U 16 channel, HD monitors/de-embedders has been upgraded to provide loudness monitoring to the latest standards Each of the monitors has the ability to choose between monitoring loudness by momentary, three second, ten second, integrated and dynamic ranges. As a consequence, all the units comply with both the recommendations of ITU-R BS.1770-2 and ITU-R BS. 1771-1. Loudness metering can be displayed in four ways chosen by the user from the easily navigated menu with each showing different combinations of loudness measures. This enables the user to choose which measurements they prefer to show more prominently. Bel Digital Audio’s range of 16 channel audio or audio and video monitors, provide confidence monitoring and demuxing of 3G, HD, SD and SDI signals, said the company. All the units auto detect the various compatible video formats and auto-configure
Compact DVB-T filter Delta Meccanica By Michael Burns A DVB-T filter with 1 kW RMS of power in the VHF band has been released. Delta Meccanica's filter features four poles, which helps to keep the insertion loss lower than 0.4 dB according to the company, with a return loss better than 24 dB. The filter is compact, with a combline configuration, allowing it to be housed in a 19-inch rack, with an height of just 2RU. Delta Meccanica said that it also, after careful examination of thermal behaviour of the filter, optimised the temperature compensation to improve the filter’s stability and performance. 8.E39 theibcdaily 35
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I can see for miles: Vista X uses CPUbased DSP channels for large-scale, high-resolution audio processing
Opinion CPU-based audio powers console launch
A pivotal inflection point The media broadcast industry is a decade behind the technology curve argues Charlie Vogt, CEO, Imagine Communications and GatesAir Our industry is embarking on an unprecedented era of transformative change fueled by IPTV, mobility, social networking, personal profiling and consolidation. The competitive landscape will ultimately deliver an enhanced consumer experience with higher resolution video (UHD+), convenience (TV Everywhere) and improved economics (IP, Software and Cloud). The media broadcast industry is at a pivotal inflection point where today’s legacy 'proprietary premise-based hardware' technologies are yielding to next generation IPenabled, software defined and cloud virtualised technologies. Content creators, broadcasters and distributors recognise the need and value proposition of such change – the challenge is getting from here to there, which is also the opportunity. I joined today’s Imagine Communications and GatesAir (formally Harris Broadcast) a year ago 8 July, after spending 25 years in the
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IT/MSO/Telecom market segment. While I paraphrase that the media broadcast industry is a decade behind the technology curve, it arguably is. For the IT/MSO/Telco industry, the transformation from legacy 'proprietary premise-based hardware' technologies to IP-enabled, software-defined and cloudvirtualised technologies began in the mid to late 1990s. Today’s technology advancements have created catalysts for new applications, new revenue, reduced cost and accelerated growth. Our mission at Imagine Communication is to provide the products, solutions and services to migrate our customers from 'here to there.' Today’s CTO and CIO are laser focused on the 'network of the future' and the technologies and supplier partners to help them get there. Online, mobility and social networking will continue to influence consumer spending. Today’s IP-enabled broadband
network is fueling competition and promoting innovation. Today, mobile data traffic is eight times the size of the entire global internet back in 2000. Video will represent 70% of all internet traffic by 2016 and if that is not enough reason to focus on the network of the future, there is already an equal number of mobile devises as the world’s population... video, video video. At Imagine Communications and GatesAir, we are innovating across these key technology areas and we are designing our solutions to support an ecosystem friendly environment with recently announced technology frameworks (MediaCentral, Playout-in-theCloud, Software Defined Workflows) and Over-the-Air mobile solutions all of which will be demonstrated and focus areas for Imagine Communications and GatesAir at IBC2014. IP, Software-Defined Workflows and the Cloud are game changing technologies
Studer By Michael Burns
and network topologies for our customers. These technologies and deployment strategies create network flexibility, new application adaptation and new business models that do not exist today. Migrating sales and business management tools, content, playout and video compression functionality to the cloud fundamentally changes how networks will be designed and monetised going forward. Imagine Communications has the most comprehensive and complete media software and video infrastructure portfolio and GatesAir has the most compelling next generation radio and TV highefficient over-the-air solutions. Come see us at IBC2014 at stand 7.G20 (Imagine Communications) and 8.B10 (GatesAir). 7.G20, 8.B10
The new Vista X digital mixing console is being unveiled by Studer, based around the CPUbased Infinity Processing Engine. The Vista X retains Studer's patented Vistonics and FaderGlow user interface, but provides control of 800 or more audio DSP channels and more than 5000 inputs and outputs. At the heart of the system is the Infinity DSP core, which uses CPU-based processors to provide large numbers of DSP channels for high-resolution audio processing and mixing. Studer claimed this is the first time more than 800 audio channels have been processed in a single CPU-based board. Until now, most audio DSP has used SHARC or FPGA chips. The company said CPU processing provided a scalable system, faster development of new signal processing designs, huge channel counts, full system redundancy without a single point of failure and the possibility of running third-party algorithms. The new Infinity DSP engine powers 12 A-Link high-capacity fibre digital audio interfaces, providing more than 5,000 inputs and outputs. A newly designed high-density I/O system, D23m, is used to break out these A-Link connections to standard analogue, digital and video interfaces. The new Vista X console features four processors, offering complete redundancy of the control surface. The Infinity Core, with a combination of CPU-based DSP and A-Link audio interfaces, offers N+1 redundancy of the DSP engine and I/O with instant switchover between main and standby system without audio break. CPU-based DSP also means it is now economically viable to provide two completely independent DSP cores running in parallel, with instant changeover in case of DSP problems. Studer said this new design also offers the possibility of two complete Vista X surfaces to be working on the same project at the same time, allowing very large, dual language or multi-format productions to be undertaken with ease. 8.D60
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Exploring trends for IBC2014 and beyond By Peter White, chief executive, IABM The IABM’s programme at IBC begins this (Friday) morning at 08:00 with the business conference session. The session asks, ‘What is the future for broadcasting technology’. The session starts with an IABM state of the industry update and then moves on to a panel debate chaired by IABM’s John Ive and includes Imagine Communications’ Charlie Vogt, Grass Valley’s Marco Lopez, Quantel’s Ray Cross and Dan Castles from Telestream. So what is the future for broadcasting technology? Well certainly the supply sector will be very different to what we are looking at today.
sources sits and works on the organisation’s enterprise wide system. It is the overarching software system that is defining how a broadcaster operates and not the individual component elements of hardware, which merely provide the platform. To reinforce this move to interoperability UK broadcasters have adopted the DPP standard for file-based delivery, effective from October this year. This standard may well also be adopted across the rest of Europe. The IABM recently hosted a preview event on this subject in conjunction with the BBC at IBM’s Southbank premises in London. The IABM also sits on a Joint Task Force on File Formats and Media Interoperability with NABA,
Further down the line we will move to a world where software will define the infrastructure and methodology, and networks will be virtual Traditionally the broadcast technology vendor has fulfilled the needs of its customers by producing almost bespoke solutions based around proprietary hardware sold at high margins and with a built-in ongoing income stream. It is fair to say that all this is changing and proprietary hardware, post content acquisition, is progressively being replaced by software products sitting on commodity IT hardware. Furthermore, customers are demanding a more open approach where interoperability of hardware from multiple
SMPTE, AMWA, Ad-ID and EBU (observer) to develop a similar standard for file delivery for the North American market. This is of course how it has been for many years in other industries and marks the first stage of transition in broadcast technology from bespoke high value hardware-based proprietary solutions to open system architecture and flexible software defined solutions. Further down the line we will move to a world where software will define the infrastructure and methodology, and networks will be virtual, where automation will
reside and simultaneous multiple format playout will be delivered from the cloud. This will clearly impact many of our existing and traditional broadcast and media technology suppliers and perhaps the best-known suppliers of today will be different to that of tomorrow. We can be certain that consolidation in our supply base will continue. This is not only the natural order of things but has precedent in other industries that have undergone such a transition considerably earlier. It was the switch from tape to file that made IT convergence and commoditisation possible, the rest was inevitable. Market challenges The challenge of the future for broadcast and media technology vendors is to remain relevant and to do this we must innovate. Innovate to create the products and services that broadcasters and media content providers demand of us in this ever-changing consumer device led market. On average broadcast and media technology suppliers invest 16% of their sales revenue in R&D each year (Source: IABM Benchmark Report) and this level of investment has been consistent for a number of years. So although the products and services (excluding cameras, lenses and accessories) being developed for the future may bear little resemblance to that of the past, there is a healthy stream of new innovations being launched and the NPD roadmap of many of our member companies is very healthy indeed.
Peter White: On average broadcast and media technology suppliers invest 16% of their sales revenue in R&D each year
In addition to this investment from existing players there is also a steady influx of new providers of products and services entering the fray. In many cases these new players are at the forefront of the new media charge and bring some incredibly innovative solutions to the challenges presented by the TV everywhere phenomenon. So as we witness consolidation in some areas we simultaneously observe proliferation in others. Of course another feature of the M&A activity we are seeing at the moment is the acquisition of some of these newer players which can help a more established supplier take a leap forward and develop at a faster pace than their current in house R&D programme can facilitate. Awards and Training All of this innovation cannot go unrecognised and at IBC the IABM will be presenting its Design and Innovation Awards tomorrow (Saturday) evening immediately post show. This year our awards are split into nine separate categories to reflect the IABM Broadcast Supply Industry Model that we also use in the IABM DC Global Market Valuation and Strategy Report. So we will honour winners with products throughout the spectrum from acquisition to playout and from system automation and control to services.
This rapid phase of change in our industry has led to an influx of graduates with IT based skills but with no in depth knowledge of audio and video. Paradoxically it has also led to the incumbent broadcast engineers who are very conversant with audio and video technology with a knowledge gap in IT related topics, such as compression, IP delivery and networks. The IABM Training Academy is one of the organisations that has mobilised its resources to combat this situation. In recent research, conducted by the IABM, it was found that 73% of respondents thought technical broadcast training would be beneficial, while almost a third identified IT convergence as one of the major causes of the disparity in skills. The IABM Training Academy offers a range of courses that meet market trends and the appetite for this expertise. Recently launched courses include Understanding File Formats, Compression Fundamentals and Applications, Advanced Networking for Broadcast Engineers and Video Systems and Applications. We will be showcasing the whole range of IABM training courses at IBC along with the CertBMT engineering certification scheme. For further information, please visit the IABM’s website at www.theiabm.org.
Q&A Kirsten Smith business development manager, Broadcast Bionics Has IBC come at a good time for the electronic media industry? Why? IBC arrives as we’re refreshed from summer holidays, giving us the impetus and energy to really focus on IBC and beyond. We always use the exhibition to launch new 38 theibcdaily
product and show new ideas and concepts. This year is no exception as we introduce Virtual Director – Broadcast Bionics’ software automated visualisation system. What do you think are the key developments in, or threats to, your market sector at the current time?
Social media doesn’t just raise the ‘audience participation’ bar; it completely moves the goal post! It offers broadcasters great opportunities to engage with audience, maintain loyalty and establish new relationships. Radio therefore is driven to be more visual – sharing pictures and videos to offering live studio
feeds online. We’ve developed specialist broadcast software empowering users to discover, share and maximise social media content. Why should delegates visit your stand at IBC? Virtual Director will impress. This voice activated camera switching offers control over
multiple studio cameras. Moreover, because its clever software, it scales to suit all sizes of enterprise and is very affordable. Don’t miss OASIS and PhoneBOX - Together aggregating telephones, social media and prize management putting you in the centre of your audience from a single studio screen. 8.71
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Plug-on power Audio By Michael Burns
receiver, with up to 80MHz tuning range. Audio is also showcasing its small RF DA and matching portable rack mount plates. The
RF DA features 200MHz bandwidth and has a masthead DC supply built in. There are two sets of DC outputs via four hirose sockets on the RF DA. Other products on show in the En2 range include the mTx mini transmitter, which Audio claims is the world’s slimmest unit and
the DX2twin channel true diversity battery powered receiver. All units feature up to 40MHz switching bandwidth. Also on display is the RK6, a six channel rack for the DX2040 diversity receivers. The RK6 has a comprehensive OLED display which shows RF levels, audio
levels, transmitter battery indication, and scan. The RK2040 rack incorporating four true diversity receivers is also being demonstrated, offering comprehensive monitoring facilities via a built-in RS485 PC interface. 8.C97
The PTX2040 plug-on transmitter with true 48V phantom power for microphones and a host of features to match the RMS2040 range is being showcased. Compact and designed in a trilobular shape, it has a low weight and a low profile, said the company. The PTX2040 can connect neatly to any dynamic or condenser microphone equipped with a standard balanced XLR and turn it into a wireless handheld microphone, making it ideal for use with a boom pole. Another plug-on transmitter on show is the En2 PTX, which matches the CX2 twin-channel true diversity slot-in camera
4K weather show graphics MeteoGroup By Will Strauss Improved resolution, a virtual studio and new 3D graphics software are among the weather show enhancements being shown on the MeteoGroup stand. Formerly known as MeteoGraphics, the company has revealed advancements to the visual quality of its weather graphics with the move to 4k resolution, the integration of a proprietary solution for virtual sets and studios and a new graphics software called Terra6 for creating high-resolution 3D models and 3D flights over terrain. MeteoGroup makes Weather Presenter, the weather visualisation and presentation system, and the global weather tracker MeteoEarth. Both are included in its WeatherSuite product. A new remote control feature has also been made available to allow operators to use tablet computers to trigger a weather presentation, either directly in front of the weather map or from the control room. MeteoGroup is also showing the 3D-weather app MeteoEarth. 2.C48
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Aggressively priced:The lightweight HC-HD300 has a full range of features for studio or OB use
Camera tracking and motion capture SolidAnim By David Fox
Low-cost HC-HD300 system camera Ikegami Electronics By David Fox The new Ikegami HC-HD300 is a compact and “aggressivelypriced” HD shoulder mountable camera covering a wide range of broadcast and non-broadcast applications. It has three 1/3-inch CMOS progressive-scan sensors, with a 1/3-inch bayonet lens mount, and outputs 1920x1080 50i or 59.94i, 1280x720 50p or 59.94p, plus NTSC and PAL. It offers 58dB signal-to-noise ratio and 2,000 lux sensitivity at F10 for 59.94i or F11 for 1080/50i.
The HC-HD300, which should ship in December, weighs 4.5kg including the newly developed FA-300 fibre adapter. Operating voltage range is 11v to 16v and power consumption (excluding FA-300) is 19W. Features include the focus assist and lens aberration correction functions from Ikegami's UnicamHD cameras. Options include the FA-300 and BSF-300 base station. The HC-HD300's output cable is fitted with a Neutrik opticalCon Duo connector for protection against dust. Up to 250m of cable can be connected direct to the camera. 11.A31
SolidAnim has a new version of SolidTrack, its realtime camera tracking system for recording camera moves and data logging those moves on a virtual set. It is claimed to offer simple yet versatile markerless camera tracking and to have the flexibility to be used both indoors and outdoors with the same high quality results. “Compared to traditional shooting methods producers save approximately 30% time on a film or television show utilising SolidTrack,” the company claimed. Its latest features mean it can now be used wirelessly, with an even smaller (4cmx3cm), lighter (120g) 120fps survey camera, and is also now compatible with Linux (as well as Windows Pro 7). SolidAnim also has face and body motion capture systems to capture performance in realtime, with up to 10 actors
simultaneously. It offers two capture services: Facial motion capture with markers and a new markerless capture system using its proprietary technology, SolidFace. It claims to be the first company to offer combined realtime camera tracking with motion capture. SolidAnim systems have been used on Martin Scorsese’s Hugo Cabret,
On track: The markerless tracking system SolidTrack adds virtual character in real time
Cosmos: A Spacetime Odyssey, and Da Vinci’s Demons. SolidTrack is also being demonstrated on the Hybrid TV stand (9.C33), alongside its virtual reality, virtual set and robotics products. 11.E40d
Opinion
Addressing the fragmented media landscape The broadcast services business is now about the logistics of getting content from A to B says Christine Jecko, vice president of Marketing, Globecast The global media landscape is becoming ever more fragmented. Instead of delivering content to one big audience all watching the same programme at the same time via the same technology, broadcasters now have to cater for lots of smaller audiences watching at different times and on different devices. We’ve moved from delivering content in the form of a linear channel to a handful of handover points for onwards distribution to consumers, to a model that involves hundreds of handover points and a mixture of linear feeds and nonlinear packages for catch-up and on demand services. While viewing audiences are now more fragmented, the actual overall numbers have stayed more or less the same. However to reach them, the 40 theibcdaily
process of delivering content has become hugely complex. Offering content via new platforms and devices is necessary just to retain existing audiences. This content also has to be localised to meet the needs of audiences in different territories; it’s all about ensuring content is relevant to viewers which, in turn, makes monetisation far more achievable This is, of course, the ultimate business aim. Controlling the cost of delivery has now become increasingly important. As each audience fragment may be small it can be the case that even very large broadcasters don’t have the critical mass for each delivery type in order to commission, build and support their own infrastructure. Economies and flexibility of managed services are critical.
The broadcast services business is no longer just about supporting linear channels with playout and delivery services; it’s about the logistics involved in getting content from wherever it’s coming from to wherever it’s going to. That involves all the preparatory steps before it can be broadcast or streamed in some way. It’s a case of managing that media through often complex, multi-party workflows and enabling internal and external specialists, wherever they may be geographically, to collaborate in preparing the content for broadcast and ultimately packaging the content and deliver it to consumer platforms. When broadcasters have multiple channels in multiple territories, delivered both as a
linear and on-demand service, this can be a very complex process, involving multiple providers, multiple compliance requirements and handover to local affiliates. Delivering the content to multiple VoD platforms means that for each of these outlets a specific package needs to be prepared and delivered. Broadcast service providers like ourselves now need to offer clients expertise in handling both linear broadcast and ondemand services and the ability to manage and localise content for individual territories. It’s also essential to provide broadcasters with the right mix of technical expertise, highly experienced staff and in-depth knowledge of complex content workflows, enabling them to handle the legal and technical complexities associated with
delivering localised content across multiple regions and platforms. It’s important to recognise that there’s been a shift in the balance of power to the viewer. As an industry as a whole we all need to work together to provide the best possible viewer experience from content discovery through to quality of delivery, manage technical complexity to remain competitive and above all fight for the time and attention of our audience. As content consumption becomes less linear, the competition for audience eyeballs is something we all need to address. 1.A29
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Q&A Markus Fritz director of commercial development and marketing, Eutelsat colours! It’s been launched at our HOT BIRD neighbourhood and is the first Ultra HD channel which can be received by consumers using 4K TVs equipped with DVB-S2 demodulators and HEVC decoders.
Has IBC come at a good time for the electronic media industry? Why? Definitely! IBC has always been the place to be for discussing the main trends shaping the broadcast sector and this year will be no exception. One obvious example is 4K, where we will be demonstrating our latest developments. Eutelsat recently launched Europe’s first 4K demo channel encoded in HEVC and broadcast at 50 frames per second with one billion
What do you think are the key developments in, or threats to, your market sector at the current time? The key trend is about video content availability anytime,
anywhere and on a multitude of devices. This is what many, especially younger consumers, want. Telecoms operators in most cases will not deploy fibre everywhere, and are working on complementary technologies. Satellite is very high on the list, thanks to its ubiquitous coverage and bandwidth availability that make it commercially a viable solution.. So we see this as an opportunity and are developing solutions that meet this requirement.
Why should delegates visit your stand at IBC? Global Connectivity is the main focus of our stand at IBC this year. With Satmex joining our Group at the beginning of the year (and renamed Eutelsat Americas), we now have a broader range of satellites providing global coverage as well as a network of owned and partner teleports complemented by terrestrial fibre links and Points of Presence, to strengthen our response to customer
Launching ‘Behind Every Screen’ V-Mount becomes new Gold standard Thomson Video Networks By Monica Heck A new strategy for streamlined broadcast and multiscreen video delivery has been unveiled by the company. ‘Behind Every Screen’ is described as a unified and intelligent video delivery approach that combines onpremises and cloud-based resources to support broadcast and multiscreen services. It brings together ingest, branding, ad insertion, encoding/transcoding and packaging technologies to provide a complete video infrastructure to broadcasters for profitable and convergent multiplatform video delivery. Central to ‘Behind Every Screen’ are the company’s compression solutions and the MediaFlex unified service operation and management software suite. MediaFlex facilitates overall service configuration, scheduling and monitoring. This enables a simplified operation in which branding and compression resources can be allocated based on priorities for deployment speed, video quality requirements, bandwidth optimisation and content customisation. “Previously, our customers had to make the trade-off between encoding performance (affecting video quality), cost per channel (affecting density), and capex versus opex regarding cloud solutions,” said Christophe
Delahousse, president, Thomson Video Networks. “With ‘Behind Every Screen’, they no longer have to compromise on video quality and density and they’re able to choose the mix of cloud or onpremises technologies that is most appropriate for a given project or service.” 14.A10
Anton/Bauer By David Fox The V-Mount battery is increasingly the standard connection for broadcast cameras, which is why Anton/Bauer, best known for its Gold Mount units, has now launched a new V-Mount Digital Battery Series. The batteries, which will also
be available with Gold Mount connectors, are claimed to be “the first battery line designed specifically to power today’s digital productions, including the unique needs of 4K camera setups and other digital cameras, while providing top-tier levels of safety, performance and reliability.” The V-Mount option means that Anton/Bauer’s batteries will now be available for use with any camera and any accessory.
requirements. Join us for our seminars tomorrow Saturday 13 September and Monday 15 September where we will be presenting the latest news on our satellite fleet, our Ultra HD and connected TV solutions, and much more. 1.D59
The new design includes a proprietary digital filter that increases run time and lengthens life cycle. The series come in three sizes (90 Watt hour, 150Wh, and 190Wh), all fitted with highquality cells that are claimed to deliver a long performance life. 11.E55
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Playing nicely together Masstech By Michael Burns A combined workflow for automated playout and
comprehensive asset management is being debuted following the move to acquire the products and technology of PlayBox. The company is demonstrating how
Masstech’s asset management, archiving and transcoding solutions have now been integrated with the PlayBox channel-in-a-box playout system. The Core of the PlayBox system is the AirBox automation playout server. This is being demonstrated
operating in concert with Masstech Core Asset Management. Masstech claimed the combination establishes a modern, interconnected, highly automated platform for file-based workflow that manages the entire lifecycle of content and meets the full
spectrum of technical, operational and business challenges facing today’s broadcasters. Also being featured at IBC is the new Masstech for Enterprise HTML5-based interface, which offers crossplatform content search, viewing, frame-accurate video editing, and media management. Also on show, Masstech for News enhances Avid iNEWS, AP ENPS, Ross Inception and any MOS-enabled NRCS with its Video-Follows-Text feature. The company claimed the system automates archiving, eliminates fees for adding storage, integrates media and archive management directly within the NRCS and streamlines the movement of content between legacy MAMs, production systems, different NRCS systems and multiple newsrooms. 8.C30
InnSpect for automated STB testing InnoWave By Monica Heck An automated test solution for STBs and mobile devices is being shown for the first time on the InnoWave stand during IBC. The new InnSpect box enables service providers and device manufacturers to automate complex test scenarios replicating user interactions and behaviours on STBs and mobile devices. The new box has a new design, is easier to use and allows multidevice connection. The Portuguese IT company says its InnSpect solution improves the quality of the tests and reduces the testing cycle duration, allowing companies to bring innovations to market quicker and increasing profitability. No scripting skills are needed to use this solution and it provides access to a cloud-based web management portal for easy and intuitive test creation and macro recording. Results can be accessed in realtime and detailed reports containing clear error identification can be exported. The user experience of a product can be improved by measuring key UI actions and the quality of animations. 14.K14 42 theibcdaily
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What is Ultra High Definition TV and is this the big year? By Simon Gauntlett, chief technology officer, DTG 4K and UHD have been buzz words for the last three years at IBC, each time suggesting that this might be the year. The year meaning the technology is getting ready to be rolled out to a consumer accessible platform. With that in mind, where are we today – and are we now at least agreed on a definition of what we mean by UHD? CE manufacturers are making and selling 4K TVs. These all have 3840x2160 pixels of resolution, almost all run at up to 60 frames per second and include at least one HDMI 2.0 input. Some 2014 models now support the 4K Netflix application so customers can see more than just home photos in high resolution. This also means that HEVC (H.265) decoding capability is built into the TV but usually only for sources via IP or a USB plugged directly into the set. In June of this year, the Consumer Electronics Association (CEA) updated its requirements for the Ultra-High Definition logo which is currently planned for this year. The update added IP delivered HEVC requirements within a TV set, along with HDCP 2.2 support for content management, but kept the minimum requirement of 8-bit. Although publically available if you know where to look, 4K content is limited to a couple of seasons of Netflix dramas and user-generated YouTube content. 2014 has, however,
seen a massive increase in the number of broadcast trials being undertaken which should theoretically lead to consumable 4k services. Sky Deutschland has continued its live sporting trials, edging closer to a complete live end-to-end production chain. The World Cup provided some of the best 4K coverage of a live event to date, and the BBC used the Commonwealth Games to demonstrate a complete IP studio infrastructure of 4K content. Delivery of 4K services has now been seen over satellite, terrestrial, cable and IP using Dynamic Adaptive Streaming (DASH). Even the standards to deliver this 4K content, the DVB titled
be made to fund the cost of this new service? The ITU standard for UHD, ITU-R Rec 2020, includes more than just resolution. It includes higher frame rates (up to 120Hz), higher bit-depth (10 and 12 bit) and wider colour representation. In the absence of any displays to demonstrate this wider colour yet, work has focused on ensuring that the metadata can support the delivery of this information in order to cater for a possible future solution. The BBC and NHK have done lots of experiments to demonstrate the benefits of higher frame rates. At the Commonwealth Games, the BBC captured some test footage of 4K at 400 Hz which
So if the broadcasters can make it and the TVs can show it, surely we are just a breath away from the birth of UHD services? ‘UHD-1 Phase 1’ have been agreed and published. So if the broadcasters can make it and the TVs can show it, surely we are just a breath away from the birth of UHD services? Innovation on a stable platform However, questions still remain unanswered. Does the move to 4K resolution and progressive 50/60 Hz give a big enough step-change in picture quality over full HD? More importantly, can a business model be found to ensure additional revenue can
was then converted to HD at 50Hz and 100Hz to display and compare the difference. Engineers are looking at the higher bit-depths to deliver improvement to the dynamic range problems. There are many scenarios where the limits of current TV systems lead to burned-out or crushed images, the classic being a football stadium in part shadow. Cameras are capable of capturing a much greater range of information so lots of work is ongoing to find a High Dynamic Range system to deliver this
Simon Gauntlett: Delivery of 4K services has now been seen over satellite, terrestrial, cable and IP using Dynamic Adaptive Streaming (DASH)
improvement through the chain. A recent DVB/EBU workshop looked at four potential solutions to this problem. Meanwhile in Japan, NHK is still driving towards an 8K system, Super High Vision, and planning to start trial broadcasts in 2016 with a mind to present full services in 2018. This not only enhances the image, it also delivers 22.2 channels of immersive audio. After successful trials at the London 2012 Olympics, further tests were captured during this year’s World Cup. Could it be however that this push towards an 8K service might be somewhat premature? Not all television viewers have adopted full HD (only 75% of US homes watch HDTV) and it still seems that 4k services are only just on the horizon. We need to ensure that all services that are launched adhere to specification requirements for broadcasters, manufacturers, infrastructure providers and platform service operators to ensure the end product is as complete and foolproof as possible.
How do we ensure that the industry delivers something as clear and ubiquitous as HD for the next generation of TV? In short, we need to get everyone to collaborate and agree a stable common foundation on top of which organisations can innovate. This is something the DTG has done with great success in the past and continues to do with UHD. The DTG’s UK UHD Forum brings together the entire ecosystem; studios, broadcasters, platforms, TV manufacturers, silicon vendors, camera manufacturers, retailers and other infrastructure providers to create a forum of stakeholders in a 4K proposition and ensure they are fully engaged and informed. To ensure we don’t isolate this to the UK, this Forum is represented at FAME (Forum for Advanced Media in Europe) and maintains an open dialogue with standards bodies and similar international bodies. If you’re interested in getting involved, please contact SGauntlett@dtg.org.uk.
Q&A Bryce Button product marketing manager, AJA Video Systems Has IBC come at a good time for the electronic media industry? Why? Yes, IBC comes at a great time for the electronic media industry. The rising popularity of 4K as an acquisition format, and of affordable 4K cameras has ushered in demand for better, faster, more efficient workflow solutions to support more advanced pipelines than ever before. From cameras, to
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recorders, to MiniConverters, frame synchronisers and routers, this has driven demand for AJA solutions across the board. What do you think are the key developments in, or threats to, your market sector at the current time? Current key developments in our market sector include:
continued proliferation of 4K, the rise in interest in HDR as a format for broadcast, faster and better ways of moving files throughout a production from capture to final delivery and the continuing emergence of HEVC or H.265 for handling HD and 4K delivery needs. Why should delegates visit your stand at IBC? This will be the first year that
IBC audiences will get to see CION, AJA’s highly anticipated new ergonomic production camera, which simplifies 4K/UHD and 2K/HD workflows. It enables a smooth union between production and post by shooting edit-ready Apple ProRes 4444 at up to 4K 30fps, ProRes 422 at up to 4K 60fps, and is also capable of outputting AJA Raw at up to 4K 120fps.
Visit the stand to see the newest offerings from AJA’s line of products that span desktop video cards, recorders, mini-converters, routers, frame synchronisers, scalers and more. 7.F11
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Opinion
Let's flyaway in style Ultra-light flyaway live production solution combats rising shipping cost argues Kevin Moorhouse, COO, Gearhouse Broadcast Live event coverage is becoming an increasingly popular way to deliver fresh and interesting content to viewers. It can be a cost efficient way of broadcasting original content, filling airtime and reaching new audiences. In most cases a fullspec OB truck would be used, but there are more and more occasions where this is simply not viable. These include budget limitations, lack of available space or access on site, or the extensive shipping required to follow an event around the world, such as a motor racing championship. As well as noticing a greater demand from the live
production industry for smaller and more flexible OB solutions that enable them to cover these types of events, transportation is becoming an increasingly important factor. With airfreight costs continuing to rise, customers are looking to make financial savings wherever possible. Keeping the weight down to an absolute minimum has been key to our thinking with our new OBPod flyaway production solution that we’re launching here at IBC2014. We’ve also taken steps to reduce its on-site rigging and breakdown times to bring crew cost savings to clients. Using the industry-standard
AMP air freight container size as a footprint to simplify the shipping admin, we’ve looked at every element that goes into OBPod. This means we can ensure we’re delivering the lightest solution, yet at the same time not compromising on quality. Where our previous flyaway kit had a honeycomb casing, we’ve now opted for a lighter aluminium system. One of the big savings we’ve made both in terms of weight and rigging time is by switching it to fibre connectivity between PODS and external areas. This means that less cabling is required, speeding up rigging, and also benefitting from not having to freight heavier copper cable around the world. Even the Grass Valley NVISION 8500 Hybrid router was selected for its relatively small footprint, as well as the fact that it offers HD, embedding, de-embedding and MADI I/O with fibre I/O. As well as reducing weight and simplifying rigging, OBPod is also our first flyaway solution to come with expandable sides,
meaning that the edit pod, EVS pod and production gallery can all be enlarged within the TV compound in a similar way to a standard OB truck. This gives the crew a much larger working environment. As the demand for content makes live productions an attractive proposition to broadcasters, the ability to offer consistent production
infrastructure for contracts offers production the ability to focus on programme delivery and not have to worry about the technical facilities. With smart planning, the right materials and equipment and innovative integration it is possible to make considerable time and cost savings with a flyaway production solution. 10.B39
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Opinion
Changing the live broadcast game The unprecedented mobility and flexibility of wireless capture is a game-changer says Ronen Artman, vice president of Marketing, LiveU Consumer expectations when it comes to the coverage of large live events such as the 2014 FIFA World Cup have never been higher. They now demand a much more immersive, multi-dimensional viewing experience. Broadcasters have to deliver and this is where LiveU’s cellular uplinking expertise comes in. The recent World Cup was a real game-changer for LiveU technology deployment as the numbers reveal. During the course of the tournament, over 200 broadcasters used our solutions, which handled over 2,650 hours of transmission and a staggering 40TB of data – what’s more, around 98% of the broadcasts were live! Our global customers were able to benefit from unprecedented mobility and flexibility during their coverage, delivering the type of 360degree content that has been hinted at previously. Juan Pablo Marino, director of Transmission, Caracol TV
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Colombia, said, "We used several solutions from LiveU for the World Cup. The mobility we had with the units and Xtender gave us the ability to go live from five different locations at the same time following the Colombian team and its fans; a true game-changer for us in the creation of content for global events." Our solutions strategy has really made the difference. The recently-launched LU500, our small and powerful, nextgeneration product that delivers greater outright performance in the field, is a prime example. It’s powered by LiveU’s new multi-processor video encoding engine and fourth-generation patented bonding algorithms, providing previously unseen levels of signal robustness in an easyto-carry unit. The LU500 can be used in conjunction with the new Xtender external antenna – as it was at the 2014 FIFA World Cup – which provides extra resiliency in challenging
conditions, and can even be connected to satellite equipment to create a hybrid cellular/satellite solution for guaranteed bandwidth in remote areas. This means our customers can go live from anywhere, anytime. Having even more flexibility and capability in the field is important to broadcasters and this is something that we’ve addressed with LiveU Central. This is our browser-based management system, which enables easy control and geotracking of all LiveU systems, feeds, and apps from any location. LiveU Central provides a live preview of all incoming feeds that can be dragged and dropped to any physical server output anywhere around the world or encoded for web streaming. Looking ahead, there’s little doubt that the cloud has a major role to play in the future of the broadcast industry. IP technology is the future of television with the evolution of cloud-based services the next
Another point of view: Marshall’s new CV500-M2 mini camera
logical step, allowing broadcasters to benefit from even greater capability, scalability and flexibility. We’re using IBC to demonstrate the evolution of our existing offering, bringing the power of the cloud to bear as we develop new ways to meet our customers’ needs – both now and in the future – allowing them to increase functionality as and when needed. LiveU is uniquely positioned to respond to broadcasters’ needs and requirements with a comprehensive set of modular, tiered services tailored to fit their specific workflows. 3.B62
Versatile PoV mini camera launches Marshall Electronics By David Fox The new CV500-M2 point-ofview mini camera is Marshall’s second generation miniature 2MP HD-SDI camera. It outputs full HD video in multiple formats including 50fps in 1920x1080p, 1920x1080i and 1280x720p. It offers improved versatility, durability, compatibility, and functionality compared to its predecessor, with a full size HD-SDI (BNC) and easily switchable M12 lenses. “We've expanded lens compatibility to a dozen Marshall HD lenses ranging from 2.5mm to 50mm. Lens options and ease of installation make this camera possibly the most versatile PoV mini camera in the broadcast market today,” claimed Tod Musgrave, product marketing manager, Marshall Electronics. It has a 12-bit CMOS Sensor and includes a miniature 3.7mm HD prime lens. New chipsets mean it can offer 12-bit digital video signals at 50 or 60fps (3GSDI) with very low power consumption. It also offers 30/25p. Digital enhancements include double shutter wide dynamic range, white balance, digital defog, pixel correction, and extreme low light sensitivity. 11.D20
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Newsroom, scripting and automation bonanza aQ Broadcast By Heather McLean Products being demonstrated on the aQ Broadcast stand will
include those that the company has designed, developed, manufactured and supports in an integrated range of newsroom, scripting, automation and media management software alongside video server
and production suite hardware. In newsroom and scripting software, aQ Broadcast will show QNews, a newsroom computer system that provides script and rundown management as well as
newsroom automation that supports every type of environment from large national broadcasters to small, two-user systems. Also, QNet, a networked scripting solution that offers
unique, multi-user, multi-column script production tools, including shot locks, cut lines, scene numbering, camera cards, flexible formatting and optional prompting. In transmission automation and media management software, aQ Broadcast will be demonstrating QTx. This transmission automation software provides station automation based on the same database and client system as QNews. It provides a cost effective solution in environments where output consists of both live and prerecorded content. Also, QMedia, media management software that provides overarching media management functionality, including ingest, review, deletion, transfer, proxy handling, including archive and restore handling. aQ Broadcast will also be showcasing aVS Video Server hardware, aVS firmware options, and aPS Production Suite. The company will also showcase its integrated solution for regional broadcasters, with particular relevance to the new local TV sector in the UK. 9.B14ci
Digital MAM to service provision Pronology By Heather McLean Pronology, a developer of tapeless workflow solutions, is featuring its comprehensive integration and software as a service offerings at IBC. In addition to providing its complete digital MAM platform, content producers can also contract Pronology as a service provider in order to afford them the ability to implement a tapeless workflow for a predetermined amount of time. The Pronology team specialises in specifying and configuring any required hardware, and ensuring that all hardware and software pieces are optimally integrated. It is discussing at the show how it can also train on-site personnel to operate and maintain the system themselves throughout the production cycle. 10.A26
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theibcdaily Mobile Video Alliance launched Digital Television Group By Ian McMurray
A new ecosystem: The DVBeacon responds to rapid growth in smart TVs
Headless gateway announced Neotion By Ian McMurray A new headless gateway, allowing pay TV operators to securely deliver their content through a rich user experience to different screens, is being launched at IBC by Neotion. The DVBeacon concept relies on widely deployed smart TV technology, which provides an HTML5 browser and a secure media player (DTCP-IP). This presents an exciting opportunity, says Neotion, to create an ecosystem not yet explored.
The DVBeacon does not necessarily have to be connected to the Internet in order to explore and exploit its capabilities and the universe of a smart TV. “We believe that the DVBeacon, which is based on our latest chipset technology, will allow pay TV operators to offer an increased user experience whilst creating new revenues from value added services,” said Gregory Wieczorek, Neotion’s president and general director. “Not only is this product price competitive in the market against existing HD STBs but as a headless device, it is also
future-proof and able to continue to address UHD (4k) and beyond. The DVBeacon is a step closer to users being able to benefit from a complete home gateway solution.” Among the 15% of smart TVs connected to the internet, 6O% of consumers access over-the top video services through the device. Neotion points out that researchers forecast an increase from 22 million to 550 million from 2012-2017. Using an in-house developed GS1 processor, the product will be available by mid-2015. 4.B53
Recognising the growing preference for the consumption of video on mobile devices, the Mobile Video Alliance (MVA) has been launched. The MVA was created to identify, develop and advocate technologies that harmonise the delivery of audio visual content to mobile devices, with the aim of providing a reliable and enjoyable experience for consumers. Founded by mobile operator EE and global interconnection and data centre company Equinix, the MVA has now moved under the auspices of DTG, the UK industry association for digital television. “The MVA will advocate and build a mobile video ecosystem that transitions a fragmented industry to one that is integrated, coherent and collaborative,” said George Robertson, principal IP engineer, DTG (pictured). Participation in the Mobile Video Alliance is open to any organisation that is currently a member of the DTG or that joins following formation of the
Robertson: Moving the industry from fragmentation to integration
MVA. The DTG will provide a forum for interested parties to explore the opportunities and challenges associated with the delivery of audio-visual content to mobile devices. “Video is already the biggest driver of traffic on our 4G network, and that is only set to grow and grow,” said Matt Stagg, network strategy manager, EE. “A superfast network and high performance devices make mobile video a reality, but we now have to work with content owners and broadcasters to really enhance the customer experience. The MVA provides the opportunity to do that, and make a real difference to the way people consume video on the go.” 5.A09
Opinion
Building the modern production studio Jeff Moore, EVP & CMO Ross Video, on the criteria clients must address when they rebuild or add to their existing studio systems Building a new production facility from the ground up can be a lot of fun. Starting with a clean slate means you can reimagine the way your organisation works, building facilities, workflow and job functions that match modern production needs. We recommend that our clients start with the overarching goals of their organisations – the business goals. Clearly defined business goals will help to drive the decision making process and help determine what’s important in putting a solution together that best advances the business. The better you can tie business goals to your studio build, the clearer it will be what outcomes will be achieved. At Ross, we see a very broad 50 theibcdaily
range of customer applications. There are a few common themes these days that our clients are looking to address as they rebuild or add to their existing studio systems. Top three production goals: 1. Improved production look: Make my productions look better and more engaging to watch 2. Efficiency gains: Allow me to do more productions with fewer resources, keep my quality high while lowering my production costs. 3. Address expanded needs: Help me deal with the demand for more content for outlets like the web, social media or that new specialty channel we’d like to launch. Improved production look: Other than the obvious
migration to HD, the big three ways to improve the look of a production are: improved robotic camera shots with motion, richer graphics through upgraded graphics systems and improved graphics package design, and enhanced set design through the use of virtual and augmented reality graphics. Each of these can be added in ways that can reduce costs through efficiencies gained with automation and workflow. Efficiency gains: Improved efficiency and the ability to do more with less is one of the most important driving forces in the design and equipment selection in today’s production studio. Automated preproduction workflows for editing and graphics can
streamline the process, requiring less manual labour and getting content produced more quickly. Production automation is virtually a given these days, with the majority of new builds automating their productions from day one. Production automation provides simultaneous quality improvements and cost savings while freeing staff to produce content for other outlets like the web and social media. Expanded needs: The web and social media are now crucial content publication platforms. The new way of addressing these needs is to design the facilities and workflows so that these outlets are fully integrated into the operation and not a separate
add-on. Again, the right tools, automation and workflow are key to making this an integrated and efficient process. As a company focused on live production, Ross has been helping to drive these industry changes by working with our clients to achieve their business and production objectives. Drop by our stand – you are sure to be impressed with the variety of different ways we can help you make your productions better, grapple with new requirements like social and get more efficient all at the same time. 9.C23
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Opinion
Trains collide at IBC junction Products designed for the traditional video industry and those driven by broader computing trends intersect here observes Dr Andrew Cross, president and CTO, NewTek Not long ago, technology in the video industry was an area unto itself. Then, huge and rapid consumer use of general purpose computing invaded our lives in almost every way. These historic progresses in technology have impacted almost every area of modern technology today. The 'traditional video technology train’ and the 'consumer computing train' are colliding and changing our industry at unparalleled levels. At IBC2014, you’ll find the beginning of the intersection between products designed for the traditional video industry and products being driven by consumer adoption of broader
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computing trends. At one end, traditional companies believe IT is a fad and TV stations are not going to abandon traditional technology. At the other are companies looking at the IP side, the big trends in IT, venture capital, Silicon Valley – believing this is the way. The people to watch are the ones in the middle who can synergise the new with traditional video technologies to make something that wasn’t imaginable before. The industry needs them. Why? We are all at the mercy of what consumers are prepared to watch and pay for – or what advertisers are willing to pay for. No more, no less than that.
The clear, unmistakable reality today is that consumers are not prepared to pay as much for their content as they were yesterday. The internet has caused the value of a minute of video to go down dramatically. Finding ways to produce video cheaper is a huge dilemma for our industry. We are driven to focus on cost, but the big cost is not the equipment anymore – it is the cost of people that matters most. That is why, for our customers, live video is critically important. It is far quicker and thus cheaper to produce one hour of live video than one hour of edited video. It is anywhere
from five to 20 times more cost effective. However, if you lose one show or take longer as a result of choosing a cheaper product, it is not worth the money you saved in equipment. Equally important is the ability to produce more content and reach audiences in different ways. If you’re paying to produce a show, you need to find more ways to make money with it. Social media is way underrated as a video distribution mechanism. While TV requires you to move to get it, social media platforms allow it to be pushed to people wherever they are.
You can send highlights directly to your viewers instead of going through the marketing exercise of getting them to watch your show. If you’re relying on advertisers, it makes your content far more valuable. In many ways, the future of video will involve short snippets being pushed to consumers rather than getting them to sit down and watch. The future belongs to those who can synergise the traditional with the new to create new ways to navigate through the unmistakable realities of our industry. 7.K11
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New Kuwait playout facility launches Gulfsat By Ian McMurray Satellite capacities on the interference free E8WA satellite
and advance sales for the new satellite E8WB (to be launched in 2015) are the focus for exhibitor Gulfsat, who are also launching their new playout facility in Kuwait According to the company, its
strengths lie in its ability to provide a complete broadcast solution and its ability to offer value-added services such as an uplink facility, a playout facility, satellite contribution links, IP contribution links, internet
backbone, SMS rollouts, SNG, studio, co-location, occasional use, live event coverage and so on. “We have had a successful last 12 months,” said Mohammed Shaaban, group senior marketing executive. “We have reinstated ourselves as one of the top broadcasters in the MENA region. We have been
able to acquire four new transponders of premium capacity over the last 12 months. Partnering with beIN Sport (a division of Al-Jazeera) and facilitating their 2014 World Cup transmission and broadcast remains our key achievement of the past year.” The company says that its expansion plans are on track. It intends to acquire another three or four premium capacity transponders over the next 12 months. With this capacity acquisition, it says, the company’s market share should rank in the top three. 4.B70
Merging for global metadata Gracenote By Monica Heck An expanded EPG data footprint is at the heart of Gracenote’s IBC presence this year, around demonstrations of the company’s data, unique IDs and other technologies. Visitors to Hall 14 will see technologies from Gracenote, TMS AND What's-On at the Gracenote stand. Gracenote has just emerged from a series of acquisitions designed to extend its reach into music data and services, automotive infotainment and key international markets for movie and EPG data. Tribune Media, the parent company of Tribune Media Services (TMS), acquired Gracenote in February 2014. It integrated TMS, an EPG and data company active in North America, Latin America and Europe with Gracenote under the Gracenote brand. Tribune Digital Ventures, the tech and innovation arm of parent company Tribune Media, later expanded into India, the Middle East and parts of Asia with the acquisition of What’sON. What’s-ON delivers data for more than 1,600 TV channels and helps power more than 57 million STBs through the region’s top cable services. The acquisition of What’s-ON and integration of Gracenote and TMS expanded the company’s EPG and video metadata reach to more than 50 countries in 30+ languages. The new Gracenote organisation now has more than 15 offices serving customers around the world. 14.H20
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DaVinci Resolve 11 shown Blackmagic Design
Now with added OTT Bridge Technologies
By Carolyn Giardina
By Ian McMurray
DaVinci Resolve 11, the latest version of Blackmagic Design’s popular colour grading system, is being demonstrated. With more than 100 new editing and colour grading features, the update includes online editing plus context sensitive trimming, on-set file cloning, and a collaborative workflow that allows multiple users to work simultaneously on the same timeline. “Since we added the new editing tools into DaVinci Resolve we have had some great feedback from editors working on high end feature film and television programming jobs. We have rolled this great advice into DaVinci Resolve. Of course we continue to add wonderful colour correction and on-set tools into this release as well,” said Grant Petty, CEO of Blackmagic. New to version 11 is dual
Now integrating OTT services alongside conventional linear streams, in what is said to be an easy-to-read visual style, the new version of the VB288 Objective QoE Content Extractor from Bridge Technologies is on show at IBC2014. Running on a standard high-specification server, the VB288 delivers visual content verification with Objective QoE, graphical status displays and alerts to a remote videowall display that can be viewed through any web browser and can power displays of large numbers of MPEG-2, H.264/MPEG-4 and H.265/HEVC channels in multiple browser windows. Operators can mix and match between TS streams and OTT services. According to Bridge, the VB288 provides a highly effective validation tool that is easily adaptable to any monitoring strategy, and readily
Resolver: DaVinci Resolve 11 has more than 100 new features
monitor support, audio crossfades and customisable keyboard shortcuts. It also features a new spline curve keyframe editor integrated into the edit timeline that positions keyframes directly under each clip and in context with the clip. For colour correction, the software update includes RAW image and colour grading controls that are designed for photographers who are moving into cinematography. Resolve 11 is also designed to improve round trip collaboration with Apple Final Cut Pro X, and offers OpenCL image processing for improved rendering speeds on the new Apple MacPro systems. 7.H20
usable by busy engineers remotely. “The theme for us at IBC is ‘how to keep it simple’,” said Simen K. Frostad, chairman, Bridge Technologies, “how to avoid drowning in the complexity of today’s media technology and keep an operation efficient and profitable. We’re bringing great new products to the show that help users do exactly that – whether in terrestrial, satellite, IPTV or OTT – together with a radical new model for system maintenance that includes highvalue added services for our customers.” The VB243 is the latest addition to Bridge Technologies’ line of Intelligent Redundancy Switch products. Providing carrier-grade intelligent
redundancy switching, the VB243 monitors two signals from dual production chains and switches to the backup chain if the main chain fails. A sophisticated automatic decision engine uses Bridge’s ETR290 analysis functionality and compares error condition results against user defined rules. According to Bridge, it far outstrips the simple ETR290 alarm analysers and black box switchers broadcasters have used until now, offering a rich feature set with powerful analysis and standalone decision capabilities that makes it the most comprehensive and versatile ASI redundancy switching solution available. 1.A30
Opinion
IT and IP talking points The move to IP-based infrastructures is the most disruptive technology trend in recent years and is going to continue to dominate says Chris Exelby, MD, TSL Products Over the 12 years that I‘ve been attending IBC there have been substantial changes and innovations in broadcasting technology, which have impacted how television is produced. Digital transmission and distribution, HD and 5.1 surround sound have all made their mark on the broadcast market and while 3D looks to be in limbo as far as TV is concerned, 4K/Ultra HD, immersive technologies and mobile and second screen technologies are evolving and will look to be major influences for the future. But the most significant and disruptive technology trend in recent years, and one that is only going to continue to dominate, is the move to ITbased infrastructures and, particularly, the use of low latency IP as a carrier for audio, video, communications and supporting data. This has been quietly establishing itself over 56 theibcdaily
the last few years but was highlighted at this year's NAB convention and has accelerated since then. As the TV industry prepares for the future, IT and IP will accelerate, with broadcasters and facilities either refurbishing their existing technical centres or building from scratch. We're already seeing the integration of broadcast audio and video with IT networks to create buildingwide data systems, which has brought several benefits to this. On the technical side there is consistent quality with the ability to log and track material using metadata, which ultimately allows people to share files and work on them simultaneously. Economics is a factor, of course but systems integrators – and their clients – are now able to keep installation and operational costs down by running multiple feeds over single runs of lower cost cables, such as CAT5,
while still building and delivering state of the art, fully networked broadcast centres. This will revolutionise the foundation of the industry across the board, from systems integrators to broadcasters and from post production houses to programme makers. The effect on production is likely to be profound and we can see the beginnings of change today. There is a huge demand for content, which is being distributed on a wide variety of platforms, from traditional broadcast channels to mobile and streaming devices. Integrated, networked facilities allow material to be edited in existing suites and studios but with huge cost savings and greater flexibility. IBC2014 offers the opportunity to see the latest developments in AVB (audio/video bridge). This is an open standard for to carrying, routing and switching audio
and video signals over standardised Ethernet connections and has already been adopted by a number of leading manufacturers. TSL Products has been working with the technology and the first results of our research and development, the broadcast industry's first AVB audio monitoring system, will make their European debut at the RAI in Amsterdam. The PAM AVB range has been designed to address the increasing demand for audio and video over IP workflows. It is based on TSL Products' flagship Precision Audio Monitoring (PAM) platform and offers AVB compatibility together with support for SDI, AES and analogue audio. Alongside these units will be the AXIUS series of managed Ethernet switches; another important component in audio and video over IP networks. These are compact switches of eight to ten ports that offer fast, secure connectivity for critical applications requiring PTP (Precision Time Protocol) IEEE 1588 technology for accurate, synchronised network audiovideo timing. We see these units as ideal for smaller outside broadcast vehicles, fly away packages or production control rooms where fewer
devices need to be connected to the network. IP has matured into a fast, reliable carrier for both audio and video. Currently private networks with allocated bandwidth are the most secure way for broadcasters and facilities to use the technology but as processing improves and network speed and reliability increase, the public internet could also become a viable carrier. The take-up of audio/video- over-IP continues to grow and although there is something of a format war – or at least a choice – between Dante and RAVENNA, more manufacturers are offering either one or both, something that will be reflected at IBC. There will be much to see at IBC2014 – including the keynote speech by Professor Brian Cox – but for me IT and IP will still be the talking points round the RAI and in our favourite watering holes. 10.B41
theibcdaily
Exhibitor list and floor plan
Correct as of 28th July 2014
4
Halls 1,2,3,4,5 & 6 floor plan.......................................................Page 58 Exhibitor listing .......................................................................... Page 60 Hall 7 Floor plan ........................................................................ Page 61 Exhibitor listing ............................................................................Page 62 Exhibitor Listing...........................................................................Page 63 Hall 8 Floor Plan ..........................................................................Page 64 Halls 9,10 & 11 Floor Plan...........................................................Page 65 Halls 12 & 13 Floor Plan..............................................................Page 66 Hall 14 & Outside Exhibition Area floor plan..............................Page 67 Exhibitor Listing...........................................................................Page 68
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Halls 1, 2, 3, 4, 5 & 6
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theibcdaily 10EaZy - SG Audio ..................8.D70 24i ............................................14.L05 25-Seven Systems ...................8.D47 27m Group................................1.A44 2WCOM Systems.....................8.E78 3D Storm...................................7.K21 42 Consulting............................3.A18 4EVER.......................................8.F12 4HM.........................................10.A30 4Mod Technology ...................14.F11 A AADYN Tech...........................11.G73 Aaton-Digital ...........................11.F31 ABC Products ........................11.G34 ABE Elettronica.........................8.D23 ABONAIR LTD ........................3.B20c ABOX42...................................14.J13 ABS ................................2.A30/MS23 Academy of Broadcasting Science of SARFT.....................8.F05 Accedo....................................14.E14 ACCESS .................................14.D14 Accusys ....................................6.C10 Ace Marketing Inc. ........3.B37/5.A41 ...........................6.A29/9.B10/11.B51 Acebil.......................................11.E69 Acetel Co. Ltd...........................2.C11 Acorde.......................................5.C49 Acousta Engineering GmbH ....8.A34 Actia Sodielec...........................4.C77 Active Circle ............................2.A36a Active Storage ..........................7.J31 ActiveVideo ...............................3.A27 Actus Digital ..............................7.F07 AD VALEM TECHNOLOGIE ..OE118 Adam Audio..............................8.D70 ADB Lighting Technologies....11.B10 Adder Technology ....................7.C30 Adobe Systems Inc..................7.G27 Adtec Digital .............................1.D01 Advanced Digital Broadcast SA............................5.B48 Advanced Media Workflow Association (AMWA)...............9.A40a Advantech.................................9.C22 Advantech Wireless..................1.A74 Advantek International, Inc......8.E92 AEQ...........................................8.C55 Agama Technologies................4.A75 AheadTek ..................................8.D02 AIC.............................................8.A24 Airbus Defence and Space .....2.C23 AirTies Wireless Networks .......5.B33 AJA Video Systems ..................7.F11 Ajimi ..........................................2.A36i Akamai Technologies ...............6.A15 AKFA Teknology........................8.E16 AKG Acoustics.........................8.D60 Aladdin.co.,ltd.........................11.E65 AlanDick Broadcast Ltd. ..........8.B99 Albiral Display Solutions/ Pixtron Broadcast...................10.A42 Albis Technologies ....14.C04/14.C15 Albrecht Elektronik..................10.A40 ALC NetworX GmbH ................8.F57 Alcatel-Lucent ...............MS40/MS41 Ali Corporation..........................4.C71 Allegro DVT ...............................1.F34 Alpermann+Velte GmbH........10.B48 Alpha Networks SA ..................3.C31 Alphatron Broadcast Electronics ..............................11.C36 AltaSens Inc. ..........................11.F41 Altech Multimedia.....................1.D40 Altera Europe LTD..........1.F13/MS39 Alticast Corp..............................1.F36 Amagi Media Labs ...................3.C35 Amazon Web Services ............3.B16 Ambient Recording GmbH ....8.C73a AMD ..........................................7.H35 AMIMON Ltd. .........................11.B71 Amino Communications.........14.J20 Amos - Spacecom ...................1.C65
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Ampegon ..................................8.D35 Amplidata..................................7.A15 Amptec .....................................8.D70 AnaCom, Inc.............................1.C97 Anevia .......................................4.B66 Anhui Sun Create Electronics Co. Ltd. ................5.A41e ANNOVA Systems GmbH........3.A33 ANT Group SRL .......................8.C64 Antik Technology....................14.C08 Anton Bauer............................11.E55 Anvato.....................................14.C02 ANYWARE VIDEO ..................8.B36c AO Technologies ......................5.C19 Apace Systems Corp. ..............7.K27 APANTAC ..................................8.E37 Appear TV.................................1.C61 Applicaster..............................3.B20k Aputure Imaging Industries Co. Ltd.....................9.D12 AQ Broadcast Limited...........9.B14ci AQS ...........................................2.A22 ArabSat .....................................1.B38 Arbor Media BV .......................7.H05 Arcadyan Technology Corporation...............................4.C88 Archimedia Technology............7.D14 Archiware GmbH......................7.G03 Archwave Technologies ...........8.A03 Arctic Palm Inc........................5.B46a AREPLUS...............................2.B39d ARET video and audio engineering ...................OE103 Argosy.....................................10.C51 Arion Technology Inc................4.A81 Ariston BTS SA.........................8.C19 arqiva.........................................1.B61 ARRI ........................................11.F21 ARRIS........................................1.D31 Arrow OCS & Artesyn ............14.G17 Artec Technologies AG ............7.C28 Artel Video Systems Inc. ..........2.A20 arvato Systems.........................3.B26 ASC Signal Corp ......................1.C51 Askey Computer Corp .............1.A40 ASPERA, an IBM company.....7.G30 Associated Press/AP ENPS.....7.D30 Astec Solutions.......................4.A61g Astro Strobel Kommunikationssysteme GmbH ...... ...................................................3.C41 ATCI...........................................4.C65 ATEME ......................................1.D71 ATG Danmon Ltd....................8.B51a Atlanta DTH, Inc......................10.F38 Atomos......................................9.D25 ATTO Technology Inc................7.F41 ATX Networks.........................14.G16 Audible Magic.........................14.K03 Audio Ltd ..................................8.C97 Audio Network..........................7.H09 Audio Wireless Ltd....................8.E98 Audio-Technica.........................8.D78 Audisi ........................................8.C94 Autocue Group LTD................11.F45 Autodesk...................................7.D25 Autoscript................................11.E55 Avanti Communications ...........1.A50 Avateq Corp. ..........................5.B46d Aveco ........................................3.B67 Avere Systems .........................7.G41 Avid ............................................7.J20 AVIION Media..........................14.J16 Avitech International Corporation .............................10.F26 Aviwest......................................2.A49 AVL Technologies .....................5.A49 AVT Audio Video Technologies GmbH.................8.E76 AWOX........................................2.A27 Axel Technology SRL ...............8.B81 Axia Audio.................................8.D47 Axinom....................................14.G04 Axle ...........................................7.D07
Axon...........................10.A21/10.B21 Ayecka Communication Systems Ltd..............................4.A74 Azden Corporation ...................8.A08 Azercosmos .............................5.B06 B B & H Photo, Video, Pro Audio ................................10.A01 BABO .....................................10.D10 Band Pro Munich GmbH .......11.D21 Barco Silex............................10.D31a Barnfind Technologies..............2.A42 Barrowa.....................................1.A32 Bazhou HongXingJieTu studio Lighting Equipment Co. Ltd...11.C61 BB Consulting ........................2.B39g BBC Academy ........................10.F35 BBC Research & Development .........................8.F18 BBright ....................................2.B39a BCE - Broadcasting Center Europe ..........................7.D12 Beamr .....................................3.B20b Beamshare............................8.B38dii Beenius ...................................14.E26 Beijing Cycle Century Digital Technology Co. Ltd. .................5.B10 Beijing Feiyashi Technology Development Co. Ltd...........11.B51d Beijing Fxlion Electronic Technology Co. Ltd. ...............11.A14 Beijing Hua Yuan Film Equipment Co. Ltd .................9.B10h Beijing KXWELL Technology Co. Ltd ..............11.B51c Beijing Liming Tianwei Opto-electronics co., Ltd.....11.B51a Beijing Novel-Super Digital TV Technology Co. Ltd ..................4.B51 Beijing Realmagic Technology Co. Ltd. .................2.C17 Beijing United Victory Co. Ltd .......................11.G87 Beijing Wan Jiaxiang and Technology Co. Ltd.........5.C16c BEiKS BiK Machulski Sp.J. ...11.D63 Beillen Battery - JIADE Energy Technology.................11.B52 Belco SRL.................................8.D65 Belden ......................................1.D11 Belgium Satellite Services s.a. .1.F61 Benchmark Broadcast Systems (S) Pte Ltd......................................7.C01 Benel BV / Falcon Eyes..........11.A64 Berlin Partner GMBH ...............8.D16 BES .........................................10.D57 Bexel........................................11.E55 BFE Studio und Medien Systeme GmbH...........3.A63 BHV Broadcast Ltd. ...............11.A12 BIRTV ........................................6.A04 Black Box Network Services ...8.E20 Blackcam Systems ................11.F41 Blackmagic Design ..................7.H20 BLANKOM ................................1.F45 BLT ............................................8.B94 Blue Lucy Media.......................7.A04 Bluebell Opticom Ltd..............10.F24 Bluefish444................................7.J07 Blueshape ...............................11.A20 BMS Broadcast Microwave Services Europe ....1.A10 Bon Electronics ......................10.D20 Booxmedia .............................14.G06 Boris FX ....................................7.G43 Boxx TV Ltd............................10.C49 Bradley Engineering................11.F41 Brainstorm Multimedia.............2.B59 Brexel Inc. .................................7.B01 Bridge Technologies.................1.A30 Brightcove.................................5.B20 Bristol Vfx................................11.D43 British Kinematograph Sound &
Television Society (BKSTS) .....6.B01 Broadcast Bionics ....................8.D71 Broadcast Electronics /Commotion..............................8.C91 Broadcast Manufactur GmbH .8.C60 Broadcast Partners ..................8.C81 Broadcast Pix ...........................7.B21 Broadcast RF............................9.A51 Broadcast Solutions GmbH............... ......................................8.A84/OE102 Broadcast Sports...................11.G72 Broadcast Traffic Systems.......2.C18 Broadcom Corporation............2.C25 Broadpeak ................................4.B72 BroadStream Solutions............8.B29 BroadView Software...............4.A65d Bryant Unlimited.....................10.D15 BTESA (Broad Telecom S.A)....8.B19 Burli Software Inc. ...................8.B01 BW Broadcast...........................8.E74 C Cache-A Corporation ...............7.F05 Calrec Audio .............................8.C58 Cambridge Imaging Systems ..........................6.C23/MS2 Camera Corps Ltd..................11.E55 Camerobot Systems GmbH ....8.A19 Camgear Inc. .........................11.D72 Canara Lighting Industries Pvt. Limited............11.A54 CANARE .................................11.A50 Canford .....................................9.C01 Canon Europe Ltd ..................11.E50 Capella Systems.......................8.E83 Carl Zeiss AG ..........................11.F50 Cartoni.....................................11.E30 castLabs GmbH .....................14.K02 CASTWIN (HoseoTelecom Co. Ltd)...........2.A29 Cataneo GmbH ........................3.B35 Cavena Image Products AB ....2.C32 CB Electronics ..........................7.F06 CCBN2015................................6.A03 CCI Paris Ile-de-France...................... .....2.A36/2.B39/8.B36/8.D82/11.E40 ....................................../MS40/MS41 C-Com Satellite Systems Inc ...4.C55 CCPIT Electronics & Information Industry Sub-Council ...............5.C16 Cedar Audio Ltd .......................8.C98 CEITON Workflow & Scheduling.............................3.A60 Celeno.....................................3.B20g Christie......................................9.D15 Christy Media Solutions - Broadcast Recruitment Specialists ...........6.C29 Chromatec Video Products .....3.B55 CHYRO ...................................2.A36c ChyronHego .............................7.D11 Cine 60 ...................................11.G41 Cinedeck {Cine Design Group LLC}.. ...................................................7.J07 Cinegy ............................7.A30/7.A41 Cinela ......................................8.C73a Cineroid ..................................11.G27 Cires21....................................14.K06 Cisco .........................................1.A71 Cisco - Connected Life ...........8.G11 Civolution ..................................2.B41 ClassX SRL ...............................8.A74 CLD Distribution .....................10.A08 Clear-Com ..............................10.D29 Clearleap ................................14.G10 Cmotion GmbH......................11.G42 COAX Connectors LTD ..........11.F73 Cobalt Digital Inc. ...................10.B44 Cobham.....................................1.F41 Codex Digital ..........................11.C71 Cogent Technologies .............6.C28a Collabora Limited ...................8.B38c Comigo .....................................3.B61 Communications Specialties Inc.........................10.F37
Compunicate Technologies Inc.1.F29 Computenext..........................14.K18 Comrex Corporation.................3.A48 Comtech EF Data .....................1.F80 COM-TECH Italia SpA .............8.C18 Comtech Telecommunications 1.F80 Comtech Xicom Technology....1.F80 Conax........................................1.D69 Concurrent Computer Corporation...............................2.B31 ContentWise ...........................14.K05 Convergent Design.................10.A24 Cooke Optics..........................11.D10 Coolech Technology Co. Ltd .5.A41d Coolux GmbH.........................11.F53 Copperlan .................................8.A03 Corning .....................................5.C45 Coship Electronics Co. Ltd. .....1.F50 Cosmolight .............................11.C30 Coveloz ...................................5.B40c CP Cases Ltd..........................10.A44 CPI International Inc.................1.B41 Craltech Electronica, S.L. ........9.C02 CreateCtrl Ag ..............................MS1 Creative Network Design..........7.F06 Crenova Multimedia Co. Ltd....4.C98 Cryptography Research Inc...14.C17 Cryptoguard AB .......................3.C61 Crystal Vision ............................2.B11 CSG Media, LLC ....................14.H01 CSTB Russia ............................6.B06 CTM Solutions..........................7.B11 CTP Systems............................8.A68 Cube-Tec International GmbH 5.C41 Cubiware...................................5.B30 Cuescript.................................11.A57 Custom Consoles Ltd ..............8.A20 CV Support Limited................11.D72 CW Sonderoptic ....................11.D21 Cymatic Audio ..........................8.A03 CYTAGlobal ..............................3.C44 D d'accord broadcasting solutions gmbh.........................8.C21 Dalet Digital Media Systems....8.B77 an Dugan Sound Design .......8.C95 Da Danmon Systems Group A/S ...............................8.B51c DataDirect Networks................6.C18 Datavideo Technologies Europe B.V. ...............................7.D39 Davicom..................................8.B38h DAVID Project............................8.F22 DAVID Systems GmbH ............3.A31 Dayang Technology Development Inc. .....................7.B35 dB Broadcast..........................10.A28 DB Elettronica Telecomunicazioni....................8.C74 DCC LABS ..............................14.L14 Decimator Design.....................7.B40 Dedo Weigert Film GmbH......11.E31 Dega Broadcast Systems Ltd .7.G07 Dejero......................................11.C21 DekTec ......................................2.B40 Delec Audio und Videotechnik GmbH...............10.D30 Delta Meccanica s.r.l.................8.E39 DELTACAST...............................7.J14 DELTACAST.TV .........................7.J14 Deltron Italia SRL ......................8.E17 DENZ ......................................11.C88 DeSisti - ILT Italy S.r.L. ...........11.B45 Deutsche Telekom - Business Development and Innovation 14.G15 DEV Systemtechnik GmbH & Co. KG.......................1.B31 DEVA Broadcast Ltd. ...............8.D79 devolo AG ...............................14.K17 Dexin Digital Technology (Chengdu) Co. Ltd..................3.B37e DGQoS SRL ...........................8.D37d DHD...........................................8.A50
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theibcdaily DigiCAP / SELFSAT..................5.C46 DiGiCo.......................................8.D70 DiGiDiA......................................8.E89 Digigram....................................8.C51 Digimetrics ................................7.A43 Digisoft.TV...............................14.E27 Digispot System GmbH...........8.D74 DigiTAG....................................10.F29 Digital Forecast .......................11.E65 Digital Nirvana .......................9.B14cii Digital TV Group .......................5.A09 Digital TV Labs Ltd ...................5.A01 Digital Vision..............................6.A14 Digital Zone Co., Ltd...............5.A05f Dimetis ......................................1.B30 DirectOut Technologies ............8.E85 Disk Archive Corporation........8.B38f DivX ....................5.C10/MS47/MS48 DJI .............................................9.C34 DK-Technologies ......................8.E60 DLNA .......................................14.L22 DLP - Digital Tech Co. Ltd .......9.B19 DMLite ....................................10.D20 Dolby Laboratories ...................2.A11 Dot Hill.......................................6.A16 Doteck Digital Technologies ....2.C49 DOTSCREEN..........................2.B39c Double D Electronics Ltd..........1.F58 Doughty Engineering Ltd .......11.A60 DPA Microphones ....................8.D70 Dracast ....................................11.F63 DSPECIALISTS GmbH.............8.E69 DTS ...........................................2.B50 DTVKIT ....................................4.A61c Dune HD .................................14.D20 DVB ...........................................1.D81 DVBControl - MediaControl.....3.B43 DVEO division of Computer Modules, Inc. ............................2.A34 DVLab .......................................5.C06 DVMR - Openheadend ..........14.H14 Dynamic Drive Pool..................7.H15 Dynaudio Professional ............8.D56 Dyvi Live ..................................10.F30 E Eagle Kingdom Technologies (EKT)...................5.C28 Earda Electronics Ltd...............4.C67 easyDCP GmbH ......................8.B80 Easy Media Suite......................9.A45 Easyrig.....................................11.A46 EBS Group Scrl ........................8.C74 EBS New Media Ltd...............14.C01 EBU (European Broadcasting Union)...............10.F20 ECHO ......................................10.F42 EchoStar....................................1.F76 Eddystone Broadcast ............8.B38b Edgeware................................14.B20 Editshare...................................7.G37 EDL-REC...................................7.A05 Egatel ........................................8.D40 Egripment BV..........................11.A21 Elber SRL................................8.D37a Elecard ......................................3.C19 Electrosys S.R.L ......................8.C41 Elemental Technologies ...........4.B75 Elements.tv | Syslink GmbH.....3.A23 ELETTRONIKA........................10.F41 Elite Antennas Ltd ...................4.A61f Elliptic Technologies...............5.B40a ELTI d.o.o..................................8.C25 EMC Isilon.................................7.H10 EMEA Gateway.....................9.B14cii Emerson Network Power.........8.C12 Emotion Systems ...................6.C28c EMS technical personnel Ltd...1.B09 ENCO ........................................8.B15 Encompass Digital Media ........4.B54 Enensys.....................................2.A31 Ensemble Designs, Inc.............8.B91 Entone .....................................14.L10 Entropic.....................................5.C28
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Envivio, Inc................................1.D73 Equinix ......................................3.B21 ERECA ......................................9.C47 Ericsson ....................................1.D61 ERLAB ....................................14.D02 ERSTREAM .............................14.J04 Es'hailSat ..................................4.B74 Espial.........................................5.A07 ETC - Electronic Theatre Controls .....................11.A62 Etere ..........................................8.B89 Etilux .....................................10.D31b ETL Systems.............................1.A33 ETRI ..........................................8.G08 Etribez .....................................14.D30 Euro Light System ..................11.E38 Euro Media Group .......8.D11/OE110 Eurotek S.R.L............................8.A59 Eutelsat SA ...............................1.D59 Evertz ........................................8.B40 EVS.................................8.A96/8.B90 Excitem.....................................8.E91 Exir Broadcasting AB ...............8.D28 Exterity ....................................14.H13 Extron Electronics ....................9.C30 Eyeheight Limited.....................8.B97 eyevis GmbH ............................9.B24 F F&V Europe B.V. .....................11.G50 F.A.Bernhardt GmbH, FAB .......2.A21 Fabrix Systems Ltd..................3.B20l Facilis Technology Inc. .............7.E08 Factum Electronics AB ..........8.D90d Fairlight .....................................7.H17 Fal Systems Ltd ......................OE117 farmerswife ...............................9.C25 Farseeing Co. Ltd...................11.D65 Fast Forward Video ................10.D20 Fiberfox...................................11.G59 FileCatalyst ...............................7.H40 Film and Digital Times ............11.F31 Fiilmgear ..................................11.A61 Filmlight .....................................7.F31 FIREFLY CINEMA.................11.E40b Fis Blue .....................................5.C23 Fischer Connectors ................11.F32 Flanders Scientific, Inc. ..........10.A12 Flanders/ Belgium...................10.F42 Floatcam ...................................9.B51 Flowcine..................................5.B22a FocalPoint Server ...................7.K01a FOR-A .......................................2.A51 Forbidden Technologies plc...8.B38e FORTIS......................................4.B82 Fortium Technologies LTD......14.J06 Fraunhofer Digital Cinema Alliance........................8.B80 Fraunhofer FOKUS...................8.B80 Fraunhofer Gesellschaft...........8.B80 Fraunhofer HHI .........................8.B80 Fraunhofer IDMT ......................8.B80 Fraunhofer IIS ...........................8.B80 Freefly Systems .......................9.B23 Freesun (Beijing) Technology Co.,Ltd. ................9.B10f Friend Mts...............................14.B30 Front Porch Digital....................7.D14 FTV project of MPEG................8.F45 Fujian Newland Communication Science technology Co.Ltd .....1.C91 FUJIFILM Europe - Recording Media .................11.C20 Fujifilm Europe GmbH............11.C20 Funke Digital TV .......................3.C60 Furukawa................................11.G25 G G. L Optics..............................11.A68 GatesAir ....................................8.B10 Gazprom Space Systems........4.B71 GB Labs ..................................7.J15b Gear Cam ...............................11.B65 Gearhouse Broadcast10.B39/10.E50
Gefen.........................................7.B30 Genelec.....................................8.D61 General Dynamics Mediaware.1.A06 General Dynamics SATCOM Technologies.............................1.A41 Genius Digital and GFK..........14.F37 Geolink Satellite Services / CETel......................2.A36b Geritel Giomar...........................8.E33 Ghielmetti AG ...........................8.C77 GIGABYTE Technology ..........14.J02 Gigatronix Ltd ...........................9.A06 GkWare e.k. ..............................2.C51 Glensound Electronics Ltd.......8.E72 Global Distribution ....................7.J31 Global VSAT Forum..................6.B05 Globecast..................................1.A29 Glookast Technology................7.D03 Gold Best Limited.....................4.C74 GoMax Electronics Inc.............2.C41 Good Mind Industries...............5.A20 GoPro........................................9.C40 Gorgy Timing ..........................8.D82c GOSPELL Digital Technology Co. Ltd. .................3.A61 Gotech International Technology Ltd.......................3.B37b Gracenote .................14.G13/14.H20 Grass Valley ...................1.D11/1.E02 GraVue Co., Ltd ........................8.A25 GREAT Britain Pavilion ..4.A61/8.B38 GreenPeak Technologies .........1.C90 GRUS........................................2.C29 Gsertel.......................................8.A11 GT - SAT International..............5.B18 Gulfsat Communications Company ..................................4.B70 Guntermann & Drunck GmbH .4.B60 Guramex .................................10.B31 H Hamlet.......................................9.D10 Harmonic Inc ............................1.B20 Harris Broadcast......................7.G20 HDMI Licensing, LLC...............5.C25 HEXAGLOBE ..........................14.L19 HGST ........................................7.G15 HHB Communications Ltd ......8.D56 Hi Tech Systems Ltd ................8.C92 Hibox Systems........................14.L12 HidashHi....................................3.A16 Highlands Technologies Solutions .................................10.B20 HighPoint Technologies, Inc. ...5.C11 HilKOM Digital GmbH...............1.F45 Hillrigs......................................11.A75 Hiltron GmbH............................4.B89 Hisilicon Technologies co. Ltd.2.C30 Hispasat ....................................1.A46 Hitachi Data Systems...............7.K31 Hitachi Kokusai Electric Europe GmbH ........................11.D39 Hitachi Kokusai Electric Turkey, Inc. ................................4.A71 Hive Streaming ..........................MS2 HK Sunrise Technology Development Co. Ltd...............9.B02 HMS GmbH..............................8.C21 Homecast Co., LTD ..................1.A27 Horizon Teleports......................5.B15 HP ................................14.H02/MS21 HTTV .........................................4.B77 Huawei Technologies Co. Ltd..5.B17 Huaxin Antenna........................1.C95 Hubee .....................................14.H17 Humax Co. Ltd .........................1.C27 HwaCom...................................4.C50 Hybrid TV..................................9.C33 Hybris Software - An SAP Company ................................................14.D10 I IABM ..................8.F51a/8.F52/8.F54 IB/E OPTICS Eckerl GmbH ...11.D21
IBAS - Italian Broadcasting Advanced Solutions .................8.D41 IBM............................................MS22 IdeasUnlimited.TV ....................8.A54 IDX Technology ......................11.C21 IEC Telecom.............................3.B29 IEEE Broadcast Technology Society ....................................8.F51b IET - The Institution of Engineering and Technology.......................8.F51c iFootage International (HK) Limited ............................9.B10c IGP b.v. .........................1.F58/OE107 IHSE GmbH...............................7.F33 Ikegami Electronics (Europe) GmbH..11.A31 Ilionx ..........................................3.A22 Image Engineering GmbH & co. KG......................11.E16 Image Matters ......................10.D31c Imagine Communications........7.G20 Imagine Products Inc ...............9.D14 Imagineer Systems...................7.K29 I-MOVIX...................................11.E43 INA - Institut National de l'Audiovisuel..............................6.A20 Indiecam GmbH .....................11.E75 IneoQuest .................................MS38 Inetsat........................................3.A24 Infivision ....................................6.B07 Infomir GmbH .........................14.L09 Inmarsat ....................................2.B19 Innowave Technologies..........14.K14 InstaDigital...............................14.E05 INSIDE Secure ...........................MS2 INSIDE Secure .........................MS25 Institut f端r Rundfunktechnik (IRT) ............10.F51 Integra PDU ............................8.B38g Integrated Design Tools Inc. ....9.A02 Intek Digital, Inc........................5.A05i Intel Corporation..........14.L20/MS42 Intellicore Services..................14.L16 INTELLIQUE............................2.A36h Intelsat Corporation..................1.C71 International Datacasting Corporation...............................1.C29 Interra Systems.........................7.B13 Interxion ...................14.GM7/14.H18 intoPIX SA.............................10.D31d Inventos ..................................14.D01 Inview......................................14.H08 IO Industries Inc. ....................11.D67 IPE Products .............................9.A31 IPV Limited................................8.A33 Irdeto .........................................1.D51 IRIS GATEWAY SATELLITE SERVICES LTD.........................3.C44 Irom Tech inc..........................5.A05d ISOVISION ..............................2.A36e Itelsis..........................................8.E19 ITS Electronics........................4.A65b Ittiam Systems ..........................1.F27 IWEDIA S.A...............................5.B01 J J&W TECHNOLOGY LTD......3.B37d JBL Professional......................8.D60 J.L. Fisher ...............................11.C40 Jampro Antennas, Inc. .............8.B96 Japan Radio............................OE116 JK Audio .................................11.G11 JLCooper Electronics ...............7.J43 JoeCo Limited...........................8.E97 Junger Audio ..........................10.A49 Jutel...........................................8.A26 JVC Professional Europe Ltd.11.G30 K K5600 Lighting........................11.E28 Kaltura ........................3.B20m/3.C67 Kantar Media - Audiences........1.F75 KAONMEDIA ............................1.B16 Karlsruhe Institute of Technology...............................1.D61
KATHREIN TechnoTrend GmbH .................1.A58 KATHREIN-Werke KG ..............8.C29 KenCast, Inc .............................2.C39 Kino Flo/Cirro Lite (Europe) Ltd.............................11.E33 Kintronic Laboratories, Inc. ......8.E41 Kizil Electronics ......................14.H07 KOBES.Co.Ltd........................11.E65 Konka Group Co. Ltd...............3.B39 KONOVA KOREA. Co. Ltd.....11.E65 Konvision ..................................9.B19 Korea Pavilion................4.B78/5.A05 Kratos Integral Systems Europe .......................1.A01 Krensel Industries UG ............8.D16a Kupo Grip Ltd.........................11.G69 Kvant-Efir...................................8.E75 KWS-Electronic GmbH............3.C41 L Lacie..........................................7.G17 L'AIGLE Stabilizers.................11.A40 Lambda Antenna Technologies.............................8.C81 Lanparte..................................11.A34 LAON Technology...................10.F22 Lasergraphics, Inc.....................7.F01 LATTO .....................................3.B20q LAWO AG .................................8.B50 LEADER INSTRUMENTS CORPORATION......................11.A38 Lectrosonics, Inc....................8.C73b Ledgo Co., LTD ......................11.C75 LEMO Connectors .................11.D42 Levels Beyond..........................MS44 Leyard Opto-Electronics Co. Ltd ......................................5.C09 LG Electronics...........................2.A41 LGZ Broadcasting Tech .......11.E40a Libec........................................11.A53 Liberty Global plc. ....................1.D39 Lightcraft Technology ...............7.J01 Lightequip GmbH + Co.KG....11.F71 Lightstar (Beijing) Electronic Co. ltd ....................11.E67 Limecraft .................................10.F42 Limelight Networks...................3.B15 Linear Acoustic.........................8.D47 LinkedTV ...................................8.F42 Litepanels................................11.E55 Lith Technology Co. LTD ..........9.A14 LiveU .............................3.B20j/3.B62 Livewire Digital Ltd ...................4.C83 LMP Lux Media Plan ..............10.F21 LockCircle...............................11.G35 Loft London Solutions .............8.B38i LogicKeyboard - BSP...............7.F49 Longway Broadcast Technology USA, INC...............2.A14 LS telcom ..................................8.E43 LSB Broadcast Technologies GmbH.................8.B35 LSI Projects Ltd ......................11.E35 LTO Program ............................9.B25 LUCI - Technica Del Arte BV....7.A33 Luma Tech ..............................11.B65 Lumantek ..................................3.B51 Lund Halsey (Console Systems) Ltd.............2.B30 Lupo Light SRL .......................11.F59 Lupo Lux SRL.........................11.A65 Luso Electronic Products Ltd. .5.C19 Lynx Technik AG.......................8.C70 M Magma ......................................7.F06 make.tv // SMT - Streaming Media Technologies GmbH.................3.B40 Mandozzi...................................8.A48 Mariner ....................................14.L02 Mark Roberts Motion Control Ltd ..............................11.F11 Marquis Broadcast Limited......2.A58
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Marquis Media Partners...........2.A58 Marquise Technologies ............7.H03 Marshall Electronics ...............11.D20 Mart, JSC..................................8.A01 Marvell.......................................5.C33 Masstech Group Inc................8.C30 Masterclock, Inc. ......................9.B12 Masterplay Digimedia...............8.A16 MathEmbedded......................14.A12 Matrox Electronic Systems......7.B29 Matthews Studio Equipment Inc ........................11.G71 Maxon Computer GmbH.........7.H39 MEDIAWEN..............................2.B39 Media Broadcast Technologies (MBT)................8.D82a MEDIA ENGINEERING .........8.B38h Media Excel ............................14.D27 Media IT Profy...........................9.A10 Media Links systems GmbH ...1.C31 Media Logic..............................7.H17 Media Utilities, a DNMS brand..........................8.A50 media.net berlinbrandenburg e.V. ............8.D16f Media-Alliance..........................8.B71 MediaGeniX NG .......................3.C59 MediaGuru ..............................10.A41 Mediamano ............................14.G05 Medianet Vlaanderen..............10.F42 MediaPower ..............................7.J42 Mediapro...................................8.A47 Mediaproxy Pty Ltd...................7.J07 MEDIATHAND.........................14.K04 Medienboard BerlinBrandenburg GmbH...............8.D16e Megahertz ...............................11.F20 Memnon Archiving Services....8.C85 Merging Technologies ..............8.E96 MeteoGroup .............................2.C48 Metrological ............................14.E25 METUS......................................7.A02 Microdolly Hollywood.............11.A28 Microsoft............................MS1/MS2 Microtech Gefell GmbH ...........8.D77 Mier Comunicaciones S.A........8.E36 Miller Fluid Heads (Europe) ltd..............................11.D30 Mindspeed Technologies.........8.C01 Minerva Networks ..................14.H10 miniCASTER速 c/o TV1 GmbH...........................1.A80/OE108 Minnetonka Audio Software.....7.J40 MIRAD Microwave AG.............5.C02 Mirada .......................................5.B08 MiraVid.....................................14.L04 Mirror Image..............................1.A03 Mistserver.org/DDVTECH ......14.K13 MISTV........................................2.A16 MITEQ Inc .................................1.A18 MIT-xperts GmbH.....................2.A44 Mobile Viewpoint ....................14.F21 Mode-AL .................................10.A38 Modeo......................................5.C01 MOG - Technologies ................7.K28 Mogami Cable For Life............8.D56 Mole - Richardson Company.11.F57 Monarch Innovative Technologies Pvt. Ltd......................................7.H37 Moso Power .............................8.B23 Motama GmbH ......................14.H19 Motion Plus MEDIA ................14.L13 MOVCAM ...............................11.D21 Movicom, LLC........................11.G63 MovieTech AG........................11.G34 MPP Global Solutions............14.K01 MSA Focus International Ltd ...3.B56 Mstar Semiconductor, Inc........2.C33 MTF Services LTD ..................11.B66 M-Three Satcom Srl...............8.D37c MTS - Media Technical System....................................11.G34 mufin GmbH...........................8.D16b MULTICAM SYSTEMS.........11.E40a
Multidyne Video & Fiber Optic Systems........................10.D46 Murraypro Electronics ............10.F23 Muxlab......................................8.E44 MW Video Systems Ltd ...........2.A32 MWA Nova GmbH....................7.E30 Mware Solutions ....................14.C30 N nablet GmbH............................7.G05 NAB Show................................6.A09 nac Image Technology Inc.....11.G75 NAGRA .....................................1.C81 Nagra Audio ..............................8.E96 nangu.TV .................................14.L18 Nanguang Photographic Equipment Co. Ltd. ................11.E10 Nanjing Dynacore Technology Co. Ltd ................11.D62 Nanuk By Plasticase ................9.A47 Narda Test Solutions ................8.E35 Nativ........................................7.K01b Nautel........................................8.C49 Nautilus Studio.........................7.G05 ncam..........................................7.F31 ND SatCom ..............................5.C31 NEC Corporation......................8.B37 Neotion......................................4.B53 NET INSIGHT............................1.B40 Net Mobile AG...........14.H09/14.H11 Netgear....................................14.F10 Netgem .....................................5.B45 NETIA .......................................1.A29 NETIA (Globecast Group) ......8.D82d Netrange .................................14.E13 Netris.........................................5.C21 Netsweeper ............................5.B46b NetUP ......................................14.J18 Network Innovations ................4.C83 Neutrik AG ................................8.C90 never.no.....................................7.A09 Nevion .......................................1.B71 New Japan Radio Co. Ltd .......4.C73 NewFace TV Ltd.....................5.B40b Newphoria ..............................14.J17 Newtec ......................................1.A49 NewTek .....................................7.K11 Nexeven..................................5.B22b Nexidia ......................................3.A54 Nexstreaming ...........................5.C03 NEXTO DI ...............................11.G37 NEXTO DI UK LTD .................11.G37 NHK ..........................................8.G21 Nikon Europe B.V....................11.A69 Nila LED Lighting ....................11.E38 Nimbus, Inc.............................11.E65 Nine Tiles ...............................8.B38di Ningbo Eimage Studio Equipment Co. Ltd.................11.C51 Ningbo Jie Yang Television Equipment Co. Ltd.................9.B10b NINSIGHT .................................7.B11 NKK Switches...........................8.A70 NOA Audio Solutions ...............8.D91 NOBLURWAY.........................2.B39h Nordija A/S ..............................14.L06 Norigin Media .........................14.H16 North Telecom ..........................4.B79 Norwia.......................................9.C19 Novella SatComs Ltd................1.F58 NovelSat...........................2.A10/MS3 Novotronik GmbH ....................1.A54 NPTV............................5.B19/14.G07 NSM Initiatives LLC..................3.A30 NTP Technology A/S..............8.B51b NTT Electronics Corporation ...3.C11 NTT Group................................2.C50 NTT Network Innovation Labs .8.F25 NUGEN Audio...........................8.A76 Numedia....................................3.B55 NVIDIA Ltd.................................7.J39 NyeTec Limited.........................2.C31
O Object Matrix Ltd ...................6.C28b Ocean Blue Software .............4.A61b Ocilion IPTV Technologies GmbH ................4.C61 OConnor..................................11.E55 OCTOPUS Newsroom Trading Limited.........................7.G11 Omnia Audio.............................8.D47 Omnitek.....................................6.A18 ONE CONNXT ...............1.F31/MS44 One For All................................1.C41 Onetastic SRL ..........................8.C20 Ontario, Canada..4.A65,5.B40,5.B46 OOYALA ..................................14.F32 Open Broadcast Systems Limited.....................4.A61h Opentech Inc............................5.C34 OpenTelly.................................10.F42 Opera Software.......................14.E20 OPERATORSKIE TECHNOLOGII .......................11.B69 Optical Cable Corporation .....10.E59 Optocore GmbH.......................8.C60 Optoway Technology Inc..........8.E25 Oracle........................................9.C17 Orad Hi-Tec Systems ...............7.B27 Orban Europe GmbH ...............8.D93 ORCA......................................11.D21 OSEE.......................................10.D59 Osprey by Vario Systems.........3.A26 Oticom.....................................11.E65 OVERLINE - Systems...............8.E94 Ovide Smart Assist.................11.A73 P P+S Technik ...........................11.G35 Pace plc ....................................1.B19 Packet Ship Technologies......4.A61e Pals Electronics Co. Ltd. ........OE101 Panaccess Systems.................3.C20 Panasonic Marketing Europe GmbH ...............9.C45/9.D40 Panodic Electric (Shenzhen) Limited...................3.A40 Panther GmbH........................11.E20 Paradigm Communications .....1.F33 PARALINX LLC.........................9.D18 PayWizard ..............................14.G14 PBI.............................................3.A52 PCCW Global.........................14.E07 Peak Communications Ltd. .....1.C33 Pebble Beach Systems............8.C71 Perceptiva - Labs ...................2.A36d Percon .....................................10.E51 Perfect Memory......................8.B36b Pesa ..........................................8.C03 Phabrix ......................................8.E40 Philips Home Control ...............1.A81 Philips uWand................5.B02/MS45 Phoenix7 Ltd ............................3.C21 Phonak Communications AG ..8.E95 Photon Beard Ltd...................11.D43 Piksel.........................................1.C30 Pixel Power LTD........................7.A31 Pixellot Ltd ...............................3.B20f Plaber S.r.l. - HPRC Cases ......9.B43 PLAYBOX Technology Ltd. (Sofia).................................8.C30 Plisch GMBH ............................8.E10 Plura ..........................................8.B73 Pluxbox .....................................8.A12 Polecam..................................10.C49 Pomfort GmbH .......................10.F39 Popyoular ...............................14.C01 Portabrace ..............................11.B65 Portaprompt Ltd .......................8.A90 Postium Korea Co. Ltd. .........10.D20 Prime Focus Technologies .......7.J16 Primestream .............................7.D21 Prism Sound .............................8.E34 Prismahub.................................8.B01 Prismcube.................................5.B09 ProConsultant Informatique.....2.B21
Prodys .......................................1.A39 Professional Sound Corp.........8.C96 PROFITT Ltd.............................7.A07 Progira Radio Communication 8.D44 PROJECTBUILDERS..............OE110 ProMAX...................................7.K01a Promise Technology.................6.C11 Pronology................................10.A26 ProSup/Casu ..........................11.E73 ProTelevision Technologies AS.......................8.C48 Providius Corp. .......................4.A65e Provys .......................................2.B49 PRO-X CO., Ltd ......................11.E42 Prysmian Group (Draka Comteq Germany)......11.C31 PSI Audio .................................8.E96 Portabrace ..............................11.B65 PTEK .........................................6.B04 Q Qbit GmbH................................8.E49 Q'ligent......................................8.D03 Qt by Digia..............................14.H05 Quadrille..................................2.B39b Quadrus Technology ................7.K25 Qualifyle.....................................8.E04 Quantel......................................7.A20 Quantenna Communications............. ........................................2.A08/MS36 Quantum 5X Systems Inc......5.B40d Quantum Corporation ..............7.B26 Qube Cinema............................7.F45 Quicklink ...................................3.B29 Quintech Electronics /DEV Systemtechnik ................1.B31 Qvest Media Dubai...................3.B40 Qvest Media Singapore ...........3.B40 R R.V.R Elettronica .......................8.E30 Rabbit Labs...............................3.A44 Radica Broadcast Systems Ltd............................8.B38h Radio Frequency Systems.......8.B28 Radioscape.............................8.D90a RAIDIX.......................................2.C27 RaLex Solutions .......................8.D73 RAMI .......................................8.B36a Rapid I&C...............................5.A05b Rascular Technology Limited ....................................8.B38a Red Digital Cinema.................10.A10 Reelway Gmbh .........................3.A28 RelayTV....................................14.J14 Remote Solution Co. Ltd.......5.A05h Research Concepts Inc............1.F58 RF-Design .................................1.F49 Riedel Communications GmbH & Co.KG......................10.A31 RIZ - Transmitters Co. ..............8.B02 RJS Electronics Ltd ...............6.C28d RME/Audio AG .........................8.E05 RO.VE.R Laboratories S.P.A ....8.B67 Rockwell Collins .......................1.A11 Rohde & Schwarz.....................7.E25 Roland Systems Group ............7.J38 Root6 Technology.....................7.E21 ROSCO...................................11.G21 Rosenberger - OSI GmbH + Co - OHG.............................11.E39 Ross Video Ltd...9.B08/9.C10/9.C23 Rotolight..................................11.D69 Rovi Europe Limited .................5.A31 RRsat Global Communications Network Ltd. .............................1.B24 RSG Media Systems...............6.C22 RT Software Ltd........................6.A21 RT-RK Computer Based Systems ........................5.B32 RTS .........................................10.D25 RTS (Royal Television Society)8.F51d RTW GmbH & Co. KG .............8.D92 Ruige China ............................11.D47
Russian Satellite Communications Company.....4.B84 Ruwido ......................................1.F68 RYMSA RF................................8.C65 S S&T (Strategy & Technology) ...1.B22 S3 Group...................................3.B18 S3 Satcom Ltd..........................1.B91 Sachtler ...................................11.E55 SAF Tehnika..............................9.B06 Saffron Digital .........................14.C11 Sagemcom ...............................1.D41 SALZBRENNER STAGETEC MEDIAGROUP .........................8.C80 Sam Woo Electronics Co. Ltd....................................11.G29 Samim Rayaneh Co. ................5.C15 Samjin......................................5.A05j Samsung...................................1.D35 SanDisk...................................11.C65 Sanken Microphone co. LTD ...8.C93 Sans Digital ...............................7.F04 SAPEC.......................................1.F90 Sat-Comm Broadcast LTD ................ ......................................1.A95/OE105 Satlink Communications ..........5.A17 Satmission....................1.A91/OE106 SatService GmbH.....................1.F47 Savas Live Subtitling..............14.H06 SCALITY....................................8.A98 ScheduALL ...............................1.D30 Schill GmbH & Co. KG ...........11.E41 Schneider Kreuznach.............11.A41 Schoeps Mikrofone ..................8.E90 Schulze-Brakel Schaumstoffverarbeitungs GmbH .......................................8.D75 SCISYS Deutschland GmbH...8.B61 Scottish Development International ............................9.B14a Screen Subtitling Systems.......1.C49 SCTE .......................................8.F51e SDNsquare..............................10.F42 SeaChange................................1.F70 SED Systems............................1.A52 SELEVISION ...........................2.A36g Sematron...................................1.A78 Semtech Corporation .............10.F46 Sencore .....................................1.F56 Sennheiser Electronic GmbH & Co. KG.......................8.D50 Servicevision...........................11.C45 SES............................................1.B51 SGL..........................................7.J15a SGO...........................................6.A11 SGT ...........................................8.B22 Shaanxi Tianyi Antenna Co. Ltd .....................5.A41b SHANGYU HENGFENG OPTIC-ELECTRONIC INDUSTRY CO. LTD ..............5.C16b Shape ......................................11.F61 Shenzhen (China) C&D Electronics Co. Ltd...................1.C93 Shenzhen Anycon Electronics Tech. Co.LTD.......3.B37c Shenzhen Aoto Electronics Co. Ltd...................9.B29 Shenzhen BestView Electronic Co. Ltd...................9.B10d Shenzhen Createled Electronics Co. Ltd ...................9.A01 SHENZHEN DONGZHOUJUN TECHNOLOGY CO. LTD........6.A29e ShenZhen Geniatech INC,LTD...................................5.A41a Shenzhen Justek Technology Co. Ltd.................14.J01 Shenzhen Mele Digital Technology Ltd...........5.C16e Shenzhen New Glee Technology Co. Ltd. .................2.C45
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& OUTSIDE EXHIBITION AREA
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theibcdaily Shenzhen Newme Digital Tech Co. Ltd .................5.A41f Shenzhen Nicent Electronics Co. Ltd .................6.A29c Shenzhen SDMC Technology co. Ltd.................14.C07 Shenzhen Seneasy Industrial Co. Ltd.......................1.F93 Shenzhen Skyworth Digital Techonlogy Co. Ltd. .................4.A77 Shively Labs..............................8.E81 Shotoku Broadcast Systems .11.F40 SHOTOVER Camera Systems ..................................11.B72 SI Media....................................8.B93 Sichuan Changhong Network Technologies Co. Ltd..............6.A29a Sichuan Jiuzhou Electric Group Co., Ltd..........................3.C56 Sichuan Video Electronic Co. Ltd...................3.B37a Sielco SRL ................................8.A58 Siemens ..................................14.A30 Sigma Designs .........................2.C35 Signiant....................................14.L08 Signum Bildtechnik GmbH ......7.D31 SILIGENCE...............................2.A36i Singycon pte ltd.......................8.B89 Single Malt Audio GmbH .........8.D74 SintecMedia..............................2.B32 SIRA-SISTEMI RADIO..............8.C31 SIS LIVE ....................................1.C55 Sisvel Technology.....................5.B37 SKB CASES ............................11.F65 Skeed & Newphoria................14.J17 Skylark Technology Inc ............8.A07 Skyline Communications .........1.A23 skypix ......................................11.E65 Skyware Global.........................4.A95 Skyware Technologies .............4.B90 Slik Corporation......................11.A30 Slomo.TV, Inc. ...........................8.A21 SmallHD.................................11.G64 SMARDTV.................................1.C81 SmartLabs...............................14.E30 SMiT ..........................................1.F86 SMK EUROPE..........................5.C40 SMPTE .....................................8.F51f SNELL .......................................8.B70 SNL KAGAN .............................4.C89 SoftAtHome ..............................4.A51 Softlab - NSK............................7.A08 SoftNI Corporation ...................1.B28 Softron Media Services ...........7.G12 SOFTVALLEE ...........................2.C21 Solectrix GmbH......................11.C80 Solid State Logic ......................8.D83 SOLIDANIM ..........................11.E40d Sommer Cable GmbH .............9.B32 Sondor Willy Hungerbuehler AG ...................7.H01 Sonifex Ltd................................8.E61 Sonnet Technologies................7.G02 sonoVTS gmbh (former sono studitechnik gmbh)...................8.B68 Sony ........................................12.A10 Sotal.........................................14.F19 Sound Devices, LLC ................8.B59 Sound Ideas............................5.B46e Soundminer Inc. .....................5.B46c Spacepath Communications Ltd ...............4.A61i SPB TV....................................14.E17 Spectra Logic ............................7.J30 SPI International/Filmbox .......14.J03 Spinner GmbH .........................8.C28 Square Box Systems (CatDV) 7.J15c STAGETEC Entwicklungsgesellschaft ........8.C80 Stanley Productions ...............10.A03 Stardom storage solutions ......7.G09 Starfish Technologies Ltd.........8.A45 Starline Computer GmbH........7.H05 Step2e Broadcast AG ..............2.B29
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Stereo Tool / Audisi ..................8.C94 STiNO eyevis GmbH ...............9.B24 Stirlitz Media ............................8.C91 STMicroelectronics ...................1.F40 Stoneroos..................................2.A46 StorageDNA..............................7.B42 STORDIS GmbH.......................7.E10 STP SA System Technology Partner ......................................8.C85 Stream Group..........................14.L15 Stream Labs .............................7.G47 Streambox, Inc. ........................7.D01 STRYME GmbH ........................7.J03 Studer by Harman....................8.D60 Studio Network Solutions.........7.J05 Studiotech.................................8.A28 Stypegrip ................................11.B68 Suitcase TV Ltd.............2.C10/2.C15 Suman Satellite Technology Company ................................5.A41c Sumavision Technologies Co. Ltd ...............1.B10 SumoLight ..............................11.A77 Surface Heating Systems.........1.F59 Suzhou Duozheng Electronics Co. Ltd.................5.C16a SVP Broadcast Microwave......2.C55 SVS Telekom端nikasyon Hizmetleri San. Ve Tic. Ltd........................5.C01 Sweden at IBC..........................5.B22 SWE-DISH by Rockwell Collins1.A11 Swedish Microwave AB ...........1.F71 swissaudec .............................10.F45 SWIT Electronics Co. Ltd.......11.A39 Switchcraft, Inc.........................9.C49 Synapse TV..............................1.B22 Synaptop .................................5.B46f System House Business Partners ..................14.C20 Systembase Ltd........................8.E93 T Tac Systems..............................7.F06 TAG V.S......................................1.F94 TAKTIK SA ............................10.D31e Talia Limited............................4.A61d Tandberg Data GmbH ..............9.A04 Tango Wave ..............................4.C87 Tata Communications...1.B20/MS24 Tata Elxsi Limited......................3.A32 Tatung Technology Inc ...........14.B24 TC Electronic ...........................8.D56 TDF............................................1.B79 Teamcast...................................2.B51 TECH4HOME ...........................3.C46 Techbid Auctions....................10.A05 Technicolor.........................MS5/MS7 Technocrane S.R.O ................11.D36 Techwave, Inc. ........................11.E65 Tecsys Video Networks Ltd. ..3.B20a Tedial .........................................8.B41 Tektronix Inc............................10.D41 TELECAST TECHNOLOGY CO., LTD .................................6.A29b Teleidea.....................................4.C80 Telekom Austria Group ..........14.C16 elemetrics Inc. ......................11.D35 Te Telenor Satellite Broadcasting .1.A59 TelergyHD & Mware solutions14.C30 Telesat.......................................1.C39 Telespazio .................................4.A70 Teleste .......................................4.B61 Telestream.................................7.C12 Television Research Institute ...5.C43 TELIKOU TECHNOLOGIES CO. LTD...................................11.A10 Telmaco S.A. .............................8.E47 Telos ..........................................8.D47 Telos Systems...........................8.D47 Telsat Srl .................................8.D37b Telstra......................................14.B01 TEM ...........................................8.E45 Teracue eyevis GmbH IPTV & IP Video Systems..........................9.B24
Teradek....................................11.E55 Terrasat Communications, Inc. 1.F81 Thales Angenieux ...................11.F34 The Good Life Co. Ltd..............9.B04 The Israel Export & International Cooperation Institute................3.B20 The Pixel Farm Ltd ...................6.C19 The Video Point........................3.B20i The Weather Company.............7.F39 The Wireless Works..................9.A51 TheLight ..................................11.A48 thePlatform .............................14.H15 ThinkAnalytics Ltd ....................1.D92 thinklogical..............................14.B36 Thomson Broadcast................8.C35 Thomson Video Networks .....14.A10 Thum+Mahr GmbH ..................8.A50 Thuraya Telecommunications Company ..................................2.C23 TIANCHANG LIMING ELECTRONICS CO. LTD. ......5.C16d Tieline The Codec Company ...8.E73 Tiffen International Limited ....10.C49 Tiffen MPTV Filters .................11.D21 Tiger Technology ......................7.C10 Tight Video................................4.C78 Tilta Technology Co., LTD ......11.A71 Timecode Systems Ltd..........9.B14b TiVo Inc....................................14.L03 TIXEL .........................................8.A97 TMD Ltd....................................2.C58 TMG.........................................14.F11 Toner Cable Equipment UK Ltd....................4.B91 ToolsOnAir Broadcast Engineering GmbH...................7.G45 Top Format ...............................8.C81 TQ - Systems GmbH................8.E11 TRACT.......................................8.D74 TRANSRADIO SenderSysteme Berlin AG...................................8.D35 Transvideo...............................11.F31 TRedess ....................................8.A11 Triada-TV...................................8.D32 Trilogy Communications Ltd..10.A29 Trimaran Georacing................14.G02 TriVis Weather Graphix .............3.A58 True Lens Services.................11.G65 Truen co. ltd ...........................5.A05g TSF.be SA...............................10.d31f TSL..........................................10.B41 TTI .............................................4.C69 Turbosight (TBS) Technology Co.Ltd ...................4.C81 TV Skyline GmbH...................11.C50 TVC (TELEVIZIJOS IR RYSIO SISTEMOS, UAB) ...................OE109 TVLogic Co. Ltd .....................10.D26 TVStorm ....................................4.A91 TVU Networks ..........................2.B28 TW Electronics (Newbury) Ltd .4.B63 Twist Cluster .........................10.D31h U Ubertweek GmbH ..................8.D16c Ultimatte Corporation...............7.C27 Ultra Electronics GigaSat.........1.C57 Uniclass Technology Co. Ltd. ..2.A24 Unidis co. ltd ..........................5.A05a Unified Streaming ...................14.F33 Unique Broadband Systems Ltd..............................8.A40 UNITRON ................................10.F42 Universal Electronics bv...........1.C41 UPnP Forum ...........................14.L17 Utah Scientific...........................2.B20 Utelisys ...................................14.E09 UXP Systems Inc....................4.A65a V VANGUARD VIDEO .........1.F90/MS4 Varavon...................................11.C11 VariZoom ................................11.G54 VBOX COMMUNICATIONS ..3.B20p
Vcodes ....................................3.B20e VdB Audio ................................8.C93 VDL..........................................8.D90c VDL Deutschland ...................8.D90b Vector 3.....................................7.C01 VECTRACOM.........................8.D82b Venera Technologies ................7.C03 Verimatrix ..................................4.A55 Verizon ....................................14.G08 Versatile ...................................11.F41 Veset..........................................8.A14 Vestel.......................................14.A20 VEYGO..................................11.E41b Viaccess ....................................1.A51 ViaLite Communications ..........1.A21 Vianeos....................................2.A36g Viblast ....................................14.G01 VidCheck...................................8.A30 Videlio - Preview.......................8.C61 Video Clarity..............................2.C57 VIDEO STITCH.....................11.E40c VIDEO-FLOW .........................3.B20d Videolicious.............................14.K16 Videomenthe............................2.A36f Videoplaza ..............................5.B22c VideoPropulsion........................6.A05 Videosolutions Group...............7.A06 Videssence .............................11.B12 VidiGo B.V. ................................7.H30 VidMind LTD. .............3.B20o/14.K20 Viewz ......................................5.A05e Vigiglobe.................................14.G03 Vigintos Elektronika ..................8.E27 Vimmi Communications Ltd. .3.B20h Vimond Media Solutions......................14.H04/MS34 Vimsoft ......................................9.A38 Vinten.......................................11.E55 Vinten Radamec .....................11.E55 Visio Light Inc. ........................11.G45 Vision Research......................11.B42 Vision247 ................................14.H12 Visiware...................................2.B39e VISLINK.....................................1.A69 Visual Research Inc..................7.D05 Visual Unity..............................14.F34 Vitec ..........................................7.G16 Vitec Videocom.......................11.E55 VIXS Systems Inc. ....................3.A12 Vizrt............................................7.A10 VJU iTV Development GmbH ..8.E83 Vocas.......................................11.E34 Vodience .................................3.B20n Voice Technology ...................8.C73a VoiceInteraction....................14.H06a Volicon ......................................7.G23 Vonetize ..................................14.C19 Vortex Communications Ltd..11.G11 VOWOS Ltd..............................3.C30 VRT ............................................8.F02 VSN (VIDEO STREAM NETWORKS, S.L.)....................7.C21 VT3 ...........................................2.B39f VTQ Videotronik GmbH............1.F11 VTX Technology Ltd...............11.G11 VuTV .........................................1.B22 W W.B. Walton Enterprises Inc.....1.A62 Walimex Pro ...........................11.G68 Wallonia Export-Investment Agency (AWEX).......................10.D31 WASP3D ...................................7.K30 Wave Science Technology.......8.A44 WeatherOne..............................7.D11 Well Buying Industrial Co. Ltd..8.A64 WellAV Technologies Ltd..........5.B47 Wellen+Noethen .......................3.B40 West Media Systems ...............2.C32 Wheatstone Corporation..........8.A86 Whisper Power........................OE115 Wide Orbit.................................8.D71 Wildmoka .................................2.B39i WINEGARD COMPANY...........4.A60
WINJAY S.R.L. ........................10.F41 Winmax Industry Co. Ltd.......9.B10g Winmedia................................8.B36d Wisi Communications GmbH & Co. KG.......................4.B50 Wisycom SRL...........................8.D89 Witbe.........................................4.B81 Wiztivi ......................................14.L01 WNM SA...............................10.D31g Wohler Technologies, Inc. ......10.B10 Wonderlamp Industries GmbH .....................................8.D16d Wooden Camera.....................11.E71 Work Microwave GmbH ..........4.C60 World DMB ...............................9.D30 WorldCast Systems..................8.B60 Wowza Media Systems............3.B17 WTS Broadcast Systems.......OE114 wTVision....................................7.A45 Wyberry Technologies............5.B22d Wyplay.......................................5.A11 X XCRYPT, INC. ........................5.A05c x - dream - media .....................8.E83 XenData ....................................7.H47 XeusMedia Technology............4.C59 Xiamen Came Photographic Equipment Co. Ltd. ................9.B10a Xiamen RGBlink Science & Technology Co. Ltd ..................7.K40 Xilinx Inc. ...................................6.A18 X-SQUARE TECHNOLOGY CO. LTD ..................................6.A29d Xstream ...................................14.F15 Xylostream Technology Ltd......2.A48 Xytech Systems........................6.C22 Y Yamaha Commercial Audio .....8.D15 Yangaroo.................................4.A65c Yegrin Liteworks.....................11.G77 Yellowtec ...................................8.A51 Yospace...................................14.E10 Yuan High-Tech Development Co. LTD ..............8.E15 YUYAO LISHUAI FILM & TELEVISION EQUIPMENT CO. LTD. ...............................11.B51e Yuyao Sinor International Trading Co. LTD. .......................9.A34 Z Zacuto.....................................11.G64 Zappware..................................1.A81 Zattoo TV Solutions ................14.J05 Zaxcom Inc.............................8.C73a ZebraOTT..................................5.C35 Zenterio.....................................4.C56 Zentrick....................................10.F42 Zeticon.....................................10.F42 ZHANGZHOU LILLIPUT ELECTRONIC TECHNOLOGY CO. LTD ................................11.B51b ZHANGZHOU SEETEC PHOTOELECTRIC TECHNOLOGY CO.LTD .......9.B10e Zhengzhou Generalink Lighting Equipment Co. Ltd. ................11.A66 Zhengzhou Taiying Video Equipment Co. Ltd ...................9.B49 Zhuhai Jili Development Co. Ltd. .....................................9.B41 Zixi...........................................14.C05 Zlense........................................8.E02 Zoo Digital PLC ......................9.B14d ZukunftsAgentur Brandenburg GmbH ..............8.D16g Zylight......................................11.E38
Correct as of 28th July 2014
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Q&A Said Bacho senior vice president EMEA, Grass Valley
New camera slider is light in weight Matthews Studio Equipment By David Fox
Has IBC come at a good time for the electronic media industry? Why? IBC this year comes during a very exciting time for the industry as we all continue to manage through the need to supply television viewers with the highest-quality content, on multiple devices, at any time, as efficiently as possible. Demand for content has never been higher and broadcasters are poised for the future and busily looking for the best ways to meet this demand. What do you think are the key developments in, or threats to, your market sector at the current time? The most exciting recent developments are the
growing interest in 4K content and the migration to IP content workflows. For some, these may also seem like threats. At Grass Valley, we have clear roadmaps for our customers to begin building 4K workflows today that will keep them prepared for the future. The questions around IP are no longer 'if' questions but rather 'how' and 'when.' We’re prepared to help our customers into the future with answers to these questions, as well. Why should delegates visit your stand at IBC? This is the first time that Grass Valley, a Belden Brand, is exhibiting in a single location at IBC. Our debut to the market gives broadcasters an opportunity
to learn how they can be Future-Ready thanks to our solutions that keep their businesses on the competitive edge. With the stability and influence of our parent company, Belden, our customers benefit from our ability to invest in innovation while also providing a level of support to the market that can’t be matched. They’ll see real end-to-end solutions that help them tell better stories while also becoming more efficient. 1.E02, 1.D11
MSE has introduced a simple, sturdy and lightweight sliding camera platform: MatthewsSlider. “It’s the open construction that makes our new slider stand out,” explained Robert Kulesh, Matthews’ VP sales and marketing. “MSE designed it to be both camera operator and grip friendly. As long as it is kept clean, it is virtually maintenance free. And it is totally field adjustable with few basic tools.” MatthewsSlider can work upside-down for lowangle shots, can support more than one carriage at a time for A-camera and B-camera shots, and has positive lock at 90º when in use on most dollies. Each
carriage can support up to 80kg (bracing of track might be necessary depending on the length). The proprietary wheels with Abec5 stainless bearings and ceramic balls make it fast and quiet. It comes in four basic sizes: 74cm, 89cm, 114cm, and 178cm. “We can also custom any slider to the user’s specifications,” added Kulesh. It can be fashioned in increments of 12cm between cross members up to 266cm. The slider can accept any gear head/fluid head/camera combination, and the package includes a Mitchell swivel base and Mitchell carriage, as well as Mitchell 5cm risers, filter plate, slim design locking handle, a set of levelling legs, and extras. 11.G71
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Q&A Philipp Lawo, chief executive officer, Lawo Has IBC come at a good time for the electronic media industry? Why? IBC is always a snapshot of current technology, developments, visions and actual changes. With more pressure on broadcasters for more quality, more content, more flexibility and more efficiency the industry has come to a point where totally new concepts will prevail against those the manufacturers have served during the last decades. Thus it is an
important time for the industry to benefit from cross-pollination of all ideas in the air. What do you think are the key developments in, or threats to, your market sector at the current time? For sure, IP is the big buzzword these days. We see video and audio merging and realised more and more by IP technology. The challenge our industry is facing now is to make
these IP infrastructures manageable by broadcast engineers. This development requires flexibility and inventory spirit – and courage – from broadcasters, system integrators, production companies and manufacturers likewise. Why should delegates visit your stand at IBC? We are showcasing and demonstrating how realtime IP infrastructure can change the
Building theTV Anywhere ecosystem Ericsson By Ian McMurray According to Ericsson, IBC2014 will be the first time the industry sees the increased scope and capabilities of Ericsson's media business as the company builds on its TV and broadcast offering with the addition of recently acquired Azuki Systems, Microsoft Mediaroom and Red Bee Media. Ericsson's booth will show an integrated set of solutions and services that, says the company, demonstrate how it is at the centre of the convergence of media and telecoms, which is driving fundamental industry change. Ericsson says that it will show how it
is ensuring the highest quality and efficiency of video delivery through its capability to make every network video-centric and enable TV service providers, broadcasters and content owners to leverage and deploy inherently flexible and intelligent unified platforms. The company will also highlight how the Mediaroom integration is allowing it to build what it says are new and innovative technologies which are redefining the TV viewing experience, integrating payTV service quality and content depth, with the personalisation, interactivity and multiscreen viewing capabilities of OTT services, to enable payTV at web speed. Visitors to Ericsson’s stand will also learn how the company believes its
acquisition of Red Bee Media bolsters its managed services offering and enables Ericsson to take a more prominent role in the content end of the TV and media industry. IBC will also see Ericsson present its Media Vision 2020, which the company describes as an illustration of the
broadcast industry and provide a new flexibility. Our V__link4 enables broadcasters to realise realtime video contribution in IP networks already today, in LANs as well as for remote productions. And on the audio side it’s definitely worth to experience our new, unbelievable affordable audio production console, which of course is also based on RAVENNA IP technology. 8.B50
Beach head: Ericsson technologies are ‘redefining the TV viewing experience’
future of TV over the next six years that outlines the necessary strategies required to achieve success in the networked society, where 50 billion connected devices, of which 15 billion are video-enabled, are plugged into a global IP network. 1.D61
Royal lineup includes Monarch HD Matrox Video By Carolyn Giardina Matrox Video is showing video streaming and recording appliances, live production streaming systems, 4K video monitoring cards, multiviewers, scan converters, editing devices and developer products. Highlights include its Matrox Monarch HD, an H.264 encoder designed for professional video producers who need to simultaneously stream a live event and record a mastering-quality version for post-event editing. The IBC demo includes Monarch HD integrated with a Crestron controller. Another stand highlight is the Matrox VS4, a quad HD capture card for multicamera live production streaming with Telestream Wirecast for Windows or StudioCoast vMix; and VS4Recorder, a multi-camera recording app that works with the VS4 card to give live event producers synchronised control over capture of the four inputs connected to the VS4. This way they can create MOV, 70 theibcdaily
MP4, or AVI files for use with various editing apps, all for immediate upload to the internet or for archiving. Matrox is also featuring Mojito 4K, its quad 3G-SDI, 4K video card for use with Adobe Creative Cloud on Windows platforms. It provides 10-bit H.264 intraframe rendering and enables realtime monitoring and output of video footage at resolutions up to 4096 x 2160 and at frame rates up to 60fps (4Kp60). It’s designed to allow users to ingest, edit, render and export in full 4K. Visitors can also find Matrox MicroQuad, a four-channel SDI-to-HDMI multiviewer for 3G/HD/SD; Matrox Convert DVI Plus, a genlockable HD-SDI scan converter designed to let broadcasters easily incorporate content from computers, iPads and iPhones into broadcast programmes; Matrox MXO2 LE MAX, a device that provides broadcastquality input, output and monitoring for editing apps from Adobe, Apple and Avid; and Matrox DSX developer products. 7.B29
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Opinion Who will tame your file-based beast? Few companies have the wherewithal to reduce complexity so customers actually see an improvement on their bottom line says Dan Castles, CEO, Telestream As I think about the state of the industry at this year’s IBC, I find myself reflecting on the constant churn we see across our industry. While change can and should be viewed as a good thing when you’re selling solutions, it’s hard to imagine that customers share that enthusiasm when it comes to the constant onslaught of new formats and standards, the recent wave of company mergers and acquisitions, or the latest lofty vision statement. As a matter of fact, from my conversations with them it’s clear that customers are growing weary of the noise and rapid pace of change they feel
forced to adopt. From Telestream’s 'vantage point' I can say that we are sympathetic to this feeling and as a result we will continue to help our customers remove the barriers to getting their jobs done efficiently. We will continue to focus on automating more and more of the repetitive processes and intelligently converting media and its associated metadata with the minimum amount of human intervention. If you think about it, computers and software are quite capable of making very informed decisions (especially with a complete set of
metadata). I wonder why there aren’t more companies innovating in this area. Everyone aims to tame the file-based beast, but few companies have the wherewithal to reduce complexity so customers actually see an improvement on their bottom line. If I were a customer at this year's IBC show, I would be looking at the types of technologies and the companies behind them that will be supporting us as we continue to wrangle with filebased workflows. Who clearly gets my unique challenges and will they still be here next year?
What tools am I really going to need to lower the costs of creating and distributing content? How can I better utilise my people and their talents? Everyone says they have the answer, but that’s the hard part at a trade show: how can you find a solution you can invest in that will grow with you without tremendous re-investment every other year? How can you be sure you are choosing a company that considers you a partner versus a revenue opportunity? And when it comes to the cloud, make sure you’re clear in how you can make the best use of it. There are definitely advantages to some workflows, but we’re a long way from seeing it used for all media workflows. Finally, it’s time to start talking about UHDTV, not just 4K, and all the challenges it brings beyond a 4K raster with regards to frame rates, colour spaces, audio, etc. All of these
characteristics will bring unique, and in some cases extraordinary challenges to file-based workflows. At the end of the day, our customers create content that needs to be engaging and cost effective for their viewers. They need a partner they can trust who will minimise the churn at every opportunity. I want to see us remove barriers to creativity, distribution, and profitability by continuing to build intelligence into our software so that our customers can focus more time on their business. 7.C12
Personalized Discovery Solution launched
Discover and do: A hybrid approach can be ‘key part’ of discovery experience
Rovi By Ian McMurray
Satellite deal: Encompass will transition to Intelsat 34 next year
Encompass signs 15-year deal Intelsat By Ian McMurray Encompass Digital Media, a company specialising in full-time network origination/playout and live ad-hoc transmission services, has signed a 15-year agreement with Intelsat for capacity on Intelsat 34, one of the three satellites comprising Intelsat’s video neighbourhoods serving Latin America. Encompass will transition from Intelsat 805 at 304.5˚ East to its replacement satellite, Intelsat 34, in late 2015, and lease additional C-band capacity to expand its SD and HD video distribution 72 theibcdaily
feeds throughout Latin America. “Intelsat’s premier video neighbourhood at 304.5˚E delivers high cable head-end penetration throughout Latin America which will allow us to meet the increased demand for high definition and regionalised content distribution,” said Juan Salleras, executive vice president and general manager, Encompass Latin America. “The premium transponders on Intelsat 34 will allow us to operate more efficiently and provide programmers with the ability to deliver higher quality and differentiated content to their viewers.” 1.C71
Receiving its EMEA launch, and being demonstrated on the company’s stand, is the Personalized Discovery Solution from Rovi. Aimed, says the company, at increasing content consumption and delighting consumers with fast and relevant search capabilities, and a discovery experience that may be tailored to the needs and tastes of the individual viewer, it is the result of the combination of Rovi and recently acquired Veveo technologies. The new Personalized Discovery Solution includes voice-enabled, naturalconversation interaction, as well as a contextual and predictive search and recommendations engine. “Given the near infinite stream of content available, the fundamental challenge for consumers — and therefore a revenue opportunity for service providers that successfully address it — is the ability to find relevant content quickly,” said Colin Dixon, chief analyst and founder, nScreenMedia. “Rovi’s hybrid approach to enable personalised discovery by
blending quality, man-made data with its machine-learning Knowledge Graph is novel and has the potential to be a key part of the future discovery experience.” The Rovi Personalized Discovery Solution’s is powered by a blend of Rovi entertainment metadata which, according to the company, comprises an extensive international entertainment database with editorial content and images, in over 15 languages on five million+ TV programmes, movies, celebrities, and more that is handcrafted by a team of Rovi editors; and a dynamic Knowledge Graph that maintains
information on more than 100 million entertainment-related entities drawn and verified from over 100,000 online sources. Rovi Knowledge Graph is said to be constantly updating and learning more about the relationships between various entities, how these connections shift over time, and their relevance in various regions of the world. The combination of metadata and the Knowledge Graph is described by Rovi as its ‘entertainment brain’ that helps enable search and recommendations relevancy, accuracy and speed. 5.A31
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DSNG antenna is streamlined for speed
Ace acquires adaptable accessories Sachtler
Satmission By David Fox By David Fox The new Satmission Streamline SMP 155DA is a drive-away broadcast satellite antenna system that can be deployed in less than 60 seconds. The high gain antenna system is being shown installed on a Land Rover Discovery DSNG vehicle, designed and built by UKbased systems integrator Broadcast Networks. The vehicle supports live SD and HD feeds, with voice and internet communications, for live sports and news coverage. The aerodynamically designed carbon fibre antenna is optimised to reduce weight, and allow the vehicle to be driven comfortably at high speeds. It comes with a redundant/phase-combined
400W amplifier system from Communications and Power Industries resulting in an EIRP above 70 dBW. The antenna is compliant with Eutelsat, Intelsat and FCC requirements, and is equipped with GPS, Fluxgate Compass and DVB2 receiver. “The Streamline SMP 155DA is the lowest and lightest complete drive-away antenna system on the market,” said Arto Brushane, CEO
One minute to air: The rapidly deployable Satmission Streamline SMP 155DA antenna
Satmission. “The system is easy to operate, intelligently designed and adapted to suit our clients’ demands. It’s vehicle agnostic, which makes it a simple yet powerful solution to deploy in DSNG fleets working in any terrain and climate.” OE106
The already adaptable Ace L fluid head has gained several new accessories to make it more versatile, along with compatibity with all types of sliders. The new Ace Base Plate, Ace Follow Focus and Ace Matte Box are available individually or in a competitively-priced package. Sachtler has added slider compatibility to all new Ace L heads, so that it can now be easily converted to a flat base, through the removal of a bottom screw, and mounted on a range of sliders. The Ace L has a payload range of up to 6kg and can be used with three different carbon fibre tripods (the floor spreader, mid-level spreader or telescopic tripod system), and the slider functionality was something customers had
asked for. The Ace Accessories range is aimed at filling the gap in the market for high quality and economical support gear. The height adjustable base plate provides the platform for the other two accessories to be attached to a tripod using standard 15mm rods. The userfriendly Follow Focus operates backlash free and allows users to change the direction of the drive gear mechanism, as well as easily set the hard stops, by pressing one or two buttons. The Ace Matte Box provides housing for up to two 4x4 or 4x4.56 filters, and has adjustable top and side flags, two filter stages (one rotating), four filter frames, two different sized donuts, one gear wheel and a friction drive wheel. It has also introduced a Speedlevel bowl clamp for its 100mm heads. The new design should enable smoother and quicker levelling of the head, reducing set-up time. 11.E55
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BOSS is the stand highlight Dimetis By Ian McMurray Claiming to manage most of the public broadcast TV Germany, Austria and Switzerland on the distribution side with over two million streaming/IPTV subscribers, Dimetis is highlighting its BOSS Platform at IBC. The Dimetis BOSS Platform consists of software modules that are claimed to provide optimum management, monitoring and control of the components that improve
business processes in a broadcast world, lowering OPEX and CAPEX. It is designed to enable broadcasters, broadcast carriers and media companies to configure, manage, monitor and maintain equipment, facilities and networks; create, deploy, manage and maintain the services on these networks; and provide the business information necessary to ensure customer delight. For distribution, Dimetis offers BOSS STREAM Viewer, which simultaneously decodes and graphically displays multiple transport streams; BOSS
STREAM Recorder, an SPTS/MPTS transport stream recorder for conformance recording and extended analysis of recorded content; BOSS EPG Monitor, a live SI/PSI analyser with extended analysis and display of EIT data; BOSS BROADCAST Manager, which configures, controls and monitors devices within a broadcast facility; and BOSS EPG Generator, which the company describes as an extremely flexible and fullfeatured playout server for SI/PSI data with an intuitive user interface and plug-in support. 1.B30
By David Fox A robotics fluid head for larger studio cameras, that can handle payloads up to 90kg, has been introduced by Vinten Radamec. The FH-200 is based on the design of the company’s successful FH-145, but with higher capacity, to cope with box lenses, prompters, talent monitors and large viewfinders. “The FH-200 was designed as a direct result of customer feedback, who indicated they wanted the same high quality robotic performance for their heavier studio set ups,” said Karen Walker, robotics
The weight is over: Vinten Radamec’s new FH-200 fluid head for larger cameras
commercial manager for Vinten Radamec. “We have kept the familiarity of the FH-145, taking its outstanding on-air movement quality and accurate shot
All-in-one IPTV NetUP By Monica Heck A new all-in-one IPTV server is making its debut at IBC on the NetUP stand. The server, called
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Visual IPTV Combine, is designed for small hotels, ships and hospitals and can provide IPTV, EPG, VoD and other services for up to 50 users. The key feature of the device is the 12-in touchscreen, which enables a user to configure and
Modular X10 speeds ahead
replay.” Additional features of the FH200 include a new mounting cradle that is now large enough to suit the wider studio cameras. Like the FH-145, the FH-200 can also be used in both manual and robotic modes. “We have created a different pan bar mounting arrangement [from the Vinten Vector range] on the FH-200 as the big box lenses require larger pan bar mounted zoom and focus demands,” she added. “The updated motion control parameters of the head ensure smoother movement and more accurate recall of shots even with those much heavier payloads.” 11.E55
A new range of modular variants of I-Movix’s X10 ultra slow motion system can now match any Vision Research Phantom camera and be tailored more easily to user’s needs. It will also be simpler to upgrade, whether to match evolving production requirements or new generations of cameras. The completely re-designed system uses various modules based around the central X10 Camera Control Unit, and allows users optimise systems for different applications, including multiple high-speed cameras, or realtime continuous shooting with non-stop super slow motion. “This fundamental re-invention of the X10 product line makes it easier for ultra-motion to become a ubiquitous resource in broadcasting and other applications,” said I-Movix CEO, Laurent Renard. “There is now almost a bespoke answer for any set of requirements a customer may have, but whatever the chosen
configuration the solution will have all the advantages of the market-leading X10 core technology.” Every modular system requires the rack-mount X10 CCU, and configurations include: X10 USM, for very high framerate sports applications (up to 2600fps at 1080i, or 5600fps at 720p); X10 Spine, which sits below a Phantom camera and supports the same frame rates but adds operational flexibility for additional non-broadcast use; X10 SSM, for use as a conventional HD broadcast camera with the addition of continuously-recorded super slomo at 300fps (1080i) or 600fps (720p); and the X10 UHD, which works with the Phantom Flex4K and can do up to 500/600fps in HD or 100/120fps in 4K for live use, or can do up to 2,00fps in 1080i/1080p and up to 1,000fps in 4K for ultra slow motion applications. There are RF wireless versions of each module. For multi-camera production there is the X10 Multi, which can be used with three camera heads (six channels). 11.E43
deploy the IPTV solution in no time. The device can be mounted on a wall at a hotel reception. TV channels can be grouped into mosaic grid view for monitoring, to help ensure 24/7 availability of the IPTV services. An easy switch to the administration interface is available, should it be required to add users, change TV channel settings and so on.
Visual IPTV Combine is described as replacing several IPTV devices, including the DVB to IP gateway, VoD server, IPTV middleware and billing server. The TV channels are received from DVB sources: digital satellite (DVB-S/S2), terrestrial (DVB-T/T2) and cable (DVBC/C2) signal can be received, decrypted and sent to users’ IP STBs via the IP network using multicast (UDP) or unicast (HLS).
The device automatically transcodes uploaded movies destined for the VoD service to the required format and saves to the internal SSD. Besides IPTV features, it also provides hospitality features such as welcome messages for guest check-in, messages from reception, an information page, check-out and billing features and so on. 14.J18
Robotics head for heavy cameras Vinten Radamec
Speed dating: The new X10 modules can all be matched with the core X10 CCU
I-Movix By David Fox
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Monitors and wireless monitoring Swit Electronics By David Fox Two new 21.5-inch LCD monitors (one with 3G support) and a 15.6-inch, all offering full HD IPS LCD panels and accurate colour reproduction for studio and field monitoring, have been introduced by Swit. The 21.5-inch models both have waveform displays. The S-1221F has HD/SD-SDI, HDMI, CVBS input, while the S-1221H adds 3G-SDI input. The S-1221F also has HDMI to SDI conversion output, vectorscope and RGB histogram. Both feature: 1000:1 contrast; 178º viewing angle; underscan / overscan, safe area; peaking focus assist; Zebra; embedded audio meters; SDI timecode display;
Rosy outlook: Swit’s new 21.5-inch LCD monitors come with waveform displays
realtime video zoom-in and flip; 3-colour Tally lights; and optional V-mount or Gold mount battery plates. The S-1161H 15.6-inch model, has many of the same features, including 3G input, and can fit in a 19-inch 7U rack. Swit has also introduced two uncompressed zerolatency HD wireless
monitoring systems: the S4903T/R for 3G/HD-SDI, and S-4913T/R for HDMI. Both use MIMO wireless technology with a transmission distance of 200m in the 5.1-5.9GHz license-free band. Also new are compact Vmount-to-Gold mount and Gold mount-to-V-mount conversion plates. 11.A39
F1 becomes Monster aerial platform Shotover By David Fox The Shotover F1 gyro stabilised platform is currently being used on the upcoming Paramount Animation live-action / animated action feature film, Monster Trucks. According to second unit director Spiro Razatos, the production chose the F1 for aerial filming for its flexibility, light weight and ease of use. “The F1 is perfectly tailored to support a demanding shooting schedule, allowing us to capture jaw dropping images from a variety of camera and lens configurations more quickly and efficiently than ever before,” said Razatos. To shoot the aerial sequences from an AS350 B3 helicopter, Razatos equipped the F1 with
Alliance brings upmix algorithm to Nexus Dspecialists By Michael Burns New co-operation has been announced with Stagetec to bring the patented Isostem processing to the company's audio network systems. The upmix and downmix algorithm was developed by Dspecialists and will be licensed for Stagetec's Nexus system. It will be available on a new DSP board. Isostem is an upmix system that generates a fully adequate surround sound from stereo signals in realtime and is
Mixing it up: Isostem will be available on a DSP board for Stagetec's Nexus
therefore especially suited for use in broadcasting, studios and post production. Dspecialists claimed it is the only upmix system that is fully compatible with stereo, delivering a surround stem that downmixes exactly to the original stereo. The Isostem function in the Nexus system will be equal to the Isostem hardware Live version, which works with predefined factory presets. Individual presets can be created with the hardware version expert and imported to the Isostem plug-in in the Nexus. 8.E69
Grabbing favourite TV moments Tellyo By Ian McMurray The Shotover F1 in use on the live-action/animated feature, Monster Trucks
Epic’s 6K Red Dragon camera, paired with the Angenieux 1540mm, Alura 17-85mm and Angenieux 25-250mm lenses, and reported that the F1 delivered phenomenally steady images thanks to its powerful 6axis stabilisation technology. Both the F1 and the larger K1 are 6-axis systems, with look down capability for use inverted.
The F1 can be used with such cameras as the Arri Alexa M, Red Epic, Canon C500 or Sony F55 and HDC-2500, while the K1 is suitable for 3D rigs and larger lenses. HD-Skycam in Germany has become its first authorised service provider, the only one outside of the company itself. 11.B72
The ‘Share TV Moments’ social TV service from Finland’s Tellyo is at IBC for the first time this year. Tellyo is said to enable viewers to grab their own favourite TV moments on smartphones, tablets or personal computers and share them instantly across social media. At IBC, Tellyo is
demonstrating its updated service based on collaborations with 10 television shows, including international franchises like Big Brother and Masterchef. In addition to new UI/UX updates, the Tellyo team is showing off enhanced capabilities that let viewers customise the video clips they grab from TV, and highlighting what the company believes are new possibilities for revenue streams through social TV advertising. 4.B53
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Genetic Engineering 2 makes European debut Quantel By Carolyn Giardina Quantel’s post production lineup includes Genetic Engineering 2, which is making its European debut at IBC. This is a shared storage system for Quantel Pablo Rio colour and finishing system users. GE2 was recently used as a 4K production hub at the 2014 FIFA World Cup, producing 4K 60p highlights packages for worldwide distribution by Sony as well as working on the official FIFA 4K World Cup film promos. Also at IBC, Quantel is demonstrating the sixth new software release this year for Pablo Rio. New features include S-log3/SGamut3 support, the latest ARRI SDK, DCP import and soft mount, ProRes 4444 XQ, and 4K output support on the AJA Kona 3G. 7.A20
SMU is simple-to-use, flexible SatService By Ian McMurray Designed for broadcast and satellite ground station applications, the new sat-nms SMU Signal Management Unit from SatService is said to enable satellite ground stations and/or satellite head-end environments to perform a broad range of signal management functions in a simple-to-use and flexible unit. A choice of card modules enables customers to build a sat-nms SMU that best matches the requirements of the application. Each card module is designed to fulfil a specific function. Key features include LNB DC insertion; LNB current monitoring; L-Band signal strength/level monitoring; threshold monitoring; adjustable
Enabling ground stations: The sat-nms SMU is modular
gain/output level; automatic signal backup switching; LNB redundancy switching; transfer switching capacity; and external alarm handling. Card modules currently available include the sat-nms LDCI (line amplifier DC inserter) with integrated adjustable line amplifier, DC inserter and LBand input level monitoring functionality, and the sat-nms
TMPS (transfer multipurpose switch) with integrated DC inserter, IF input level monitoring, WG switch drivers and automatic switch functionality. Also available are the sat-nms UMPS (universal multipurpose switch) with integrated DC inserter, IF input level monitoring and automatic switch functionality, and the sat-nms
CS24 (combiner/splitter 2 x 1:4) which is a passive splitter/combiner. SatService says that it would be delighted to discuss any requirements that it does not currently fulfil with these modules so that it can investigate and develop a card module fitting the specific requirements of an application. 1.F47
MBNG increases reliability, reduces risk Sematron By Ian McMurray Demonstrating its latest capabilities in IP delivery for both contribution and distribution markets is Sematron, which is highlighting the company’s MBNG (Multi-Bearer News Gathering) solution that it says
will increase reliability and reduce operational risk, utilising 3G/4G cellular, Ka and Ku-Band satellite and its MIMO wi-fi mesh. Sematron’s MBNG solution is designed to provide reliable delivery of video and data over any available bearer, giving users the peace of mind that, if one bearer degrades during a broadcast, video quality will
remain constant. This, says the company, is ideal for content critical broadcasting from remote or challenging locations. The MBNG solution can bond up to 10 cellular connections with two Ethernet ports for satellite connectivity and a wired internet. It also has a built-in wi-fi modem to allow connection via Sematron’s wi-fi mesh. Sematron is also showing a
selection of what it describes as high efficiency IP satellite modem solutions, as well as its encoding/decoding technology 1.A78
OTT and hybrid STBs Shenzhen SDMC Technology OTT STBs and hybrid DVB STBs are on show at the SDMC stand. The company’s DV6805 OTT STB allows users to browse the internet, send emails, use SNS apps like Facebook, watch Internet TV, play 2D or 3D games, remote control a TV, apply multiscreen and so on. Key features of the DV6805 stands include DRM support for DRM and what SDMC describes as ‘cost-effective, attractive design’. In addition, the DV6810-S2 hybrid STB with DRM support is also on show. Founded in 2003, SDMC was successfully listed on the NEEQ this year as one of the companies involved in professionalising the digital TV industry in China. 14.C07 76 theibcdaily
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Opinion
Hardware versus software transcoding Multiscreen and OTT are making content owners rethink their delivery workflows says Carl Walter Holst, CEO, Appear TV Up to now, broadcasters and content owners were only dealing with multiscreen as a secondary VoD or catch up service. For many, this 'second screen' is becoming their primary means of viewing content, requiring live parallel programming to all screens. This resulted in a high-quality viewing expectation from consumers irrespective of the viewing device and has challenged early deployments of software-based live solutions. Many operators are finding that today’s hardwarebased transcoding technologies are more adept to support these new live delivery applications. Software transcoding solutions were designed to easily adapt to new technology
trends, but have performance tradeoffs for live transmission. They were not initially designed to support live delivery where high video quality and steadfast reliability with high overall QoS has long been the mantra of operators for live applications. At that time, transcoding was being used to bring the broadcast space from a tapeto file-based workflow for archive and file to file-based processing for non-live applications such as VoD and CUTV. Despite significant improvements to improve time versus quality for software, it still falls short of the criteria required for live delivery. For most, however, software still remains an acceptable solution for non-live video processing. Hardware-based
solutions can employ embedded processing for video on Silicon chip-based hardware, which improves video quality and offers higher processing capability than typical CPU-based solutions, providing picture perfect results when producing profiles for all screens simultaneously with synchronised delivery to the network. Another factor that makes hardware an asset when dealing with live applications is the capability to aggregate content and distribute multiple video formats for all devices over any live carrier network from a single platform. Additionally, one of the biggest issues with multiscreen and OTT is content rights protection, particularly when
major networks or providers are sending out assets with DRM/CAS embedded that then need to be transcoded by the specific re-distribution carrier. It is imperative that encoding solutions allow carriers to compress the baseband HD/SDI feeds directly from major providers or from its own studio feeds to profiles, format and resolutions suitable for all screen delivery in addition to transcoding. This ensures that content is protected to the device in the network, whilst providing greater control and flexibility of assets onward for re-distribution, potentially removing the need for further video processing and transcoding in the distribution chain. Both hardware-based and
Tablet-style control To infinity… and beyond adds finishing touch
software-based transcoding have their place in a multiscreen workflow, it is just a matter of understanding each solution’s’ strength. There are also cases, as when working in a cloud- or pool-based situation, where a combination of hardware and software are ideal. The hardware solution can create a high-quality mezzanine from the live broadcast that can then be used by software-based transcoders to process the assets in a file to file-based domain, creating balance for high-end operators that wish to make the right choice for the right application. 1.C61
Making a buzz: ADDERLink Infinity
Adder Technology
Calrec Audio By Michael Burns The new Summa audio console is being showcased at IBC, aimed at a different market segment to that of the Apollo and Artemis digital audio consoles. Calrec said the Summa was designed for broadcast professionals who need a straightforward solution for producing creative and engrossing broadcast audio, but don't require all of the resources offered by the company's higher-end consoles. Designed to ensure intuitive operation in live broadcast applications, Calrec said Summa simplifies complex workflow tasks such as creating mix-minus feeds, with a highly intuitive GUI suitable for a broad range of operator levels.
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Users control the console via a 17-in multitouch screen inspired by familiar tablet technology. The crisp highresolution display provides elegant controls and a clear presentation of information. The console's other large displays are fully configurable to display bus, output, and loudness meters, and they feature dedicated metering, routing, and processing information for each fader. Bluefin2 technology gives Summa a pool of 180 channel processing paths, eight groups, four mains, 16 auxes, and 32 tracks. Its Hydra2 router core provides Summa with the same integral router technology as the Apollo and Artemis consoles. 8.C58
By Carolyn Giardina KVM company Adder Technology is launching the latest version and firmware of its ADDERLink Infinity, offering faster switching, security enhancements and 60 frames per second, full frame video performance. It’s also showing IP-based ADDERLink Infinity 1002, which has an additional fibre module. “We will also be displaying the new Adder CCS-Pro4, a professional KM switch for the use and control of multiple systems and screens on a single
desk, from a single mouse and keyboard,” said senior product manager, John Halksworth. “The switch includes Free-Flow technology and allows users to seamlessly switch between multiple computers alongside an intuitive web interface.” The Adder CCS-Pro4 is aimed at broadcast and post production environments, as is the ADDERLink X-DVI Pro DL, also on show at IBC. This DVI
Broadcasting sport in 4K Envivio By Ian McMurray For its UltraHD/4K live broadcast of the quarterfinals, semi-finals and final of the 2014 World Cup games, Globosat partnered with Envivio. This followed Envivio’s successful live 4K broadcast of the 2014 French
Open tennis tournament in May. “First tennis, then soccer — whatever the sport, Envivio’s leading technology and experience in powering world-watching live action events makes us the number one choice for content owners and service providers alike,” said Envivio’s CTO, Jean- Pierre Henot. Envivio Muse Ultra HD is
extender incorporates full dual link resolution capability up to 2560x1600. It can transmit a dual link video stream along with audio over a single CATx cable. “In keeping with emerging trends in the broadcast industry, we will also be demonstrating our 4K capabilities in this arena with the ADDERLink XD522 DisplayPort extender,” Halksworth said. 7.C30
described as a high-quality live or file-based video encoding/transcoding solution that is designed to offer a new TV experience for viewers desiring to watch UltraHD quality programming on UltraHD compatible devices. Muse UltraHD can encode up to 4K video resolution in up to 60 frames per second, and offers a larger colour range with the new BT 2020 standard and can be encoded in eight- or 10 bits. 1.D73
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Updates to MA64 and MADI-MON 4HM By Heather McLean 4HM has released updated versions of its MA64 and MADIMON devices here at IBC that are capable of operating at up to 96kHz. The units are also fully compatible with both the SMUX and high speed sample rate delivery protocols and are suitable for broadcast, live, installation and studio production environments. The 4HM 64 channel MADI to multi-format AES converter, the MA64, and the MADI-MON have both received significant firmware updates following previous announcements that the 4HM product portfolio was to become more applicable to multiple market sectors. Both units are now fully compatible with 96kHz, 88.2kHz, 48kHz and 44.1kHz sample rates. Also, in a significant development, the MA64 and MADI-MON are now
compatible with both the legacy SMUX and newer high speed MADI protocols. The MA64 is a compact 1U MADI to multi-format AES converter that is capable of
accepting with both fibre and coaxial inputs. The device is unique in that it can present 32 pairs (64 channels) of balanced AES/EBU and another 32 pairs of unbalanced AES3-id
simultaneously for connection into consoles, routers or any other AES compatible device. MADI loop-through connectivity allows connection to downstream devices. The MA64 also comes as standard with sample rate converters across all 64 channels, which combined with
the comprehensive range of synchronisation options makes the unit very simple to wire into any existing infrastructure. As well as being able to accept all of the listed MADI sample rates and protocols, the MADI-MON is able to monitor at each of the sample rates too. 10.A30
From Genies to Amazon SPB TV By Monica Heck End-to-end OTT TV, IPTV and mobile TV solutions are central to the SPB TV IBC presence this year. At the show, SPB TV is showcasing its new SPBTVGenie STB, a turnkey solution built on proprietary technology which offers a multifunctional interface that allows viewers to watch live channels, VOD, use an EPG and so on. The company is also introducing its updated platform with support for HEVC and a focus on the delivery of OTT over Amazon Cloud, allowing operators or other companies who want to release their own OTT service to do so quickly and cost effectively. Furthermore, SPB TV will showcase its new encoding solution, NaNo Encoder, a portable device supporting up to 4 SD or 2 HD channels simultaneously. This tool is aimed at a variety of users, including TV studios and other production, broadcast or multicast facilities. 14.E17 theibcdaily 79
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Previewing Imagen 3.4
Two wheels good: Cmotion’s new broadcast camin in action on the new I-Movix X10-UHD
Cambridge Imaging Systems By Carolyn Giardina
Evolution for cvolution in broadcast Cmotion By David Fox The compact new broadcast camin from Cmotion is a new intelligent interface designed to control focus, iris and zoom on any cine-style lens in a broadcast workflow. The analogue connector is compatible with Canon or Fujinon broadcast controllers, while three regular motor ports allow the use of digital motors from Arri and Hedén. Cmotion’s daisy-chain cforce motors can also be used independently or synchronised for a full six-motor broadcast system – all automatically calibrated at the touch of a button. A potentiometer provides iris adjustment, but common remote control panels can gain full iris control through the 16-pin EXT Hirose 12-pin interface. The new cvolution camin 3M lens control system comes in a sleek new housing 35% lighter than the previous 4M and
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controls up to six motors. It is available with cmotion/Arri wireless units, and compatible with Arri, Hedén and cforce motors. It can auto calibrate all or individual connected motors. To maintain a sleek profile, the 45° angle connectors are optimized for use with right angle cables. Also redesigned is the cvolution zoom controller czoom, with a new interchangeable mount, to fit neatly on any cvolution hand unit. It can also be mounted on any popular stabilised system such as Steadicam or Movi. The redesign also allows the same control module to control any lens axis in virtually any situation. Cmotion’s low-cost lens controller for 1, 2 or 3 axis systems, the compact LCS, now costs less, due to new manufacturing techniques, and the 3 axis hand controller is now standard in all compact LCS configurations: 1c, 2c and 3. The system also gains several new features. 11.G42
CIS is previewing a new version of its Imagen media management and publishing system, as well as highlighting relationships with Microsoft, Quantum and Spectra Logic. Scheduled for delivery in October, Imagen 3.4 includes cloud-based object storage support for Microsoft Azure and Amazon cloud services. Imagen users will be able to take advantage of cloud storage for backups, proxies or as a primary resource. Imagen’s storage service will offer drop down menus for access to Microsoft Azure’s Blob and Amazon’s S3 cloud storage systems. Imagen
3.4 also offers a new range of stock website themes and browser-based schema editing. Cambridge Imaging Systems is also building on its Quantum relationship with the introduction of IQ, a new production, storage, delivery and archive platform that combines Quantum’s StorNext Pro STUDIO scale-out storage appliances with Imagen software. In addition, Imagen’s storage service API has been extended to support Spectra Logic’s BlackPearl deep storage appliance. And, Cambridge Imaging Systems is also represented on the Microsoft stand, demonstrating ImagenCloud, the cloud-based
Imagen all the people: Imagen 3.4 is scheduled for delivery in October
version of Imagen that sits on the Microsoft Azure platform. Said Tom Blake, managing director of Cambridge Imaging Systems: “Working with these leading developers means we can combine our strengths and bring together the best asset management and storage systems in ways that best suit our users.” 6.C23
Step-up for self-supporting screen system Custom Consoles By Michael Burns An enhanced Media Wall multiscreen mounting system has made its first European appearance at IBC2014. Media Wall allows flat-screen monitor displays of a wide variety of widths to be constructed from standard horizontal and vertical support elements. This latest version incorporates a series of improvements including
narrower front-to-back depth, reduced from 600 to 500mm. It is fully self-supporting and offers the option of adding coupling brackets directly to the studio wall. Media Wall incorporates height-adjustable horizontal beams suspended between 2.3 metre high aluminium columns. Equipment pods with 19-in racking behind removable vented panels can be incorporated at floor-level. Freely adjustable horizontal and vertical screen spacing replaces the former discretemount mounting holes. This allows individual display
screens to be positioned so that their edges meet exactly to form a continuous horizontal 'monitorscape', limited only by the boundary of the display itself. Cable management within Media Wall is now along a PVC tray. All wiring is fully concealed and can enter or leave the structure at any desired point. Integral mains distribution units are available as an option. Custom Consoles' VESA mounts allow easy front access when mounting small screens to Media Wall. 8.A20
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Opinion
A certified performance A trend in broadcast connecting solutions is the use of fibre optic for transmitting data fast and flawlessly explains Jacques Mieville, product manager, Fischer Connectors Fischer Connectors extended its Fischer FiberOptic Series with a new and revolutionary hybrid connector: a solution with two fibre channels and two electrical contacts in one small high performance connector. This connecting solution will be showcased during IBC at Fischer Connectors’ booth. The production of television programmes worldwide has seen a major technical evolution over the last years. A trend in broadcast connecting solutions is the use of fibre optic for transmitting data fast and flawlessly. The number of fibre optic connecting solutions in the
industry is increasing drastically and more and more production companies start to use this technology. This is mainly driven by the HD video signals that require very high data rates that only fibre optic technology can deliver. Broadcasters that are getting ready for the future invest in fibre optic now. With the use of fibre optics for data transfer, the need for power supply still remains. Our Fischer FiberOptic Series hybrid allows you to transmit both electrical power and fibre optic data flawlessly through one connector. This offers you the advantage of lighter, cheaper and more compact
openTruck launched for mobile TV production Ross Video By Heather McLean This IBC, Ross Video is celebrating its 40th anniversary, sporting a new look with a modernised corporate logo and the updated tagline, ‘Production
Technology Experts’. Among the products being exhibited is openTruck, for next generation mobile production. openTruck brings innovation to mobile production by providing a standardised yet customisable way to design a new generation of costeffective remote production vehicles that deliver the highest
connector integrations. The Fischer FiberOptic Series is offered as a pre-cabled solution to guarantee the highest possible performances. Fischer Connectors certifies performances of all its cable assemblies. The new Fischer FiberOptic Series hybrid connector is perfectly suitable for broadcast applications as designers that opt for this new hybrid connector are saving space, money and reducing design and installation time. The new solution offers premium optical performance in all environments, indoor or outdoor. The Fischer FiberOptic
quality video and audio content from sports and other live events. A mobile production vehicle, built to the openTruck specifications, will be front and centre on the Ross stand. Since last IBC, Ross has expanded dramatically with four corporate acquisitions in the areas of routing, news and prompting software, augmented reality and mobile production and an array of new production focused products and services plus the addition of almost 100 new employees. 9.C23
CTV stumps up for rasterizers Leader Instruments By David Fox CTV Outside Broadcasts has bought eight Leader LV 7770 rasterizing multi-SDI signal monitors for its new OB 11 truck from Leader’s UK reseller, Thameside TV. “OB 11 is one of the largest outside broadcast trucks in Europe […] and can accommodate a crew of 34 people, sourcing from up to 28 live cameras,” said Chris Thomas, CTV’s head of vision. “The truck is 3G-capable throughout and has a large main production suite, a huge VT area plus two additional rooms which can be used for activities such as editing or graphics.” 82 theibcdaily
Seven of the LV 7770 units are used in the main engineering area to check the quality of incoming video from the 28 camera channels. “They were chosen on the basis of their excellent quality, functionality and the good post-sales support,” he added. “An additional LV 7770 is housed in the edit suite. The Leader rasterizers enable production staff to check waveforms, vectors and other data on relatively large wallmounted displays, which are much easier to work with than the miniature screens incorporated into most test equipment. OB 11 is certainly not short of wall space. It has higher headroom than our previous big trucks with a quad expander comprising one
Vision on: The vision control room in CTV’s new OB11 which houses seven of the Leader LV 7770 units
double that comes out from the top of the roof space plus a concertina that folds out in three different steps.” It has been used to cover cricket for Sky Sports, and other facilities include: Sony MVS8000X production switcher; Imagine Platinum IP3 router; Calrec Apollo audio desk; RTS/Telex Omneo IP-based intercom; and Axon interfaces. It is built to allow easy upgrading to 4K. 11.A38
hybrid is the product range extension the broadcast market was waiting for. Presented at IBC last year, the Fischer FiberOptic Series with two or four fibre channels is already starting to be wellused in the broadcast industry. This high performance rugged connecting solution is not only suitable for camera connections, but also for general equipment and accessories for any type of broadcast applications, like all of the other products Fischer Connectors offers. Similar to the Fischer FiberOptic Series FO2 and FO4, the Fischer FiberOptic Series Hybrid FOH 2-2 benefits from a mono-block mate adapter for easy access to ferrules giving the possibility for easy field cleaning and maintenance. Another key feature of the Fischer FiberOptic hybrid solution is that the connector has an ingress protection of IP68
mated and IP67 unmated (Norm IEC 60529). Fischer Connectors, founded by the Swiss engineer Walter Werner Fischer in 1954, has established a long-term partnership between the company and the broadcast industry over the last 60 years. Our primary design and manufacturing facilities are located in Saint-Prex, Switzerland. Consisting with eight subsidiaries and a large group of certified distributors located worldwide, our distribution network is designed to offer you premium services and reactivity. 11.F32
miniHUB makes optical ring structures simple Norwia By Heather McLean Norwia is demonstrating how the versatility of its miniHUB optical platform enables broadcasters to contribute video and audio over a fully redundant ring structure. An on-stand demonstration showcases Norwia’s unique AutoSFP technology, which simplifies the operation of fully functioning broadcast redundant ring structures. The platform consists of a fully flexible optical blade with the next generation miniHUB interface. It is configurable as a multiple fibre solution or a multiplexed backbone structure that provides redundancy in both main and redundant fibre paths. This means that the fibre can be utilised in either direction and still provide signal integrity. Strengthening the resilience of the miniHUB ring structure allows for total power outage at any site, while other locations will still receive and send signals between each other. Norwia's AutoSFP technology ensures that signal capacity can be easily added without having to worry about difficult calculation of bandwidth.
The miniHUB optical platform is built around a single card that adapts to the individual function a ring structure needs. All other manufacturers require a series of cards for each function while the miniHUB platform is dynamic, as it only needs one card to deliver all functionality through simple configuration. SNMP is available for integration into larger media control systems through the RCONmini surveillance system to provide monitoring locally and remotely. “We pride ourselves on our ability to stand out from the crowd; we are demonstrating this at IBC with our unique miniHUB optical platform, which provides all the functionality of a multicard system in just one card, stripping out cost and reducing the complexity of optical signal distribution,” said Tore Steen, CEO, Norwia. “As live content continues to increase in importance, broadcasters need solutions that meet the complex challenges of signal distribution. The redundant ring structure enabled by the unique and elegant Norwia miniHUB solution meets this challenge, ensuring that our customers can deliver high quality premium TV with ease.” 9.C19
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Plain sailing for SOLO 4, PRORXB
Sail away: Cobham’s PRORXB had the best race view from the top of Nation Towers
High performance: Rohde & Schwarz’s new DSA software
Cobham
Analyse DOCSIS 3.1 signals
By Ian McMurray The SOLO 4 Wireless Transmitter and PRORXB receive system have been successfully deployed by Cobham for live television coverage of the Abu Dhabi Yacht Club’s Ghanada Dhow Sailing Championship. Cobham, in conjunction with Dubai-based GloCom SNG, installed transmitters on two race event chase boats and a helicopter, a receive and transmit ship, plus onshore receive systems at the ADYC headquarters and ‘Nation Towers’, the two skyscrapers near the southern tip of Abu Dhabi. “Cobham’s transmit and receive systems worked perfectly,” said GloCom senior
engineer, Rakesh Mishra. “Reliable, high quality video and audio were sent and received from the chase boats and helicopter throughout the race from all the supplied links. These events are extremely challenging for the race participants and due to the performance of Cobham’s technology we were able to show just how challenging and difficult these races are to their enthusiastic, land-based, followers around the world.” “The Cobham RF solution was comprised of a few different aspects,” said Cobham’s broadcast sales manager, JP Delport. “The onboard video from the chase boats was transmitted to the ADYC and Nations Towers using our 10W
SOLO 4 H.264 ENG TX. The receive points were equipped with our high-gain PRORXB receive antennas as part of a rebroadcast solution. We also equipped a ship as a mid-point with receive and transmit capabilities, plus two fixedcamera positions.” “The challenge we faced was to ensure that all of our onboard transmitters were not just completely splash proof, but able to work inside specially designed splash-proof housings at an ambient temperature of at least 50C,” he added. “All systems had been rigorously tested beforehand and performed flawlessly during the event.” 1.F41
Rohde & Schwarz By Carolyn Giardina In preparation for the planned rollout of data over cable service interface specifications (DOCSIS) 3.1, Rohde & Schwarz is introducing the R&S DSA DOCSIS snapshot analysis software and the R&S FSW high-end spectrum analyser to carry out performance measurements. The DSA software works in combination with the FSW high-end signal and spectrum analyser, which records the signals using OFDM vector signal analysis software. The analysis system is
recommended for use in the research and development of cable TV network components. According to Rohde & Schwarz, it allows the signal quality of modulators for the DOCSIS 3.1 downstream to be tested when developing cable headends. For cable TV network components, the analysis software makes general performance measurements. The software is also designed to measure complete network segments under lab conditions. These measurements can be performed using the R&S CLGD DOCSIS cable load generator, which was launched by Rohde & Schwarz in May. 7.E25
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AC-4 preps personalised audio Dolby Laboratories By Will Strauss Making it possible for broadcasters to provide personalised audio services is a focus for Dolby at IBC this year as the almost 50year-old company highlights the benefits of AC-4.
A new audio compression format for distributing rich media content, AC-4 uses existing workflows and tool chains to make it possible for broadcasters and OTT service providers to offer a new breed of interactive audio services such as personalised sports commentary or dynamics control, multilingual support
Delta gets IBC launch Elemental Technologies By Ian McMurray A new video delivery platform that is said to help content owners and distributors add new time-shifted services, reduce distribution costs and more precisely manage content in multiscreen delivery
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deployments is being launched by Elemental Technologies at IBC. The company says that Elemental Delta has undergone extensive testing, with initial customers including major telco, OTT, broadcast, satellite and mobile operators in the US, Europe and Middle East. Elemental Delta supports multiscreen delivery of advanced
and adaptive 360-degree audio experiences on any device. AC-4, which was published as an international standard by the European Telecommunications Standards Institute (ETSI) in April 2014, is a successor to AC-3 and offers the ability to deliver both channel-based and object-based audio.
live-to-VoD services such as catch-up TV, start-over TV and nPVR, combining just-in-time packaging, origin services, intelligent caching, dynamic ad insertion and replacement, and end-to-end encrypted content protection functions in a single platform. The platform is designed to reduce multiscreen system complexity with the ability to transform any input into any output for high-quality, secure video delivery. The IP video delivery solution is claimed to lower storage, bandwidth and transit costs and help content providers mitigate distribution
Dolby Vision is also on show at IBC. Dolby Vision is designed to help content creators and TV manufacturers to deliver improved brightness, colours and contrast by augmenting the fidelity of Ultra HD and HD video signals for over-thetop online streaming, broadcast and gaming applications. This is achieved
expense by taking ownership of greater portions of the delivery infrastructure. “Increased demand for mobile content and apps is due to the proliferation of smartphones and tablets,” wrote Vincent Fu, principal research analyst and Akshay Sharma, research director for Gartner. “These devices, with their advanced multimedia capabilities, are driving the rapid consumption of dynamic and rich mobile content, such as streaming HD video and access to the cloud. The surge in mobile users
by maintaining and reproducing the dynamic range and colour palette of the original content. Dolby’s presence at IBC is not restricted to just its stand in Hall 2. The Big Screen Auditorium is also equipped with Dolby Atmos, the cinema technology that makes it possible for filmmakers to place or move specific sounds anywhere within a movie theatre. 2.A11
accessing more dynamic content on various devices poses a key performance issue, such as slow response times and higher level of packet loss due to the nature of the unreliable mobile network environment.” “This necessitates a new class of video delivery infrastructure, such as Elemental Delta,” said Aslam Khader, chief product officer for Elemental (pictured), “that is specifically architected for multiscreen content delivery and emerging, value-add live-toVoD services.” 4.B75
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Opinion Change breeds opportunity and uncertainty With the right installation and systems in place the future need hold no fears says Roland Ollek, chief executive officer, Guntermann & Drunck The state of the industry can be described best as one of everlasting change, especially since the transition from tape to file based workflows, with new technologies emerging ever faster. First it was full HD becoming a standard. Not that long ago, right? Then we had 3D. Was that a hype or not? Recently it seems to be all about 4K, or more specifically, Ultra HD. Is this the future? The answer is “yes”. For a while! Looking down the line, there is 8K and even 16K. Then there are all those different delivery modes, from linear via
OTT up to mobile, all requiring different playout formats. Without doubt, there is a lot to come! All of these major changes have one thing in common: uncertainty. With any new development there’s usually a large amount of investment involved. But who wants to invest large sums when they can’t be sure what really is to come, how long it will last and how it will evolve? Having an infrastructure that’s future-proof becomes a near essential. This infrastructure must provide a means where systems can be combined so
that existing equipment can be used alongside new state-ofthe-art technologies. If there is a move to a new industry standard, it should not mean that everything has to be replaced at once. Major items of hardware can remain in situ for the long term with comparatively minor pieces of equipment being necessary to improve performance – for as long as the infrastructure allows using them in combination. At G&D, we understand the needs of today’s broadcast industry. That’s why we carefully look at durability and future adoptability when
developing new systems. For example, recent options like our BRIDGE function allow combining existing analogue matrix switches with the new digital ones. Users don’t have to bother with which machine they’re working on – they just choose the application, not the technology behind it. Thus old and new systems can be combined, ensuring a higher ROI on the KVM system as well as on the broadcast equipment itself. Such systems allow for a soft migration of the broadcast environment, as one part after the other can be replaced. We are demonstrating the versatility of our products on our stand at IBC. Visitors will be able to see how we can use a combination of different video signals from analogue via digital, Full HD, 2K and up to 4K (Ultra HD) and more, including USB and high bandwidth audio. Through these products, our experience,
PTZ camera Digital radio on tour on the ball in Q3 Digital Radio Mondiale (DRM)
By Michael Burns
Camera Corps By David Fox The new Q3 robotic pan/tilt/zoom/focus camera is designed to be used almost anywhere. It is fully IP45 rated for outdoor events, and comes in the unobtrusive compact spherical housing of its Q-Ball predecessor, making it barely noticeable if placed within view of other cameras. The unit is 104mm high, 125mm in diameter and weighs 2.5kg, with a 1/3-inch 1920x1080 RGB Bayer progressive CMOS imager, and high-precision motorised pan/tilt/zoom/focus. An enhanced motor drive is claimed to match the precise acceleration and deceleration of much larger robotic heads when tracking moving performers on-air. The camera's integral 20x optical zoom lens can be adjusted from maximum wide (59.4º) to full telescopic (3º) in just three seconds. Maximum focus time is 10 seconds. Q3 can deliver live video in all common HD formats, interlaced and progressive, at up to 60Hz, selectable from the operator's control panel. 86 theibcdaily
About turn: The new Q3 can do a full 360º turn in just four seconds
The motorised head can perform an unlimited number of 360º lateral rotations. Video can be transferred at 3Gbps (using an optional opticalinterface) over high-quality slip rings to ensure complete freedom from cable snagging. Pan and tilt speed are adjustable from an ultra-slow 360º in 90 minutes to 90º per second. Motion control sequences of up to 25 seconds duration can be stored to internal non-volatile memory. Other features include: genlock with remote timing adjustment; smooth on-air operation of iris and master black; manual and automatic white balance; minimum illumination of 0.5 lux (colour mode) or 0.02 lux (monochrome); gamma correction; 16-step edge enhancement; and a 2 to 1/10,000 second shutter. 11.E55
Hall 8 is playing host to a radio roadshow with a difference. Digital Radio Mondiale (DRM) was designed specifically as a high-quality digital replacement for current analogue radio broadcasting in the AM and FM/VHF bands and has been gathering support from transmitter and receiver manufacturers and other interested parties. Many of these are in attendance at IBC2014, where DRM is providing the latest news on its AM and VHF flavours – DRM30 and DRM+. The consortium claims to have gone truly global in the
past year. In addition to the current roll out of the All India Radio DRM transmitter installation programme, the consortium has recently established a strong presence in Southern Africa. A DRM30 trial has just begun in Johannesburg where it is being enthusiastically supported by the newly established local DRM Platform. Brazil and Russia are also looking at DRM as a costeffective digital radio solution. “This year in Amsterdam we will demonstrate that DRM is becoming established,” said Ruxandra Obreja, the consortium chairman. “During IBC we hope to make an exciting announcement to underline that global, green and extremely cost-effective DRM is
Global sporting portfolio expanded RRSat By Ian McMurray New scalable digital media services offering a range of solutions for content preparation, management and distribution, as well as converging broadcast and online video, are the IBC focus for RRSat. The past months have seen RRsat expand its sporting
distribution portfolio, including partnering with The Global Video Network (TGVN) to deliver coverage of the Winter Universiade games to the CBS Sports Network. The Universiade is a sporting event open to students from universities around the world. In addition, with the arrival of 4K capabilities at the RRsat Europe base in West London, RRsat announced it was to provide partner EBU with the uplink facilities to carry the 4K
and by providing expert advice, we can give our customers the future-proof infrastructure they are looking for. With the right installation and systems in place, the future need hold no fears. New developments can be embraced for what they are – opportunities to create great content with additional means of distribution for an even wider reach. Which all adds up to better experiences for the consumer followed by market growth for broadcasters. 4.B60
the future of digital radio.” In response to a growing interest in DRM and with the new multi-standard chipsets now commercially available there has been growing engagement from radio receiver manufacturers, some of whom are now developing new digital radio products that are DRM capable. A DRM tour beginning on Friday in Hall 8 takes in the Ampegon stand (8.D35) from 4 pm onwards, on Saturday (1200 - 1300) at the Thomson Broadcast stand (8.C35), and at the Nautel booth (8.C49) from 3 to 5 pm, where there is an event taking place entitled DRMBuilding to a Billion and Beyond. Other DRM members present at IBC2014 include Digidia 8.E89, Fraunhofer IIs 8.B80, GatesAir 8.B10, RFmondial 8.C49/D35 and Transradio 8.D35. various stands
feeds of the World Cup to the Asian footprint of EBU’s Eurovision network. RRsat’s offering covers four main areas: a global content distribution network utilising satellite, fibre and the open internet; content management and playout; sports, news and live events; and online video services. RRsat says it enables content owners and broadcasters to optimise and monetise their content further by reaching more audiences on more devices. 1.B24
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Alston Elliot signs capture-all video system deal European
debut for MediorNet 2.0
Pixellot By Will Strauss Live TV graphics provider Alston Elliot (AE) has added an unmanned capture-all video system to its sports visuals armoury after securing a longterm partnership with its inventor Pixellot. The Pixellot system covers the entire field of play, throughout a match, using ultra highresolution capture devices that are controlled by a virtual automated proxy video production suite that can be located either at the venue or at a remote location. AE chief commercial officer, Neale Connell, said: “In line with our history as early adopters of technology, we are delighted to work with Pixellot. We feel their platform is a game changer that will enable a whole new production and viewership experience. As trusted suppliers to a vast network of broadcasters and production companies, worldwide, we see this relationship further
Riedel Communications By Heather McLean
enhancing the wide and varied range of services that we deliver to our clients.” AE works with a number of broadcasters and producers around the world, providing augmented reality and touchscreen graphics to the likes of Sky Sports for its Rugby Union, Darts and Test Match cricket coverage, BT Sport and Sunset + Vine on Premier League football matches and BBC Sport for coverage of the Six Nations rugby. Also offering second screen options, such as replays, player cameras, enhanced zoom and fixed 3D objects graphics, the
The camera eye: Ultra highresolution capture devices cover the entire field of play
Pixellot system is said to provide a “high quality, low cost, simpler alternative to traditional graphics production workflows.” “We are extremely excited to kick off this partnership with AE, which is a key player in sports and graphics production,” said Dr Miky Tamir, Pixellot cofounder and chairman. “They have a proven track record in identifying and assisting new technology companies, all of which makes them an ideal partner.” 3.B20f
Making its European debut, Riedel is showcasing MediorNet 2.0, a firmware update for the MediorNet realtime media network that provides video router functionality and high speed rerouting. Available now, the MediorNet MetroN is a 2RU large-scale core router that provides a realtime routing capacity of 64x 10G ports. MediorNet MetroN can function within a larger MediorNet installation, interfacing with other MediorNet frames via fibre. Finally, the MediorNet networked approach to signal routing and distribution now includes WAN capabilities. Supporting forward error correction, retransmission management, and dynamic bitrate management, the Code
Route master: MediorNet MetroN is a 2RU large scale core router that provides a realtime routing capacity
One Transport Protocol used by MediorNet H.264 encoders and decoders ensures that the Internet can be used effectively for point-to-point transmission of audio and video. Riedel is also displaying the MediorNet Modular and MediorNet Compact, MediorWorks software, Performer, Artist, and Acrobat communications systems and RockNet fibre-optic converters and console interfaces. CEO Thomas Riedel said: “As quickly as the business of broadcasting is evolving, so is Riedel. We are continuing to develop next generation solutions that leverage the power and convenience of our networked approach to signal transport and routing, and look forward to launching a few of these here at IBC.” 10.A31
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Opinion
The right preservation strategy You continue to produce great content, and LTO will ensure it will be remembered says Laura Loredo, product marketing manager, nearline storage, Hewlett Packard, and Shawn Brume, business line manager, data protection and retention, IBM, the LTO Program There are countless components that go into any production. Media and entertainment professionals have to plan ahead to have the right technology, equipment and resources that will help them produce the best project possible. The post production piece can be just as important as the others, ensuring that the hard work is protected. In that vein, having the right strategy in place to protect and preserve those projects is essential. Many are turning to LTO tape with Linear Tape File System (LTFS) to help satisfy not only technological requirements, but also specific
budget requests. For content creators, every piece of content that gets created is extremely important. They simply can’t run the risk of losing anything. Having a storage medium that they can trust is just as important as the equipment they use to create the content. LTO tape with LTFS is making storage decisions easy, since accessing files is as easy as dragging and dropping the data selected, similar to a removable USB flash or external disk drive. How does it work? Using a media partitioning system, data is stored on the tape creating an index file system, allowing
Solbakken receives Finance Monthly award
for easy access to the files stored on the main 'content' portion of the tape. What this means is that a producer can use LTO tape – which is much less expensive than solid state drives or video tape and more reliable than external hard drives – to offload content that was captured during filming or to archive older content that production firms want to keep around 'just in case.' Having a storage medium for professionals that saves both time and money is extremely rare. When HD videotape was first released, producers were caught losing time transferring content from their video tape to
Conax By Will Strauss By Ian McMurray
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by hundreds of videotapes. Every year, we look forward to connecting with media and entertainment professionals at IBC. If you are looking to simplify your storage solution while reducing costs, come by the LTO booth at IBC. The team can show you how LTO tape and LTFS can help store your large files on a relatively inexpensive and very reliable medium, all while maintaining long-term protection for your archived content. You continue to produce great content, and LTO will continue to make sure it always will be remembered. 9.B25
Munich office for integrator Wellen+Noethen
Finance Monthly recently gave its CEO Award for 2014 to Conax CEO, Morten Solbakken. The award recognises an extraordinary individual who has shown the strategic foresight and leadership to deliver superior performance over the past 12 months, effectively managed all key stakeholders and prepared the organisation for the next phase of growth, and in the process, helped create an enduring organisation which has had a deep beneficial impact on a wider community and society at large. “This is a recognition of our entire organisation,” said Solbakken. “It is my team’s dedication to, and excellent execution of, our repositioning strategy that has cemented the base on which we will now further develop, under new ownership.” Solbakken’s award comes a few months after the Kudelski Group acquired Conax from
their editing tools. It would take just as long to transfer as it did to shoot. The archived version required a lot of space, time and money to store. The switch to digital gave content producers an affordable way to capture footage on memory cards and offload the content to an LTO tape. Hours of content on one memory card could be transferred to LTO tape in a fraction of the time. Thanks to our newest generation of LTO technology (LTO-6 tape) producers can store more than 3TB of (uncompressed) content in a single cartridge, saving space that would be taken up
Southern Germany, Austria and Switzerland are targets for Wellen+Noethen’s newly opened office in Unterfoehring near Munich. Wellen+Noethen general
manager, Daniel Url, said: “We are currently involved in various projects for clients from the TV, media and higher education sector in the large southern media region around Munich as well as for Vienna and Zurich. Our commitment to our own branch office in Southern Germany is therefore the next logical and important
step in the expansion of our business activities.” The Munich office will provide key account management, consultancy and technology service and support. The systems integrator and professional services company already has offices in Cologne and Berlin. 3.B40
Pushing the limits of style and performance Man of the moment: Conax CEO, Morten Solbakken, is ‘extraordinary’
telecoms provider Telenor. “The success of every organisation is down to the depth of talent that it is able to attract and the ability of a chief executive officer to deliver commercial success by unlocking that talent,” said Finance Monthly editor-inchief Mark Palmer in a press release. “The CEOs listed within Finance Monthly’s CEO Awards publication are proven corporate leaders who deliver results and have achieved considerable success in their respective sectors.” 1.D69
ruwido By Ian McMurray Demonstrating its portfolio of remote control solutions, which the company says push the limits of style and performance and are powerful enough to meet the requirements of today’s fast-changing entertainment industry, is ruwido. ruwido says it is working to transform the way in which users interact with television and how they feel about their viewing experience. Visitors to ruwido’s booth are seeing
demonstrations of the company’s range of solutions, including the ‘Bubble’ interaction mechanism ecosystem, launched earlier this year. The new solution enables what ruwido describes as exciting TV experiences for consumers by implementing the company’s ‘3D input sphere’ and latest advanced user interface. The freely movable ‘3D input sphere’ and the brushed aluminium finish form the essence of the solution’s design ethos. The slim body of the remote control is crafted from one solid piece of material, enclosing the ‘3D
input sphere’ as the primary method of scrolling. Digital pushing of buttons is replaced by an analogue, and what ruwido believes is a more natural way to move through large VoD libraries and menus. According to the company, ruwido is committed to ensure that the remote control evolves alongside today’s swiftly changing TV landscape, meeting consumer needs for improved TV interaction, pointing out that its latest innovations are aimed at consumers who are faced with an ever-expanding choice of content. 1.F68
theibcdaily Optimo offers new Style for 4K
Multi-camera links via WiFi IDX By David Fox A new WiFi-based camera link aimed at cable free multicamera production has been launched by IDX. The CW-F25 uses standard 802.11n technology to keep costs down, but to deliver the quality needed to mix seamlessly with wired camera systems it uses 4x4 MIMO channels with OFDM/64QAM modulation, giving a maximum data rate of 300mbps. This supports H.264/25Mbps high profile video with four channels of embedded audio and timecode data. It also supports a second video stream over the link from an IP camera or the Gigabit Ethernet connector on the receiver that can be used to route the main feed into an IP server or network. The signal is resistant to interference on the popular 5GHz frequency band through the use of beam forming
technology, which has the added advantage of increasing the wireless range to a maximum of 400 metres utilising the standard antennas. Optional external patch antennas are available for both the transmitter and receiver to give a maximum transmission range of 2km where delay is still an acceptable six frames. To increase the resilience of the link, it uses dynamic frequency selection to scan nine possible working frequencies to determine which will deliver the best performance, while breaks in the transmission are prevented by adaptive variable bit rate, which will decrease signal quality if anything affects the link rather than cut to black. Return video, intercom, tally and RS-422 remote control are also supported over the link. The CW-F25 should be available early next year. 11.C21
Thales Angénieux By David Fox
Sharing the load: Volicon’s Capture application now works seamlessly with Grass Valley’s Edius
New capture and edit workflow Grass Valley/Volicon By David Fox Volicon and Grass Valley have announced a new partnership to enable broadcasters to set up a rapid repurposing workflow in which content is quickly and easily captured, clipped, and edited for delivery to any platform. It links the Capture and Share applications from Volicon's Observer Media Intelligence Platform with Grass Valley’s Edius video editing software to provide “an accelerated production pipeline to support the rapid creation and delivery of compelling content,” according to Russell Wise,
Volicon’s VP of global sales. The Capture application facilitates realtime capture of up to 720p content from any source and makes it immediately available to users across the enterprise. The Capture application pairs HD H.264 encodes with proxy versions so that both local and remote users can collaborate seamlessly to review content, clip high-value segments, and push them directly into Edius. To accelerate content distribution, the Share application provides singleclick publishing profiles that facilitate rapid processing of content to meet appropriate container and encoding requirements for an array of platforms. 1.D11/7.G23
MAM’s new look VSN By Carolyn Giardina A new UI for VSNExplorer, the company’s PAM, MAM & BPM, is on show from VSN The new look was created to improve the performance of the system and user experience. Efficiency, flexibility and ease of use have been the main aims in this redesign.
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VSNExplorer offers tools to manage the media of a company or group of companies and automate repetitive tasks to improve efficiency. Its interface is web-based, and it runs on an open, scalable architecture. “Our goal with VSNExplorer is to turn technology into an ally, allowing the creative industry to concentrate on what it does better: create,” said VSN CEO, Jordi Utiel.
Slope style: VSNExplorer has a new UI
VSNExplorer also includes PAM and BPM modules, the former aimed at production environments, and the latter at enabling the orchestration
and automation of business processes in a simple way, increasing the system’s potential and flexibility.” 7.C21
The new Optimo Style family of zoom lenses from Thales Angénieux is aimed at live TV and mid-budget cinema productions in 4K and beyond. There are three zooms – two hand-held and one full-size – covering the focal lengths between 16mm and 250mm (with ability to lengthen the range with a 2x extender). The two lightweight zooms are also available with the optional Angénieux lens servo motorisation system. “A wider spectrum of production content is migrating to a cinematic look with 4K quality and that trend requires equipment which is adaptable to a large variety of cameras, configurations and budgets,” said Pierre Andurand, President and CEO, Thales Angénieux. The 16-40mm and 30-76mm T2.8 zoom lenses weigh less than 2kg each, making them particularly suitable for shouldermounted or hand-held cameras. The 7.3kg 25-250mm T3.5 lens, which was introduced at IBC last year branded Optimo DP, is designed as an all-purpose 10x zoom for a variety of production needs. The lenses have an easily interchangeable mount (PL, Canon EF, Panavision) for use with a wide variety of cameras, while the Angénieux Servo Unit (ASU) provides control of zoom, focus and iris and is compatible with broadcast remote handles, cinema remote controls and wireless remotes such as Preston (or others on request), and generates lens metadata based on the Cooke/i technology protocol. The ASU will also be available as an option for all Optimo Lightweight Cine Zooms including the Optimo 15-40, 2876mm and 45-120mm lenses. 11.F34
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ENG encoder in a backpack is each HEVC-ready Quicklink By Will Strauss
built to withstand harsh conditions and is HEVC-ready. Wales-based Quicklink is also showing a small version of its video uplink technology
designed for use in remote locations. The New Quicklink Mini bonds multiple networks together to maximise transmissions speeds.
It is available in two versions: the base, designed to complement a BGAN/Thuraya terminal and any WiFi/Ethernet connection; and the LTE which has four 4G
modems and antennas. The HEVC-ready Mini has a touchscreen interface and can be controlled via web browser. 3.B29
An encoder in a backpack designed for mobile newsgathering is being showcased on the Quicklink stand at IBC. The Quicklink Backpack makes use of eight 3G/4G modems that can simultaneously bond up to 15 connections, including WiFi and Satellite, in order to broadcast live video from the field. Quicklink head of sales and business development Peter Watling said: “This is a really exciting time for the industry. The capabilities to capture broadcast quality live footage from virtually anywhere in the world are now endless.� The Quicklink Backpack is
Mixing it up Roland Systems Group By Carolyn Giardina At IBC, Roland Systems Group is demonstrating its VR-50HD multiformat AV mixer, as part of its lineup of technologies for conversion, playback, recording and HD streaming. The portable VR-50HD has HD multiformat capabilities, integrated audio and video for mixing and recording, and USB 3.0 output for web streaming up to 1080p. The company is also showing its recently launched XS Series of multiformat AV matrix switchers. The XS series supports eight HDMI, RGB/component/Svideo/composite inputs and up to four HDMI or HDBaseT outputs with scalers to support picture-in-picture, resizing, rotating, and flipping. Audio can be embedded into outputs via 8 stereo audio inputs (2 mic) and/or HDMI audio as well as de-embedded on output. According to Roland, the XS-84 is capable of switching four video lines as a group, enabling configuration of a 4K system. Switching a mixture of video feeds that includes 4K, HD, and SD sizes as well as up to WUXGA and other computer video formats is also possible. Also featured are the Roland AR-3000SD recorder/players and VC-1 Series range of portable video converters. 7. J38 theibcdaily 91
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Opinion
On the pulse of the times There is a paradigm shift in developing future integrated solutions for video and audio infrastructure says Thomas Riedel, CEO and founder, Riedel Communications Heading into IBC2014, we see that few industries develop so dynamically as broadcast, media, and entertainment. The direction seems to be very clear: IT. And while technology is changing the market, both manufacturers and users face new challenges. Riedel has understood the need for a paradigm shift in terms of developing future integrated solutions for video and audio infrastructures, including the next generation of intercom solutions. Thus, we are offering flexible solutions for today’s and future standards in the broadcast environment that are perfectly matched to customer needs and expectations. In this way, we want to support this challenging paradigm shift to ensure a smooth transition for all our clients into the new world of broadcast IT. As Riedel has always created
sustainable value through technological leadership, all our current solutions are already based on IT-related architectures. At the same time, we continue to support all the legacy interfaces. With Riedel’s 'plug and play' feature set, customers will be able to continue operating our new systems like they do with our current gear. In this way, we are already introducing our customers, step by step, into this new world of IT-based media infrastructures. The move towards such an infrastructure and more standardised hardware will help to reduce operational costs, enhance workflow efficiency, and create more networking opportunities. This will enable more powerful production and delivery environments without being restricted to any particular hardware platform. It is all about flexible
connectivity beyond any hardware limitations. There is no need for discussions about the right connectivity solution for audio and video signals in broadcast whether layer 1, layer 2 (such as AVB), or layer 3 (such as AES67 for audio or SMPTE 2022 for video). All of these standards have their raison d'etre, and we at Riedel are convinced that there are very good reasons for all three approaches and that they can perfectly coexist. The question today is not about the standards’ availability to offer state-of-the-art broadcast solutions in the future. It is about how flexible systems should be designed to offer customers an integrated system approach with maximum connectivity options on their standard of choice. By supporting layer 1, 2, and 3 interfaces, we will integrate all three transport layers into one
solution to maintain maximum flexibility and to achieve compatibility at the same time. Riedel has the capabilities needed to solve any broadcast challenge of today and tomorrow. We are ready for the future and look forward to demonstrating this at this year’s IBC, especially with the new system boundaries breaking
New dimensions in vision and sound Fraunhofer Digital Cinema Alliance By Michael Burns The Spatial-AV project, which studies immersive audiovisual media, has announced its latest camera technology and production tools, including light-field and multi-camera processing. In addition, the Alliance is showcasing new technologies from the project
including object-oriented audio coding and live control of spatial audio data objects. Under the project, started at IBC2012, Fraunhofer experts have developed and introduced new technologies to enhance the workflow for intelligent, modular, multisensory 3D recording and production systems. The Fraunhofer Digital Cinema Alliance consists of Fraunhofer IIS, Fraunhofer Heinrich Hertz Institute HHI,
Fraunhofer IDMT and Fraunhofer FOKUS. The Alliance said that working with multi-camera or light-field data delivers a great deal of creative potential for further processing, changes or additional effects. This includes re-focusing, changing perspective and viewing angle that can be realised in post production without additional shootings or retakes. The Fraunhofer IIS institute, which is coordinating the
Alliance, is using IBC to present the first plug-ins to enable and test smart processing of this data in a professional post production tool. The most recent additions to Spatial-AV include an automated stereoscopy system and a mobile 360degree panoramic camera system, the OmniCam. Recently used for a special recording during the FIFA World Cup in Brazil, OmniCam
Tango platform and a new technology, based on a recent collaboration that will change the market. Our goal is to make our customers’ investments safe and to support them on their path towards the brave new world of IT-based media infrastructures. 10.A31
has also been used to allow concerts and operas to be experienced in panorama up to 360 degrees in UHD. Films from the OmniCam-360 will soon be available via an app that is being introduced at IBC. Navigation within the panorama is made possible by the app running on second device, such as tablets, smartphones and laptops. The spectator is able to navigate at will in the videos of concerts or sporting events and can then individually zoom in on a section in the panorama. 8.B80
AMOS-6 features previewed Spacecom By Ian McMurray AMOS satellite fleet operator Spacecom is showcasing the AMOS-6 satellite's capabilities at IBC2014. The company is describing what it believes are AMOS-6's advantages, including a pan-European beam 92 theibcdaily
and High Throughput Satellite (HTS) Ka-spot beam capacity. The satellite, larger than AMOS2 and AMOS-3 combined, is scheduled for launch in 2015 to the 4°W prime orbital position. Offering 39 Ku-band segments and 24 Ka-band beams to provide a wide array of services, AMOS-6 will be fitted with numerous new technologies including electronic
propulsion capabilities to save on weight and cost. The satellite’s HTS spot beams will, says Spacecom, bring multiple times more throughput than traditional satellites thereby enabling broadcasters to rethink business opportunities in providing various data services, including mass market broadband services. "AMOS-6 will bring the AMOS
brand to more territories and add greater value for our customers across Western Europe, the Middle East and into Africa,” said Spacecom CEO and president David Pollack (pictured). “We are pre-selling capacity on the satellite and can note that the current pre-sold fill rate is on a steady line upwards." 1.C65
David Pollack: AMOS-6 adds greater value for customers
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Isee gyro-stabilised gimbals Shape By David Fox
and a programmable circuit board. It uses a joystick to manually control the camera movement,
with robotic tilt, and is powered by two LP6 rechargeable batteries that last for up to four hours.
Shape is also showing its new Kirk Neff 2.0 Rig, co-developed with DoP Kirk Neff, which is available as a range of accessories or different packages and includes such items as: the large DSLR Video Cage 2.0, V-Lock quick-release DSLR mount, Follow Focus with
both friction wheel and Gear, Telescopic double quick handle & Bloc 15mm Arri rosette, Mini composite shoulder pad and back pad, a Swing Away Matte Box with two 4x4 rotating filter trays and an array of other accessories 11.F61
A new range of stabilised handheld or shoulder-mount camera rigs that support a wide range of cameras, from the GoPro to the Red, has been launched by Shape. The three-model Isee range balances the camera on a twoaxis gimbal that is stabilised on the tilt axis and on the roll axis using brushless motors, sensors
DIY fibre extension system Broadcast RF By Heather McLean The creation of its own fibre extension system for engineering a wireless camera arrangement is being discussed by Broadcast RF here at IBC, following its decision to make its own one inhouse after failing to find a suitable commercial alternative. The design brief included the following requirements: ability to operate over 500m of SMPTE fibre cable; option of using a single core of ST or E2000 fibre, with local battery or mains power; ability to carry RS485 data from base unit to remote unit for the camera data transmitter; and the ability to carry Ethernet connectivity for Wi-Fi based camera control systems. The base unit created is 1U in height and half-width meaning two units can be mounted alongside each other in a standard 19-inch rack. The SMPTE connector can be moved to the rear panel of the unit if required. The remote unit is built into a standard waterproof case which doubles as a transit case for the antennas, filters, downconverters and cables. The base unit front panel display provides monitoring of the optical signal strength and internal temperature of the base unit. The inbuilt RS485 data transport facility can be configured to suit Videosys, Link and Gigawave camera control systems and the data transmitter can also be powered from the remote unit via the SMPTE fibre. Broadcast RF has 30 pairs of these units and recently deployed 26 of them at the FIFA World Cup in Brazil where they were used for both radio-camera and helicopter camera reception. 9.A51 theibcdaily 93
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Cloud-based subtitling system is launched Zoo Digital By Heather McLean Software service provider, Zoo Digital is presenting its new cloud-based subtitling and captioning service, ZOOsubs, to Europe here at IBC2014. ZOOsubs is the new generation softwareenabled subtitling and captioning service. Using the latest cloud technologies it provides a new approach in an industry that has seen little change in 50 years, claimed the company. ZOO Digital has seen its ZOOsubs subtitling service adopted by five of the six major Hollywood studios in the last 12 months, along with global TV companies and well-known brands. According to the company, the secret of ZOOsubs’ success lies in
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the cloud. Unlike traditional subtitling services, which rely on third party applications, high overheads and in-territory management, ZOOsubs uses cloud technologies and bespoke software to provide a scalable, costeffective global solution. ZOOsubs software manages all of the repetitive admin tasks within the subtitling process, whilst a team of talented translators and QC experts ensure high quality outputs in over 55 languages and all major formats. ZOOsubs users benefit from a wealth of innovative new features, including online ordering and self service downloads, secure asset storage in a cloudbased centralised repository, and automated file conversions direct from ZOOsubs. 9. B14d
White label video management thePlatform
KVM extensions for 4K Guntermann & Drunck By Ian McMurray
By Monica Heck White-label video publishing company and independent subsidiary of Comcast, thePlatform is demonstrating its cloud-based mpx video management system at the show. The company has also shared details from its newly launched strategic reseller programme, recent customer announcements including Verizon, as well as updates from serving as the cloudbased, online video platform for two of the largest online TV events this year: the Super Bowl for Fox and Olympics for NBC. Companies that currently rely on thePlatform as their open, central hub for managing, monetising and syndicating billions of professionally produced video views annually, across PCs, mobile and TV, include BT, Cablevision, CBC, Comcast, E!, LSDLive, NBC Local Media, NBC Sports, Syfy, Telstra and Time Warner Cable. 14.H15
As the workflow in broadcasting becomes more and more digital, the call for higher resolutions becomes louder, according to exhibitor Guntermann & Drunck (G&D), who is responding by showcasing the company’s capabilities in KVM extensions for 4K, the transmission of high resolutions via KVM matrix and uniting analogue and digital KVM systems. Today, says the company, the boundaries of classic broadcast have almost vanished. Digital media technology and professional IT applications are already part of almost any workflow. The new data-based broadcast requires highly reliable devices which are always available. Users must be able to flexibly and efficiently manage large amounts of data. High resolutions are transmitted from the actual recording to processing and to the final
playout — so any KVM equipment the material passes on its way must be able to match and process these requirements. When processing and transmitting 4K content, the multichannel variant of the KVM extender DL-Vision is ideal, according to G&D. In addition to transmitting keyboard, mouse, RS232 and USB 2.0 signals, the device is said to easily handle video in 4K or Ultra HD. The KVM extender transmits resolutions up to 4096x2160 or 3840x2160 at the full frame rate of 60Hz and with a colour depth of 24 bits, resulting in high-quality images. 4.B60 4K extension: The DL-Vision extender can handle 3840 x 2160 resolution at 60Hz with 24-bit colour depth
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The Anniversary Miniature goalcam and CCU receiver tripod is a Classic Bradley Engineering
By David Fox
Miller Fluid Heads
Elkam, a miniature HD goalcam, and what is possibly the world’s smallest CCU receiver, are two of the new products on the Bradley Engineering stand. Bradley’s Elkam is a specialised HD camera in an elbow shape, suitable for goal posts or nest boxes. It has a full HD MOS sensor, a 100º wideangle lens and full remote control. It can be used with Bradley’s Remote Control Panel Mk3, which can control all four goalmouth cameras on the
By David Fox Miller is celebrating its 60th year with the introduction of its latest Cineline 70 Fluid Head to the European market, a hand-built classic wooden tripod, and the giveaway on its stand of a free Miller 60th anniversary camera plate locking key ring to IBC attendees. Eric Miller and his son, Bob, developed and patented the first ever fluid action head to create smooth pans and tilts for location filming in 1946, and founded the company in 1954. Since then, Miller has delivered “more than 100,000 tripods and fluid heads, acquired several patents and won numerous awards for its exceptional quality and design,” said Mike Lippmann, European manager, Miller Fluid Heads. To celebrate the anniversary, it has created new, special edition LP ’54 Classic tripods, built by hand as they were when first introduced, from components that remained after the last production run of the Light
Wooden it be good: Miller’s special edition LP ’54 Classic tripod
Professional (LP), with only 40 being built from finest Australian Blackwood. The Australian manufacturer has also introduced the new Cineline 70, which is aimed at heavy payload cinematography, and is showing its compact new Air and DS tripod systems, the Compass and Arrow fluid head ranges, and the robust 150mm ball levelling Skyline 70 fluid head and tripod systems. 11.D30
New 4K DisplayPort extender IHSE By Carolyn Giardina Created for visually lossless extension of DisplayPort signals, IHSE has launched a new extender series: the Draco vario DisplayPort extenders. These are compatible with
Draco tera KVM matrix switches and are cross-compatible with the DVI and HDMI extender series for video and USB-HID extension. Transfer of fully-digital video signals (including 3D video in HD) is supported in 4K resolution up to 4096x2160 and 3840 x2160. The DisplayPort extender supports digital audio standards.
Goal keeper: Bradley’s new Elkam camera is ideal for goalmouth or wildlife applications
pitch. The Elkam uses a twomegapixel 1/3 inch CMOS sensor and supports a wide range of HD formats (1080p 50, 59.94, 60; 1080i 50, 59.94, 60; and 720p 50, 59.94 and 60). The tiny new RD12 receiver, which is being demonstrated
Network upgrade for AVCCAM Panasonic By David Fox Panasonic’s new AG-AC90A camcorder is an upgraded version of its successful AGAC90 AVCCAM, with enhanced network capability and additional professional functions. The AVCHD camcorder now has dual memory card slots allowing direct copying
between cards; new recording modes: PM mode (1280x720, 8Mbps) and CS mode (720x576, 3.5Mbps) for network delivery, in addition to its high-quality professional PS/PH mode (1920x1080) recording; a date and time superimpose function; and an Eye-Fi card for wireless connection - to make it easier to transfer data files to PCs and upload to
This eliminates the need for additional audio modules, enabling playback of the audio signal through monitors with integrated loudspeakers. Integration of optional upgrade modules for digital audio input and output is also possible. IHSE offers DisplayPort extenders in single and redundant path variants. Various upgrades to extend legacy video standards and convert analog signals are also available. 7.F33
Tomas Petru, chief executive officer, Visual Unity
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makes that possible. What do you think are the key developments in, or threats to, your market sector at the current time? The media continues to ignore the huge change that has already happened due to the spread and acceptance of multiscreen and over-the-top (OTT) solutions. At the same
time suppliers try to shield media from the news so they can maintain their revenues based on the 'old technology' paradigm. So the main focus of media providers should be to participate in this change, which will in turn power their revenues. Why should delegates visit your stand at IBC? Because Visual Unity can
cloud servers. Other features include: a 12x optical zoom lens — from 29.8mm (35mm equivalent) to 383.7mm; three highsensitivity 1/4.7-inch backilluminated MOS sensors; triple manual rings (focus, zoom and iris) to offer the versatility and feel of the interchangeable lenses; XLR Microphone/Audio Inputs; and remote terminals to provide system expandability. 9.C45, 9.D40
A new star: IHSE is showing a new extender series.
Q&A Has IBC come at a good time for the electronic media industry? Why? Despite all the electronic communication around us, we still lose the impact of any message when it lacks a personal touch. Therefore, the ability to meet and interact with industry professionals in person is very important in this rapidly developing business. It is great that IBC
providing full CCU control for a Sony broadcast camera, is, Bradley believes, probably the smallest CCU receiver yet made, and is capable of controlling all of the parameters on a broadcast camera. At just 100 grams and 88mm x 60mm x 12.5mm, it operates with Sony, Ikegami, Panasonic and Bradley cameras, to give CCU control for iris, tally, red gain, blue gain and pedestal. It uses one single cable for power and data, and the RD12 and its corresponding transmitter, the RD11, operate in the license free zones and are frequency agile with user selectable channels. 11.F41
fulfill their multiscreen needs even if they’re not fully aware they have them. We also offer a far more individual approach in our business practices than the biggest players around, as well as flexibility, an enthusiastic team of professionals and over 20 years of broadcast expertise. Come and see us at our best at IBC. 14.F34
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Matte boxes on a plate Vocas Systems By David Fox
Vocas’ new, patented tilt filter unit. Also new is the Vocas universal cage system, which allows the use of a top handgrip
and top bars on almost every camera. It can be mounted directly to the Vocas USBP rosettes or on 15mm rails using an additional bracket. Optional top bars allow mounting a viewfinder, monitor, microphone, etc. 11.E34
Well-filtered: The new Vocas MB-435 matte box on a Canon C300
Two new matte boxes have been released by Vocas. The MB-435 and MB-455 are based on the existing MB-430 and MB-450 respectively, but both now have the same maximum lens diameter of 143mm, while step down adapter rings allow them to be used on smaller lenses as well. Accessories for them include side flags, 15mm (Studio and Lightweight) brackets, 19mm brackets and swing-away options. The MB-435 has two 4x4 and 4x5.65 combo filter frames, one rotatable, has a third fixed 4x5.65 filter compartment in the hood, and weighs 600 grams The MB-455 is Vocas’ biggest matte box, and has two fully rotatable 5.65x5.65 filter trays as well as one fixed 4x5.65 tray. It also has a rigid compartment in front that can house either a matte, a fourth filter frame or
ScorpioLens primed for anamorphics Servicevision By David Fox Although best known for its cranes, hot heads and remote controls, Servicevision has been developing a new series of anamorphic lenses for the past few years, and is showing the final prototypes at IBC. The ScorpioLens Anamorphic X2 range of lenses are designed to be as practical as spherical lenses (light, small and reasonably priced) but to keep the beauty of the anamorphic look. They use a new, patented design that allows users to have a real anamorphic while correcting its issues, such as distortion and breathing effects. The basic set will initially comprise of 35mm, 40mm, 50mm, 75mm and 100mm lenses. It has also developed two new telescopic cranes, the Scorpio 45-foot/14m crane, which can carry up to 70kg underslung, or 45kg overslung, and a 64foot/19m version. Its new Mini Scorpio EZ Head is a remote head based on its popular Mini Head, but simplified, so there is no need for a specialised Scorpio technician. 11.C45 theibcdaily 97
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Q&A AndyTrott, president, Studer by Harrman Has IBC come at a good time for the electronic media industry? Why? Well, speaking personally it is definitely good timing as we are able to show for the first time at IBC the Studer Infinity processing technology and D23M I/O controller running on the Vista X mixing platform. This platform will grow in capacity at a rate close to doubling every 18-24
months as it is based on X86 technology, therefore protecting our customers’ investment for the future. What do you think are the key developments in, or threats to, your market sector at the current time? Interoperability is key. Whether AES67, Dante, Livewire, Ravenna or other
standards, it’s important that suppliers offer seamless integration. At Studer we chose to achieve this through interfacing to these AoIP networks as well as our own developments — for instance our A-Link interface offers and close partnerships based on our A-Link interface with Riedel, Evertz and Artel. Why should delegates
Satellites: ‘viable and efficient’ Eutelsat By Ian McMurray Global connectivity, innovations in the broadcast sector and how Eutelsat believes its satellite solutions and services are addressing demand in high growth markets are the main highlights on the Eutelsat IBC stand this year. With the integration of Satmex (renamed Eutelsat Americas) and recently announced investments and partnerships in Latin America and Asia-Pacific, Eutelsat says that it has consolidated its presence around the world significantly. The group now
offers a broader range of satellites to its customers providing global coverage as well as a network of owned and partner teleports complemented by terrestrial fibre links and points of presence. Eutelsat is also unveiling its roadmap for 4K in Europe and Asia and how it claims it is pioneering this technology. The latest examples, according to the company, are Europe’s first 4k demo channel, HOT BIRD 4k1 and a demo channel on the EUTELSAT 70B satellite. Both channels are encoded in HEVC and broadcasting at 50 frames per second and can be received by consumers using 4K TVs equipped with DVB-2
Conversion connection Solid State Logic By Michael Burns New features for MADI-Bridge, the MADI to Dante IP audio network interface, have been released. They include bidirectional 44.1kHAz/48kHz/88.2kHz/96kHz sample rate conversion and a new split mode. Part of SSL’s new Network I/O Range, MADI-Bridge is the industry’s first fully broadcastready interface between MADI and Dante, according to the company. With 64 channels per Bridge at 48kHz, or 32 channels at 96kHz, as well as redundant MADI, IP network ports and
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PSU, SSL said the Bridge is built for uninterrupted, fully-redundant operation. In addition to the built-in clock redundancy in Dante controller, the MADI-Bridge includes a pair of sync inputs for use as a selfredundant Dante Grand Master clock. The unit can synchronise to video sync, tri-level or black and burst, word clock, MADI or PTP Network sync. MADI-Bridge also features a front panel headphone socket with rotary level control, as well as built-in headphone monitor routing. The company said the bridge could replace traditional patch bay routing and faultfinding functionality with equivalents in the IP audio domain. GPIO connections allow for transfer of tally info and
demodulators and HEVC decoders. Another global key trend is delivering video content anytime, anywhere and on a multitude of devices. Telecoms operators, for economic and geographical reasons, are not able to deploy fibre everywhere, notes Eutelsat, and so satellites play a key role as complementary distribution technology. Eutelsat is demonstrating how satellites, with their ubiquitous coverage and bandwidth availability, can contribute as a viable and efficient solution for getting content to users in areas not covered by sufficient terrestrial infrastructures. 1.D59
switching functions across the network with the audio. MADI-Bridge's Split Mode allows the pair of MADI connectors to be used independently, rather than in their usual redundant mode, for bi-directional split/combine operation. Other new features include a new Lock mode that allows an admin user to lock all functionality of the unit except the front panel confidence monitoring. There's also the ability, in monitor mode, to toggle the screen between showing the monitor matrix view and the channel name of the device currently being monitored. 8.D83 Where’s that bridge?: MADIBridge provides a broadcastready interface between MADI and Dante
visit your stand at IBC? Anyone interested in the next generation of routing, distributed I/O-sharing and advanced mixing systems should benefit from spending time with our team on the booth. We will be demonstrating new products for all forms of broadcast audio, and delegates can meet our technical team, assembled from the UK,
Switzerland, Asia Pacific and South America — not to mention products from our Harman cousins, AKG, JBL and Soundcraft. 8.D60
FCP X conforms to legal view Eyeheight By Michael Burns A new addition to the Eyeheight’s range of video post production conformance plug-ins has been unveiled at IBC. The BroadcastSafeFCPX is a plug-in video legaliser, which Eyeheight said works seamlessly with Apple's Final Cut Pro X editing software. BroadcastSafeFCPX enables editors to verify and conform content prior to submission to any file-based quality control system. It can be used to perform composite, RGB, RGB-plus-Y and simultaneous composite-plus-
RGB legalising, all with operatoradjustable soft clipping at high and low thresholds. Eyeheight said the plug-in offered precise chroma-space conversion and accurate limiting which ensured compliance, while keeping the full gamut available for creative use. Editors can select from an extensive range of presets, or work in custom mode which gives full access to 15 configurable parameters. Facility administrators can assign which built-in presets are available to users, create new presets or disable the custom option to ensure that only approved configurations are implemented. 8.B97
New virtual control panel Trilogy Communications By Heather McLean At IBC2014, Trilogy Communications is featuring a new, completely redesigned virtual control panel. Trilogy’s Virtual Panel is now available for PCs, laptops, phones and tablets in either wired or wireless configurations, allowing everyone to join the conversation, simply and costeffectively. Trilogy is also featuring the deep integration of L-S-B’s Virtual Studio Manager with Gemini, Trilogy’s distributed matrix intercom, thanks to the recent successful implementation of the Ember+ protocol. Gemini combines the
benefits of a large scale, nonblocking matrix with integrated IP connectivity in each unit and a range of IP panels. Also being demonstrated is Messenger, an affordable matrix-based intercom that includes features and functionality typically only found in far more expensive systems, bridging the gap between low end, two-wire party line systems and the cost and complexity of high-end professional systems. Mentor XL, a master reference generator that includes a GPS option board that enables operation with traditional active GPS antennas, while also being optimised to exploit the latest developments in smart antennas, is also being demonstrated. 10.A29
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Cloud-based automation to benefit TV news
Visualisation inTV studios eyevis By Heather McLean
Aveco By Will Strauss Broadcast automation specialist Aveco is highlighting its studio, news production and master control offerings at IBC, including support for cloud-based automation. “The ability to have an automation system that is not tied to physical locations provides media organisations with a great number of options to optimise their operations,” said Aveco managing director Pavel Potuzak (pictured). “It also facilitates growth and integrating the latest technology, as we support any combination of cloud, integrated, and rack solutions so as you upgrade your technology, you can move from a rack of equipment to integrated ‘in-a-box’ solutions, or to a cloud architecture over time.” Aveco cloud-based multichannel playout uses a client/server networked approach to allow for regional ad insertion, regional newscasts, central casting and other distributed models such as ingest and playout from different locations. Also at IBC is Aveco’s ASTRA, a system for TV news that combines Master Control and Production Control in a single tool, running on the same hardware and connecting to both NRCS and traffic systems. Potuzak said: “We combine our PCR and MCR automation systems into one so that cues between both are automated and tighter, media management is smoother, the on-air look is better, you can do remote news production along with MCR centralcasting, and handle both news and advertising. There is less hardware, less staff, and huge cost savings.” Aveco’s Redwood Studio News Studio-in-a-Box, which supports both local and cloud-based playout, is also on show. Designed for regional news bureaus, it can also be used in multi-studio complexes alongside traditionally equipped larger studios. 3.B67
eyevis is presenting its ideas for demanding visualisation challenges for TV studios, direction rooms, post production and digital signage applications. Created specifically to fit the requirements of the broadcast sector are eyevis’ new 85 inch Ultra HD displays at 60Hz, SLIM-Cubes with a depth of only 455 mm, improved DLPCubes in the new EC-1004 series, high quality LED modules at 1.5mm, 2mm and 2.5mm pixel pitch, the latest generation of eyevis preview monitors, plus
its successful omniSHAPES. A key product is eyevis’ highest resolution, large surface representation for behind and in front of the camera; the new 85 inch 60Hz 3840x2160 Ultra HDLC display. Specific to the requirements of TV studios, the Genlock-compatible display with an image frequency of 60Hz can be adjusted to conventional studio frequencies. Due to the high brightness level of 500cd/m² and one hundred percent NTSC, the display also offers some of the best image characteristics for digital signage applications in bright ambient light conditions. Additionally the display, through an OPS-compatible slot
for an eyeProcessing-Unit (EPU), can be equipped with an EPU scaler. The scaler offers a 3G HD-SDI interface. Extended operational potential of the 85inch display for broadcast and digital signage applications is added through an optional touch system on infrared basis. Also here at IBC eyevis is demonstrating the features of its new Slim rear projection cubes for professional usage in control rooms and TV studios. With a depth of only than 455mm, the new Slim-Cubes can be used in areas that were, due to space requirements, not suitable for rear projection cubes before. Plus with the new EYE-LCD1700-HB-BC-V2 and EYE-LCD-
Fly on the wall: the new 85 inch Ultra HD-LC display
2100-HB-BC-V2, eyevis presents the next generation of its preview monitors for broadcast applications with 17inch and 21-inch screens. Due to their brightness of more than 1000cd/m², high contrast and full HD resolution these displays offer best image characteristics for preview representation of TV footage. 9.B24
X10 UHD slows advance of 4K I-Movix By David Fox The new X10 UHD from I-Movix is claimed to be the industry’s most powerful 4K ultra slow motion system, and the first to support both continuous super slow motion and ultra slow motion at frame rates of up to 1000 frames per second. It combines the core of
I-Movix’s X10 ultra-motion technology (including standard EVS workflow) with Vision Research’s Phantom Flex4K camera, and supports operation in a range of modes to meet differing production requirements. It can be instantly re-configured for alternative 4K or HD shooting scenarios. It now has increased dynamic range, to improve its performance when lighting is poor, and supports higher
frame rates in SSM mode (continuous mode) of up to 120fps at 4Kp60. When operating in HD resolutions (1080p or 1080i) it can do up to 600fps in SSM mode, or up to 2,000fps in USM Live and Replay mode. It can also perform as a conventional live camera. It can also be specified in an RF version. IBC is the first European showing for the 4K system, “which has had an amazing market response since its
Going live: The I-Movix X10 UHD system is based on the Phantom Flex4K camera
launch earlier this year. With its extraordinary specification X10 UHD easily outstrips the competition,” claimed I-Movix CEO, Laurent Renard. 11.E43
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Opinion
A versatile compression infrastructure Christophe Delahousse, president, Thomson Video Networks, argues for a hybrid compression strategy that offers the best for all worlds In today’s ever-evolving technology and competitive landscape, media enterprises face tremendous challenges as they adapt their operations to stay on the leading edge of content delivery. Linear services and traditional television are still important, of course, but now consumers control what they watch and when they watch it. And they’re demanding access on an ever-growing range of devices from smart phones to tablets to internet TV. For traditional broadcasters, adapting to multi-screen and multi-platform delivery can be costly, bandwidth-intensive, and difficult to monetise. Plus, a whole new generation of pureplay OTT providers are turning up the competitive pressure. Throughout the digital revolution, advanced video compression and content delivery technologies have
played a key role in helping broadcasters provide a premium viewing experience for their customers. At IBC2014, we expect many of these broadcasters to be looking for compression solutions that can effectively address the challenges of multi-platform delivery. Building a modern live broadcast infrastructure requires much more than simply adding OTT capabilities to a traditional linear broadcast subsystem. In order to support traditional as well as newmedia broadcasters and payTV operators, a video infrastructure must be allencompassing and provide seamless support for many different codecs, networks, and devices. Ideally, this approach combines premium encoding capabilities with dense transcoding for turnaround
services, with an emphasis on the following criteria: Flexibility to transcode and deliver OTT and IPTV services to a constantly evolving ecosystem of devices and applications, in all necessary output formats Continued high-quality delivery for traditional broadcasts over cable, DTH, and DTTV A transcoding workflow that can be adapted easily by adding ABR encoding profiles, adding or removing channels as required, changing resolutions, or upgrading to new and emerging codecs such as HEVC High-performance compression, multiplexing, and ad insertion, premium encoding capabilities and dense transcoding Robust channel processing capabilities for
branding, ad insertion, and audio management including loudness control In today’s media environments, video compression resources may be running on physical hardware appliances, virtual servers, or in the cloud. At Thomson Video Networks, we propose a hybrid strategy that offers the best of all worlds. This approach combines video-optimised hardware solutions with software-based encoding that runs on lowercost and generic physical servers, virtualised servers, a cloud infrastructure, or some combination of the four. As a result, network operators benefit from the advantages of virtualisation and cloud computing without having to compromise on quality of service, SLAs, video quality, and any of their other critical
Supporting TV Everywhere and OTT
SAM? Max…: The new compact monitors and subwoofer join Genelec's SAM family
Imagine Communications By Carolyn Giardina
Compact and clever acoustic monitoring Genelec By Michael Burns A new collection of Smart Active Monitoring (SAM) products, designed to adapt automatically and accurately to acoustic environments, has been launched at IBC. Genelec has introduced two new compact two-way monitors, the 8320 and 8330, and a new subwoofer, the 7350. The company also unveiled a new version of its Genelec Loudspeaker 100 theibcdaily
operational standards. Plus, they’re able to choose the mix of cloud or on-premise technologies that are most appropriate for a given project or service. A video infrastructure that meets these requirements provides everything broadcasters need for profitable and convergent multiplatform video delivery, while maintaining the core linear operation. At IBC2014, Thomson Video Networks is presenting Behind Every Screen – an approach specifically designed for smooth integration of both multi-screen and broadcast services with optimised operational costs. 14.A10
Manager software (GLM), complemented with a new measurement microphone and network adapter unit. The 8320 and 8330 monitors feature Genelec’s Minimum Diffraction Enclosure (MDE) made of recycled die-cast aluminium as well as the advanced Directivity Control Waveguide (DCW) technology. The 8320 and 8330 monitors and the 7350 subwoofer offer floating point DSP engines for signal processing and Genelec-designed Class D amplifiers. Genelec claimed its SAM
technology was an indispensable tool when dealing with challenging small room acoustics. SAM automatically optimises and aligns each monitor for relative levels and time of flight, as well as individual room response compensations. If monitors or production projects move between rooms, SAM technology is intended to achieve high monitoring consistency by always providing a neutral sound stage imaging with low distortion. 8.D61
TV Everywhere and OTT services require the creation and management of many parallel outputs—meaning complex workflows. “As a result, media organisations need a flexible, new approach to both media processing and workflow management to enable them to quickly launch new services, scale with expanding opportunities, and adapt to changing market dynamics. Imagine Communications is showcasing an array of scalable systems designed to address these requirements,” said CTO, Steve Reynolds. That includes Imagine’s SelenioFlex software-based media processing system, which is designed to provide flexible, high-quality, live and file encoding, transcoding and processing at any point in the content chain, supporting applications from source acquisition to Adaptive Bit Rate delivery and Video on Demand. The SelenioFlex File automated, high-volume, file-to-file media transformation software
and SelenioFlex Live multiscreen encoder are both built on Imagine’s workflow management platform, enabling extensible, customisable, software-defined workflows. For high-density multichannel live and linear TVE and OTT applications, the SelenioNext ABR transcoder offers up to 10 times the processing density and power efficiency of competing systems, claimed Imagine. Using a standard IT platform, SelenioNext could replace a headend of dedicated video processing equipment, while creating a foundation for future transcoding needs, the company said. Also featured is the SelenioEdge content delivery network software, designed to provide scalable, cache-efficient streaming to end-user devices, enabling complete TVE and OTT workflows. 7.G20
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Croatel expands HD OB fleet Streaming live on the go TVC
Wowza Media Systems
By David Fox
By Adrian Pennington
Croatian OB and facilities company, Croatel has taken delivery of a new 20-camera HD OB van from CTV that on display in the Outside Exhibit area. Croatel’s HD OB 3 is designed primarily for football coverage, including UEFA Champions League and Europa Football League matches, as well as Croatian Football League games. Built by TVC, the OB van uses a Volvo FH 420 HP 6X2 chassis and can be used with up to 20 cameras, including at least 16 Grass Valley LDK8000 World Elite cameras and two LDK8300 super slow-motion cameras. It also has an XT3 EVS System and a Miranda router with Densite 3 frame units, including all crossconverter boards, multiviewer, references, embedders and de-embedders. The video mixer is a Grass
The ability to stream rushes direct from cameras to all manner of online devices is a notable development, providing powerful live video experiences while on the go. In that vein, camera vendor JVC is announcing at IBC2014 that it has teamed with Wowza in support of the latter's Works With Wowza partner programme to instantly stream video from live events, including breaking news and sports. With streaming capability built into JVC professional camcorders, users can now stream over both LTE and WiFi networks “Wowza is an industry leader in streaming technology and we are pleased to announce integration between JVC cameras with streaming capabilities and Wowza Streaming Engine server software,” said Edgar Shane,
On the move: The audio area and main production area inside Croatel’s HD OB 3
Valley Karrera 3M/E Video Production Centre with KFrame, with Sony BVM/PVM series monitors. There is a Studer Vista 5 M3 digital audio mixing system including meter bridge and Vista Compact Remote, as well as Riedel Artist – digital matrix intercom system. The coach includes motorised drums for triax or fibre cables, separate isolated room for audio, production area, slow motion and engineering areas. The oneside expandable coach is 11.9m long, 4m high, and has
an expanded width of 3.8 m. It also has hydraulic jacks, redundant air conditioning systems, two double power feeds, and an uninterruptible power supply for 20 minutes operation. “TVC have done a great job in a very short period of time but in superior quality. TVC engineers offered and implemented original mechanical solutions which had a positive effect on the OB operation,” said Croatel managing director, Tonko Barac. OE109
GM Engineering at JVC. “Through this partnership content, creators can bring live video to end users anywhere, on any device. This opens up new opportunities for content development, as broadcasters are able to deliver realtime video directly to their viewers.” According to Wowza, customers of the service will experience “tighter integration” from camera to streaming server, so that those who want to transmit content directly from the camera can connect to Wowza Streaming Engine server software. Broadcasters and content creators can transmit highquality HD video from anywhere to broadcast live on the air or online. David Stubenvoll, CEO of Wowza says: “The demand for live video streaming is growing, and end users expect to see high-quality, real-time video, and this partnership helps deliver on those expectations.” 3.B17
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Network monitor safeguards signal transport
Tachyon drive: Cinnafilm's Tachyon adds motion compensation to the (AT)3 software suite.
GatesAir By Michael Burns
Tachyon in frame for adaptive temporal transform toolbox Dalet By Michael Burns A combined suite of advanced software technologies for highperformance temporal conversion has been launched at IBC2014. The GPU-accelerated motioncompensated frame rate conversion tool, Tachyon from Cinnafilm, is being implemented in Dalet's AmberFin Advanced Adaptive Temporal Transform Toolbox (AT)3. The company says the combination of frame rate conversion, scaling and deinterlacing functionality creates an automated, reliable industrial transcoding platform for domestic, international and internet delivery. Launched earlier this year, (AT)3 already features AmberFin Advanced Cadence Correction (ACC), a fast, CPU-based technology for correcting mixed or broken cadence material. “Transcodes are central to all file-based processes in the creation of domestic, web and
international versions,” said Dalet AmberFin product manager Matthieu Fasani. “Different temporal transforms are required for each version type. For example, filmic material that has been mastered at 30i requires ACC technology to transform it for optimum domestic and web delivery. Whereas international versioning, for example taking European content at 25i and converting it to 29i for US broadcast, requires high-quality motioncompensated conversion. (AT)3 provides the set of tools that allows media facilities to choose the tool that is best suited for a particular piece of media and conversion.” As well as delivering fast, high-quality, motioncompensated frame rate conversion, Dalet said the combination of technologies also yields a four-times reduction in the amount of hardware broadcasters need to purchase, install and maintain, and includes a fully featured transcoding and format conversion toolset. 8.B77
Intraplex LiveLook, software to improve analysis and troubleshooting for IP transport, has launched. A realtime interactive monitoring solution that works in conjunction with Intraplex IP Link codecs, LiveLook optimises performance for missioncritical audio contribution and distribution networks. GatesAir explained that LiveLook would provide time-based graphical analysis of network statistics, including burst packets and other performance-related measurements that adversely affect IP signal transport. Built-in data mining algorithms automate packet analysis and report generation, recommending
optimal techniques for error reduction. The company claimed this streamlines the setup, configuration and optimisation of IP networks to reduce complexity and improve overall network performance. The system also provides analysis of both live and logged data. GatesAir said the graphical nature of LiveLook, in conjunction with log clock association, gives users better insight into performance trends over periods of time. Additionally, the continuous logging of IP packets can lead broadcasters to pinpoint and analyse statistics from a specific time window to review and troubleshoot known performance issues. “Many broadcasters have already transitioned to IP signal transport, as its reliability is well-established, but to date have lacked tools that provide true visibility
into network performance,” said GatesAir chief product officer Rich Redmond. “It’s just as critical to understand how well live streams and recovery techniques are performing, especially in large contribution and distribution networks.” The company is positioning LiveLook as a complement to reliability techniques already built into IP Link codecs, including dynamic stream splicing, an application that provides hitless recovery of dropped packets via seamless convergence of main and backup streams. GatesAir said this and other integrated redundancy measures ensure IP Link codecs match the performance reliability of traditional T1/E1 circuits, while significantly lowering total cost of ownership. 8.B10
PowerClips and CAMIO4 featured ChyronHego By Carolyn Giardina PowerClips, ChyronHego’s latest production clip server for broadcast environments, is featured at IBC. Available in a 1RU, 2-channel standard model or a 2RU, 4channel fully optioned system, PowerClips is recommended for playback of segments such as news bumpers, station promos and coming ups. PowerClips features a tab-view user interface that allows the operator to layout all command and control panels according to their operational requirements. Key features include the ability to
play multiple layers on a single channel, external automation control via VDCP protocol, and playback of a variety of clip formats supported by Apple Final Cut Pro, Adobe Creative Suite and Avid Media Composer. Built-in MOS integration makes PowerClips an integral part of ChyronHego’s BlueNet graphics workflow system for news, sports and entertainment. Among the additional featured technologies on the stand is the CAMIO4, version 4.0 of the company’s graphics asset management server. It integrates a MOS gateway, asset management, distribution, and playout control. Its created to
provide journalists with an easyto-use interface with newsroom computer systems that allows users to select, populate and preview graphics templates, and to publish them to a graphics device for playback. Features include Unicode support for multiple languages within the UI and metadata, and .web services based framework for faster processing Clip art: and expandability. PowerClips is 7.D11
available as a 1RU or 2RU system.
Q&A Steve Oetegenn, president, Verimatrix Has IBC come at a good time for the electronic media industry? Why? Yes, as IBC commences, it is evident that the video services industry is experiencing a steady technological shift towards networks and other infrastructure components that will be fundamentally based on IP technologies. This shift opens up a realm of 102 theibcdaily
possibilities for pay-TV operators – including those presented by the introduction of UHD services – which Verimatrix is excited to explore at IBC. What do you think are the key developments in, or threats to, your market sector at the current time? The introduction of 4K
services, combined with more pervasive IP and hybrid network services, will push operators to re-think their revenue security strategy. With the rise of the softwareempowered video operator, a single content authority plays a vital role in the transition towards hybrid networks and multi-screen services by supporting multi-layered protection and transparent
usage rights. Why should delegates visit your stand at IBC? At IBC, Verimatrix is highlighting the benefits of taking a comprehensive multinetwork security approach to open up a new range of business opportunities, including those presented by 4K services. In particular, we will demonstrate how our new
VCAS Ultra offers operators a comprehensive multi-network security approach today – with the flexibility and scalability to meet their future goals for growth. 4.A55
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Expansion through multilingual multiscreen
Duplex wireless intercom system Pro-X By David Fox XW-IS-Station is a new full duplex wireless intercom system from Pro-X that is designed for live show applications, and features advanced digital wireless and audio codec technology to allow the crew and gallery to communicate freely.
It uses an integrated wireless headset and microphone that doesn’t require a separate belt pack, and can transmit over distances of up to 250m. It supports realtime Tally transmission, and uses frequency and channel-hopping technology so that it can automatically find clear spectrum. It supports up to four channels and has four-wire and party line intercom connections on the rear
Visual Unity By Monica Heck The new Pro-X XW-ISStation and its four wireless, belt-pack free headsets
panel for communication with other wired intercom system 11.E42
WWE expands Baton installation Interra Systems By Carolyn Giardina IBC attendees can catch demonstrations of file-based QC software Baton at Interra Systems’ stand. Customers include World Wrestling Entertainment, which recently expanded its Baton installation. “Baton helped us by expanding our analysis capability,” said Jonathan E. Solomon, senior engineering project manager at WWE. “To achieve this we accelerated a hardware replacement
schedule, installing additional cores on our Cisco UCS B200M3 blades. We saw an overall throughput increase of nearly five times. Baton’s reliability was paramount to processing time for the files. Most files had two transcode outputs, resulting in three outputs per file.” WWE delivers original content that is broadcast in more than 150 countries and 30 languages and reaches more than 650 million homes worldwide. “We have been using Baton for nearly five years and continue to increase the number of files we analyse,”
Solomon said. “Baton supports our internal production workflows as well as our filebased syndication distribution platform. We are increasingly leveraging the API to integrate Baton in the workflow management software.” He related that once WWE content is edited, “the content is QC’ed and then transcoded and stored, where Baton picks up the different flavours of content and performs extensive QC. All of the operations are managed and controlled by central control room for digital media operations.” 7.B13
The latest versions of Visual Unity’s vuMedia multiscreen platform and vuEasy online video platform are making their debut at IBC this year. A range of new languages is being introduced to vuEasy's administrator user interface, including Chinese, Arabic, Spanish and Russian. The company expects this upgrade to broaden vuEasy's international appeal and reinforce Visual Unity's plans to expand sales into new territories. Visual Unity recently secured an investment of €5.2m from 3TS Capital Partners. Also on show is a new white-label version of vuEasy that allows partners to sell the product under their own brand, alongside new multi-level account administration functionality, which allows customers to collaborate on OTT projects and to share or limit access to resources. Introduced in 2011, Visual Unity’s flagship vuMedia end-
vuEasy’s new multi-level account administration supports different re-seller and seller models
to-end OTT platform has been upgraded to feature an improved modular architecture and enhanced API integration for faster OTT integration into existing infrastructures. It also supports live timeshifting and includes a Timeline Thumbnail Preview (vuMedia TTP) which makes it faster for consumers to navigate within streamed content. vuMedia is now fully integrated with the vuEasy cloud-based service. The company is also showing a new, native application for iOS devices that enables delivery of VoDs that are DRM protected. This upgrade supports Widevine DRM in iOS applications. 14.F34
Opinion
The move to remote live production Live production is increasingly important as it plays a key role in a broadcaster’s fight against OTT competition says Tracey J W Ford, chief sales and marketing officer, Norwia The emergence of higher quality standards such as 4K means live production systems are required to do more than ever before. Production, TV and broadcast companies are looking for the best ways to efficiently supply heavy content loads to viewers without degradation in quality and with solutions that are futureproofed and provide operational efficiency while reducing operational costs. Live production is increasingly important as it plays a key role in a broadcaster’s fight against the OTT competition. With the right production tools, broadcast companies can increase their brand value and customer base and monetise their service better,
and greater efficiency and flexibility is especially helpful in a time when many broadcasters are facing pressure on production budgets. One solution for broadcasters is to move to remote live production, which saves costs through utilising existing in-house production equipment and staff. This enables the broadcaster to remove the necessity for location equipment for live event production and meet the complex challenges of signal distribution through the requirement of new standards like 4K. To be able to move efficiently to remote production, broadcasters need solutions
that can contribute video, audio and control signals from the OB site to studio, cutting down production costs and ensuring a greater return on investment in studio equipment. Norwia miniHUB addresses these needs, enabling broadcasters to take advantage of their optical distribution platform to ensure that video and audio quality remains pristine while there is no adverse effect on the control of cameras and lighting, regardless of the distance between the studio and production location. It also allows clear communication channels to be maintained so that the programme can be made just as well as when the production
staff is kilometres rather than metres from the cameramen and the live action. miniHUB provides a seamless workflow for remote productions that is indistinguishable from an onsite production suite. Our unique AutoSFP technology enables the miniHUB platform to solve all the issues surrounding live broadcast and the emergence of higher standards and achieves all the functionality of a multi-card system in a single card, helping reduce both cost and the complexity of optical signal distribution. It is configurable as a multiple fibre solution or a multiplexed backbone structure that provides redundancy in both main and back-up fibre paths,
ensuring content can be contributed in either direction while maintaining signal integrity. Visitors to our stand at IBC (Hall 9, Stand C19) can see the miniHUB live production platform in action. The Norwia stand will have two identical miniHUBs demonstrating the power of its AutoSFP functionality and a three-node ring structure set up utilising the miniHUB. Visitors will be able to see the redundancy of the system, as Norwia break the fibre ring to simulate the redundancy and remove power from a site to see how the signal passes uninterrupted through the location. 9.C19
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Industry veteran Scott joins Irdeto Richard Scott has left Imagine Communications to join Irdeto and lead the company’s global sales and marketing team, along with responsibility for strategic planning for key accounts, new business acquisition and developing new growth opportunities. “Richard Scott is a high-calibre executive with over
25 years in media technology, and we welcome him to the team during an exciting time in our company,” said Graham Kill, CEO Irdeto. “Richard is both flexible and agile in diverse business situations, which is absolutely essential for a global company in a complex and fastchanging industry. With our rich,
over 40-year heritage in media protection, we have embarked on a journey to providing a compelling new suite of solutions and services for the media industry. Richard is joining that journey and helping shape the go-to-market strategy to get us there.” 1.D51
Lightweight ENG zoom extended Canon By David Fox The HJ18ex7.6B IRSE /IASE is a new and comprehensively enhanced ENG lens, for 2/3inch cameras, that Canon is positioning as its successor to the popular HJ17ex7.6B IRSE A/IASE A. “This lens has been comprehensively upgraded in virtually every area, delivering enhanced performance, specifications and usability, with a reduction in weight [of 20 grams to 1.58kg] also
ensuring mobility,” said Canon. The lens is claimed to offer “superior optical performance”, delivering an increase in magnification to 18x and a longer focal length of 7.6-137mm
(plus built-in 2x extender) and a maximum aperture of f/1.8. Minimum object distance is just 56cm (10mm with Macro). A new fast start-up digital drive unit provides enhanced usability, system support and operability, and also supports multiple types of image compensation - including lens and chromatic aberration. For virtual studio integration, it comes with 16-bit encoder output. 11.E50
Zoom with a view: Canon’s new HJ18ex7.6B is faster, lighter and longer than its predecessor
Pirate Dismay: Sports events are particularly subject to illegal streaming
Keeping an Eye on Piracy Viaccess-Orca By Ian McMurray To support its cable TV service, Belgian mobile operator Mobistar recently selected Viaccess-Orca’s Prime Sentinel smart card-based conditional access system. On its IBC stand, Viaccess-Orca will be demonstrating how Mobistar is using Prime Sentinel to securely deliver premium live television content to subscribers’ STBs. Viaccess-Orca will also announce the availability of the new version of Prime Sentinel CAS, providing what the company claims is stateof-the-art security for a wide range of TV service models. The company will also announce partnership agreements with several STB manufacturers for its Dynamic
Sentinel cardless conditional access system (CAS). Collaborating with leading technology providers, Viaccess-Orca says that it offers customers a best-inclass cardless security platform. Viaccess-Orca is also introducing a unified head-end for Dynamic Sentinel and Prime Sentinel, enabling content service providers to utilise both solutions for their subscriber base or migrate between them, if needed. During a recent Eye on Piracy campaign around football coverage in Brazil, it was estimated that between 100,000 and 500,000 people tuned in to each game illegally. Viaccess-Orca sent approximately 3,000 takedown notices to content platforms illegally streaming content in the first two weeks of the games. 1.A51
Opinion
From scene to 4K screen 4K and wireless do not inherently go together so what can be done? asks Ashley Dove, general manager, Vislink The road to 4K is fraught with challenges. Issues around video transmission are acting as speed bumps, threatening to hurt revenues, and the industry is hurtling towards them at breakneck speed. The only way to keep the broadcast vehicle racing along without slowing down and losing money is by introducing new technology, compressing the large video streams created by 4K to meet restrictive spectrum allocations. This is a significant challenge in itself and won’t happen overnight, but it’s made even more difficult when you add wireless transmission to the equation. The ability to transmit video from anywhere, whether that’s a 200 mph race car or motorcycle, or up close and
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personal at major news events, is essential in today’s hyperconnected world. As broadcasters want to capture footage across a wide range of environments, it’s no surprise the industry relies heavily on wireless equipment. That’s never going to change. The problem, however, is 4K and wireless do not inherently go together. The reason behind this is the limited availability of spectrum. The ‘spectrum crunch’ has long been an issue for broadcasters, and the shift to 4K has only made the problem worse; the quality offered by 4K is roughly four times that of HD, meaning something has to give before broadcasters can transmit these video feeds over wireless links without degrading the
image. Therefore, the introduction of more efficient compression techniques has never been more important, especially as broadcasters are increasingly demanding small, low-weight and low-power equipment for capturing video. H.265 has been labelled as the next generation of video encoding, capable of reducing bitrate requirements by half compared to a H.264 stream while still delivering comparable image quality. By combining H.265 encoding with the latest modular wireless equipment, broadcasters will once again be in a position to deliver cutting edge high-quality footage from anywhere. And Vislink has a vital role to play in helping broadcasters achieve this goal. By spearheading the
adoption of H.265 encoding standards and introducing a range of new equipment designed to support greater bandwidth efficiency at lower data rates, Vislink is reshaping what’s possible with wireless technology. Through partnerships with other leading equipment manufacturers, Vislink can now offer a greater variety of modems to pair with its highly successful antennas and transmitters, giving customers even more flexibility. By using Vislink’s efficient and high-capacity hardware, broadcasters can transmit better and higher quality video than ever without overwhelming current infrastructure. Vislink is also leading the charge on the shift to modular technology, helping broadcasters to future-
proof their investments in wireless and equip them with a framework to tackle anything the industry throws at them later down the line. Broadcasters are already shooting content in 4K, and there’s potential to do so over wireless. Vislink’s technology holds the key, capable of compressing these high resolution feeds without a dramatic loss of quality, and then transmitting them from camera to receiver — or as we like to call it, from scene to screen. 1.A69
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Arrow-X SDI and Tomahawk SDI debut Paralinx By Heather McLean
that had two critical qualities: significantly-increased range and HD-SDI compatibility. “What we came up with was the next evolutionary step in the
wireless video market: the ultralong-range Tomahawk and the long-range Arrow-X. Now we are excited at the opportunity to unveil the HD-SDI Arrow-X and
with Tomahawk systems at IBC this year,” said Paralinx cofounder, Greg Smokler. “We’ve already set an aggressive price for Tomahawk and now with Arrow-X systems starting at $3995, nearly anyone who wants long-range, zero-delay HD wireless now has access.”
Having launched the ultralong-range Tomahawk system at IBC2013, Paralinx now has two products with the capability for use on an unmanned aerial vehicle, Steadicam rig, brushless gimbal, car-to-car set up or even a broadcast pedestal camera. 9.D18
Los Angeles-based Paralinx has announced the European debut of the Arrow-X SDI and Tomahawk SDI. Paralinx stated the predecessors to the new products, the Arrow and Arrow Plus, received positive responses, yet professional and broadcast customers were looking for an additional product
Familiar products – less familiar company Spacepath Communications By Ian McMurray The Stellar family of high-power outdoor amplifiers may be familiar to IBC visitors – but the new company behind them is perhaps less so, as the show marks its first major public appearance since being formed earlier in the year. The company in question is Spacepath Communications. “As the only dedicated supplier of satcom HPAs in Europe, we combine the proven performance of the Stellar range of amplifiers with first-class customer support from satellite professionals with over 60 years of industry experience,” said Newton Burnet, the company’s CEO. “Applications for these high-power outdoor amplifiers cover all mission-critical segments including satellite newsgathering, flyaway or truckbased systems, fixed-earth stations and military satellite communications.” The Stellar family of satellite uplink high power amplifiers is claimed to be robust, highly efficient, and lightweight. The StellarCool and StellarMini range of travelling wave tube amplifiers covers all of the primary satellite frequency bands including: C-, X-, Ku-, and DBS-band. On display is the StellarMini amplifier range, offering what Spacepath says are the most efficient 180W Ku Band products on the market today. Also on show are the StellarCool range of 400W and 750W C, Ku and DBS outdoor amplifiers. These products use high efficiency TWTs, says Spacepath, with proven power supply designs, providing compact, efficient uplink amplifiers. 4.A61i
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Versatile multi-mode meter
Protecting Ka-Band ESA performance Walton De-Ice
RTW Prime mover: The ultra-compact TM3-Primus enables extensive loudness and audio metering
By Michael Burns The TM3-Primus meter, with USB connections and a 4.3inch touchscreen interface, is now shipping worldwide. RTW has released the compact fully-loaded meter in time for the implementation of the DPP’s new broadcast delivery standards in October. The latest entry to RTW's smart product category, it connects over USB to offer desktop audio metering for workstations and servers, as well as offering unbalanced RCA type twochannel analogue and digital audio (SPDIF) connections. An advanced USB hybrid mode allows a metering point in a DAW to be visualised on the new TouchMonitor’s screen, while another mode enables metering to be performed on the DAW so a user can visualise the information instantly. Supported loudness standards include ITU BS.17703/1771-1, ATSC A/85, EBU
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R128, ARIB, OP-59, AGICOM and CALM. The TM3-Primus includes level and loudness display with bar graph-type or numerical readout plus MagicLRA type. Other instruments included with the meter are PPM, moving coil, correlator, RTA, vectorscope, numerical and chart. The company said the TM3Primus, available at an entry-
level price point, was perfectly suited for individuals working in smaller production environments such as OB vans. In addition, RWT said it represented a new quality solution for noncommercial use in small radio environments or podcasting. RTW also has its premium range of TouchMonitor audio meters on display in Hall 8. 8.D92
By Ian McMurray With the summer that much of Europe has just had, the difficulties caused by bad weather seem like a distant memory. Exhibitor Walton DeIce, however, is looking to ensure that IBC visitors are prepared for when, inevitably, it gets cold again. The company is showcasing its latest Ka-Band satellite ESA weather protection solutions: Ice Quake, Rain Quake, and Snow Shield. “New Ka-Band satellite networks in Europe and elsewhere offer huge capacity for 4K and future media services, but the potential signal degradation due to rain, snow, and ice pose new challenges at Ka-Band,” said Walton De-Ice’s David Walton. “Antenna de-icing and weather protection systems from Walton De-Ice can reduce signal loss through Ka-Band dishes, and improve the reliability and quality of content delivery services.”
Snow Shield consists of architectural fabric virtually invisible to RF. Snow Shield covers can be passive or actively heated using electric or gas heaters. Ice Quake enhances the performance of Snow Shield by vibrating the fabric cover, preventing snow and ice accumulation. “Ice Quake enables huge, up to 100x energy savings, versus competing anti-ice systems,” continued Walton. “Only Walton De-Ice, with our patented solution, offers the ability to add vibration to a satellite dish cover to prevent ice and snow buildup.” By eliminating the need for high power conduit, trenching, and electrical switch gears, it is also said to save costs compared to electrically heated anti-ice systems. For rainy climates, the Rain Quake prevents water from sheeting on an antenna surface, which causes Ka or Ku-band rain fade. The Rain Quake helps minimise bit error rates and antenna noise temperature increases, improving signal quality during rainstorms. 1.A62
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Video Europe expands with OBs WTS Broadcast Systems By David Fox Video Europe’s newest OB vehicle, a 16-camera, double expander was built by WTS Broadcast Systems, which is showing a similar truck, just completed for Supersport, Nigeria, in the Outside Exhibit area. The Mercedes Benz Axor truck for Video Europe has Sony HDC-2500 cameras, EVS XT3 slow-motion systems, Sony MVS-7000X vision mixer and OLED monitors, a 3G Miranda NVISION 8500 Series hybrid router, Miranda 3G digital glue, Calrec Omega digital audio console, Kaleido modular multiviewer, and Tektronix waveform vectorscopes. WTS delivered an 18-tonne support vehicle at the same time. “The new truck has enabled us to meet our clients’ needs
The new Video Europe OB truck with 18-tonne support vehicle in the background
and to win the jobs – before we didn’t have a big enough vehicle for these kinds of production,” said Steve Green, managing director, Video Europe. WTS is also building it a midsize OB truck and recently completed a flypack, Video Europe’s second. The 11-rack flypack supports 24 camera channels, two EVS, Grass Valley Karrera vision mixer, monitors by JVC, Marshall and NEC, Miranda multiviewer, distribution and NV-8000 series router, Trilogy timing, Harris measurement, Yamaha M7CL
audio mixer, Sennheiser radio microphones and in-ear monitoring, and Telex’s Adam M communications with Omneo IP. The other new HD OB unit will have 10 system cameras and four robotic/wireless cameras, two EVS and six VTs, Sony monitoring, Sony MVS-3000 vision mixer, Evertz timing, Miranda multiviewer and distribution, Snell video routing, Telex communications, and Tektronix measurement equipment. It is due for delivery in December. The Supersport truck is a little less complicated than the big Video Europe OB. It doesn't have the hybrid router, but has a similar capability and is rigged for 14 system cameras and four robotic cameras. WTS has now built more than 50 outside broadcast vehicles, as well as 50 post production suites, 33 studios and 11 MCR/TX facilities delivered over the last five years. OE114
New timecode and metadata hub Timecode Systems By Heather McLean The next generation of timecode technology is, according to Timecode Systems, the :pulse, a compact, multi-functional timecode and metadata hub. The :pulse has been unveiled for the first time at IBC2014. Within :pulse’s compact and robust aluminium case lies timecode and metadata technology offering a single box solution to streamlining production workflows. Users can operate :pulse to generate Timecode Buddy’s signature brand of accurate timecode and gunlock, said the company. It also provides the ability to sync with zero drift via a longrange robust RF transceiver, as well as use integrated Wi-Fi to share all of this information on the Timecode Buddy app, MovieSlate app and Adobe LiveLogger app. The :pulse has a built in Ethernet and Wi-Fi bridge plus a two-port Ethernet switch, so users can attach two networkenabled cameras to one unit (particularly relevant for 3D rigs). It has also been designed to support the latest camera protocols including LANC, USB and a serial
communications port. “The :pulse has initially been designed to be the perfect partner for an Arri Alexa,” said Paul Scurrell, managing director of Timecode Systems. “Used in conjunction with the MovieSlate iOS app with the
Arri Alexa plug-in, our newest Buddy gives users full wireless camera control and status monitoring, access to full metadata and lens motor control conveniently from an iPad.” 9.B14b.
Raster house: Rasterisers and waveform monitors rock Tektronix’s stand at IBC2014
Waveform monitors meet key 4K needs Tektronix By Heather McLean Tektronix is showcasing its WFM8200 and WFM8300 waveform monitors and WVR8200 and WVR8300 rasterizers. Tektronix recently announced they can now be easily upgraded via software to support 4K and UHDTV1, eliminating the need for customers to purchase costly hardware replacements in order to shoot, prepare and deliver 4K/UHDTV1 programming. The WFM8200 and WFM8300 waveform monitors and WVR8200 and WVR8300 rasterizers can perform a broad range of 4K measurements including four tile displays of waveform,
picture, vector, gamut and eye diagram for YPbPr formats. These comprehensive measurement capabilities enable users to reduce the time to isolate, diagnose and remedy system issues and design faults. The software upgradeable platform at the heart of each model uses a high performance architecture designed from the outset to support the throughput requirements of 4K content. Their combination of capabilities, features, performance and upgradeability make them ideal for meeting the 4K requirements of equipment manufacturers, postproduction houses, broadcasters and other video service providers. 10.D41
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Meeting an explosion of demand Compact 4K camera head Belden By Ian McMurray Showing its full range of broadcast solutions at IBC 2014 is Belden. According to the company, a key example of its approach is the recently completed 45,000 square-metre Hazza Bin Zayed Stadium located in Al Ain in the Emirate of Abu Dhabi, which has used Belden copper and fibre cables to achieve the highest signal integrity and the latest camera compatibility. The Belden cabling infrastructure
supports 85 screens, including an enormous 40 square meter stadium screen, a sophisticated audio system, dedicated media centre, press conference room, outside broadcast units and more than 30 camera locations for television broadcasting. Belden says that its broadcast solutions are developed to meet the professional broadcast industry‘s increased demand for high-definition products, and claims that its broadcast cables are the first choice of content providers who require flawless rich media content like HD or 3G video for their production and live streams.
The company goes on to note that the explosion of digital television, on-demand content and mobile devices has the broadcast industry investing in its infrastructure to meet increasing demand. Belden says that it is able to support this demand, helping broadcasters deliver solutions along with its Miranda Technologies and PPC brands. Belden provides production, distribution, networking infrastructure and connectivity systems for the television broadcast, cable, satellite and IPTV market sectors. 1.D11
IP infrastructure aims to enhance video switching Evertz By Michael Burns SDVN (Software Defined Video Networking) is being showcased at IBC, a new IP architecture to support uncompressed SD/HD, UltraHD 4K and 8K video. Developed around a 10Gb Ethernet core and offering a flexible format-agnostic
infrastructure, SDVN represents an intelligent utilisation of extreme bandwidth switching, claimed the company. According to Evertz, the solution allows media organisations to harness the full potential of a 10GE /100GE IP-Ethernet network. Evertz' range of SDVN products includes two new 10GE switch fabrics, new 570IPG IP media gateway
modules, the 3000REM top of rack video interface module, the VIP10G multi-image display processor and the DreamCatcher system, which offers 10GE enabled instant replay. SDVN is powered by MAGNUM, the control system by Evertz, which enables operators to use familiar work surfaces while taking advantage of video over IP. 8.B40
IO Industries By David Fox IO Industries’ new Flare 4KSDI compact 4K camera head has a Super 35 global shutter sensor and quadlink 3G/HD-SDI outputs. It can shoot up to 60p in both 4K (4096x2160) and UHD (3840x2160) with either 10bit 4:2:2 or RAW output, or up to 30p with 4:4:4 RGB output. It also has an interchangeable lens mount system, taking PL-mount, Canon EF-mount and Nikon F-mount options, and all camera settings can be adjusted remotely with the same handheld remote control as IO’s existing 2KSDI camera or it can be used with thirdparty control panels. Multiple cameras can be synchronised together with a trilevel-sync reference, for live events or multicamera systems. However, there’s no recording inside the camera, which requires a separate
4K field recorder such an AJA Ki Pro Quad or Convergent Design Odyssey 7Q, but that means it is smaller (only 92x92x75mm) and weighs 600g without a lens, so that it can be used for tight PoV angles in race cars, inside small gimbals for helicopters (or drones) or in underwater housings. It also simplifies jib work, as it can be used with much lighter units, such as the Polecam. 11.D67 A Flare for 4K: The new 4KSDI camera can shoot 4K or Ultra HD
Opinion
Adapt and evolve to remain relevant IBC2014 will demonstrate our slingshot advance from baseband to file and stream-based innovation says Wohler Technologies CEO Carl Dempsey Times continue to change for traditional broadcasters, including the customer base long served by Wohler, and chief among these changes is the fact that there are new and increasingly diverse ways to deliver content to a wider range of audiences. While diverse outlets and platforms for content delivery yield valuable new opportunities for broadcasters to monetise content in new ways, the rise of multiplatform distribution also makes it imperative that broadcasters have the means to differentiate their services through better quality and faster time-to-delivery. In light of these business drivers, Wohler recognises the need to adapt both our approach to product development and our evolving engagement with customers.
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To remain relevant and competitive, we have refocused our efforts to produce groundbreaking products not only for the baseband market that traditionally has been our wheelhouse, but also for products that operate in the stream and file domains. While these products must remain robust and be of outstanding quality, our customers also demand that they offer versatility, adaptability, and scalability — the very same requirements to which our customers’ businesses must adapt. Wohler products are becoming mission critical systems, rather than peripheral devices, and we have responded to this welcome shift by introducing greater agility across engineering, account management, and
support — the business areas that help to assure customers can take full advantage of our products and solutions in reaching their technical and business objectives. While in the past we have confined our teams and technology to 'silos' dedicated to specific solution areas or operational environments, we now have consolidated our unique product portfolio so that it may be better leveraged across a greater breadth of solutions. In this way, we can offer our customers products and platforms boasting even greater adaptability and scalability — and, consequently, better support as they address the changing demands of the broadcast business. Through all of these efforts, Wohler is progressively entering
new markets and attracting new customers with diverse applications. 'Yesterday’s Wohler’ simply would not have been mentioned in the same breath as the terms 'new markets' and 'diverse applications, but the products we’ll show at IBC2014 will demonstrate Wohler’s slingshot advance into provision of forward-looking monitoring and media processing solutions. IBC2014 is sure to feature an enormous array of solutions targeting the requirements of multiformat media delivery, and we are confident that solutions on the Wohler booth will impress. We look forward to highlighting the refined capabilities of our MPEG Series monitors, as well as the improved feature set, speed, and extensibility of our awardwinning iON multi-platform
remote monitoring system. The flagship AMP2-E16V audio/video monitor, now available with an AVB option, is just one example of how we’ve combined our popular proven technologies with leading-edge capabilities to support our customers’ progress toward more flexible and efficient workflows. Likewise, the RadiantGrid-based WohlerGateway packaging and delivery solution and Cinnafilm Tachyon Wormhole automated file-based retiming solution demonstrate our commitment to providing smart, practical solutions for the pressing demands of an evolving media marketplace. 10.B10
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UK partnership focuses on FileCatalyst transfer ATG Danmon By Michael Burns Unlimi-Tech Software, creator of the FileCatalyst accelerated file transfer solution, has announced the appointment of the company as its UK-based channel distribution partner. “ATG Danmon is one of the world's most highly experienced and innovative broadcast system integrators” said Unlimi-Tech VP of business development, Alan Atkinson. “We’re thrilled to partner with them to bring innovative, file transfer solutions to their clients. ATG Danmon will offer our range of accelerated file-transfer solutions to media and broadcast clients looking to increase transfer speeds without compromising reliability or security. FileCatalyst, which is immune to packet loss and latency, is designed to transfer large files over vast distances.” Secure accelerated file movement has revolutionised
Tools for content production Vizrt By Carolyn Giardina Highlights of the Vizrt stand include Viz Artist, a realtime 3D modeling and animation tool with Maxon Cinema4D and Adobe After Effects CC integration; Viz One, a filebased video workflow with the
the way media content is shared and collaborated upon. With the transition to digital content several years ago, movement of large files became a major issue for broadcasters and studios. The subsequent evolutionary shift to HD, and now to 4K/UHD, has caused file sizes to grow far beyond the capabilities of traditional FTP. FileCatalyst has been selected to receive the 66th annual technology and engineering Emmy award for secure accelerated file movement over IP including the internet. “Our customers have been looking for solutions capable of delivering large media files quickly and efficiently,” said ATG Danmon Product Sales Manager Chris Elson “FileCatalyst ensures the transfer of any file, of any size or format, at speeds up to 10Gbps. It gives video production companies, postproduction facilities and broadcasters the ability to collaborate globally.” 8.B51a
Viz Content Pilot timeline editor tool; and the new Viz Mosart, a newscast automation system. Also on display are the Viz Social TV tool with maps and interactive touchscreen capabilities: Viz Libero, a 3D virtual sports tool with Viz Arena image-based tracking for displaying live playerattached graphics in real time; and Viz Pilot, a templatedriven graphics and video management tool with multichannel playout. Visitors are also able to examine Viz Virtual Studio with augmented reality and social TV graphics features. 7.A10
New initiative makes Open IBC debut DTVKit By Ian McMurray IBC2014 is the first tradeshow ever attended by the newly-formed DTVKit Open Software Foundation (DTVKit), an independent, not-for-profit organisation dedicated to developing and maintaining a shared pool of the software components that are the essential building blocks of CE products based on DVB standards. DTVKit says it will provide a ready to use mature and stable software solution to its members. This is based on the Ocean Blue Software range of widely deployed software components, including a broadcast stack supporting DVBT/T2/S/S2/C, MHEG, CI+ and HbbTV. This will form the basis of the first full software release. Members of DTVKit will have full access to the source code and will also benefit from a royalty-free commercial licence. “For too long our industry has competed in the development of these fundamental building blocks, duplicating effort and exhausting precious resources,” said Paul Martin, CEO of DTVKit. “I am excited to be leading an initiative which will transform our industry, reducing cost and accelerating time to market for member products. Our community will thrive through active member support, and I look forward to hearing from any organisation which shares our vision and is keen to help define the future for digital television products.” 4.A81c
Amino partnership Vision247 By Monica Heck The result of a partnership between Vision247 and Amino is on show in Hall 14 where visitors can see a joint showcase of Vision247’s Perception platform running on Amino STBs. Perception delivers a complete OTT multiscreen TV service with live TV viewing, catch-up, VoD and a personal video recorder in the cloud.
New entrants to the TV market and TV incumbents wishing to roll out profitable new services can offer multiscreen internet TV packages across smartphones, tablets and Amino’s STBs. The companies have partnered to offer ISPs, telecommunications service providers and content aggregators a fully scalable, cloud-based platform that delivers an intuitive and consistent OTT multiscreen experience. 14.H12
Modular approach delivers scalable sound Salzbrenner Stagetec MediaGroup By Michael Burns Modular audio mixing console Polaris evolution is being showcased, with the focus on a new DSP engine. The individual components of Polaris are connected via a standard Ethernet network and recombined with each other for mixing projects. The components include the control surface Polaris access, which has 16 faders, 16 dual rotary encoders, 48 buttons and a display screen strip across the width of the console. The Polaris view touch screen upgrade can be docked at an angle onto Polaris evolution and provides a convenient user interface. Polaris scala is the DSP engine of the mixing console, able to run up to 256 inputs, 128 matrix channels and 256 output busses. This can be increased to 640 inputs or beyond by cascading further frames. Currently the Polaris scala interfaces with any physical AD/DA convertor via MADI.
The scala is controlled by one or more Polaris access modules over a standard CAT5e Ethernet network. This can be either a single console surface or multiple independent Polaris access surfaces. This enables different shows/productions to be run concurrently using only a single DSP core. The company said each input and output bus can be allocated freely per project to use the DSP capacity to its fullest extent. Polaris scala is equipped as standard with the Live software package. There are also optional theatre and broadcast modules available, offering functionality such as show automation, N-1 and audiofollows-video. The company claimed that, because these modules run on the DSP, theatre/broadcast functionality is no longer limited by the console surface employed, but just by the scala DSP channels available . The thermal design of the Polaris scala makes it completely fanless and noiseless, while the component comes with a redundant power supply. 8.C80
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New TV user interface ABOX42 By Monica Heck Video from sound: The network-connected PIX 270i
New recorders pioneer rebrand Sound Devices By Michael Burns A range of rack-mounted, network-connected video recorders are making their IBC debut, under the new brand of Video Devices. The network-connected PIX 270i and PIX 250i video decks offer tapeless, file-based recording and playback with the ability to control and transfer high-quality files over Ethernet. They are the first to be branded as Video Devices, a new line encompassing all video-related products by Sound Devices. Existing products will be rebranded, including the PIX 220i and PIX 240i recorders, and future video products will also be branded Video Devices. “While production sound
equipment is our foundation, and we continue to develop new audio gear, video production has become increasingly important for us,” said Sound Devices president, Matt Anderson. “We are excited to highlight this new brand to the international broadcast community, in addition to our range of audio gear, at IBC2014.” The PIX 270i and PIX 250i units record Apple ProRes or Avid DNxHD files and allow simultaneous multiple-drive recording. Redundancy and backup capabilities include four drives for PIX 270i and two drives for 250i. Audio capabilities include the PIX 250i’s 16 tracks of audio and 64 channels of both MADI audio and Dante audioover-Ethernet for PIX 270i, which the company claims is a world’s first for a video deck. 8.B59
German set-top box manufacturer ABOX42 has released a new OPX TV user interface for its third generation line of hybrid DVB receivers, which combine DVB reception with full IPTV as well as OTT capabilities. Available for deployment from its IBC launch date, the new OPX TV client is supported on all ABOX42 smart STB platforms. Based on HTML5, it offers operators an easy-to-deploy solution with a user experience which integrates all required third generation functionalities. Key features of the OPX TV Client include unified channel lists for DVB and IP channels, multi-language EPG with extended content as well as forward and backwards EPG for catch-up and restart TV. The client also supports the integration of third party TV apps like VoD portals, as well as HbbTV and red-button services, alongside operator branded and skinned user
Italian broadcaster adopts DVP VideoFlow By Will Strauss Italian religious broadcaster Teleradio Padre Pio has replaced its satellite-based backup links with VideoFlow's Digital Video Protection (DVP)
technology. The newly installed DVP setup allows Teleradio Padre Pio to submit live content via the internet rather than uplink it, a move that is said to have reduced annual connection costs by around a tenth. Nicola Palazzo, the managing director of Italian
system integrator PSE, which maintains and services the uplink and distribution system for Teleradio Padre Pio, said: “We have been working closely with VideoFlow's Italian distributor, Diem Technologies, testing and evaluating how effective and robust the technology is in real world
interfaces. OPX TV is multi language and supports multi character sets. It can be used worldwide also for non-Latin based languages like Arabic, Chinese, Thai, Hebrew, Vietnamese and Russian. The modular design of the user interface is made for being integrated seamlessly into many different head ends like OTT, IPTV and DVB-
conditions where the quality of the network connection can vary. It passed every test.” Teleradio Padre Pio content is generated in the company's studios in San Giovanni Rotondo in Southern Italy and then sent to Telespazio dish farm in Avezzano some 500 km to the West where it is moved on to a satellite for distribution across Europe. The connection between San Giovanni Rotondo and
Mix and match: The OPX TV Client mixes classical DVB channels with IPTV and OTT channels
networks with either local or network PVR and time shift. The client can be integrated into the operator’s backend and middleware infrastructures to support customer subscriber management systems. 14.J13
Avezzano uses a dedicated fibre connection that is now backed up by VideoFlow technology, with a pair of VideoFlow DVP10s linked by a 2 megabytes per second internet connection. VideoFlow's patent pending technology opens the internet for delivering content by ensuring that no packet is lost and nullifies the jitter caused by transiting the internet. 3.B20
Q&A Michel Degland, chief executive officer, SoftAtHome Has IBC come at a good time for the electronic media industry? Why? IBC is the world’s largest professional show focused exclusively on media and entertainment. It is a show made by the industry for the industry that started in 1967, when colour had just come along as the greatest innovation in TV history to that date. Now that we are facing great new
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technologies such as Ultra HD and OLED on the display side and casting for distribution to the TV from mobile devices, IBC is more than ever the best place to come and view or discuss the current disruptive innovations across the electronic media industry. What do you think are the key developments in, or threats to, your market
sector at the current time? Video distribution is proliferating while quality is increasing with 4K. Global players propose their own boxes such as Cast dongles. This is introducing radically new ways of consuming video content for end users, bringing greater freedom and simplicity. Delivering the best user experience and ensuring quality of service by including
home network in the operator monitoring are two major objectives. Why should delegates visit your stand at IBC? SoftAtHome is presenting its latest innovations all powered by its Software Operating System (SOP), addressing market needs. These include an HEVC/4K advanced box running UHD TV, a low-cost, small form factor HEVC box,
and a Cast dongle introducing the modern way of consuming video but which keeps the big screen centre stage as the best place to access premium content. 4A51
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Auto-tracking for small studios Nikon Europe By David Fox A new auto-tracking system for small studio applications has been created by Mark Roberts Motion Control for Nikon. The system is similar to large-scale systems recently tested at such sports events as Sochi, Golf Masters, basketball and horse-racing, and is designed for tracking talent or objects in motion in smaller studio spaces using automated cameras. It is
suitable for integration with a number of wireless optical and radio tracking systems. The system is being demonstrated with Nikon’s D4S cameras, which recently won the EISA award for the European Professional D-SLR Camera 2014-2015, and operated through a Polycam autotracking system to track multiple focus points. The configuration has been used on location for motor sports to track cars traveling at speeds over 355kph and accelerating through tight corners, demanding ultra-fast response from the camera
Simplifying file-based workflow MOG Technologies By Carolyn Giardina The mxfSPEEDRAIL range of centralised ingest systems from MOG Technologies is designed to improve the production workflows of broadcasters and production companies. Featured at MOG’s IBC stand, the technology is already in use by clients including BBC, bTV, Canal+France, Euronews, JAPANET, Globosat. NBCSports, NDR, New Delhi Television, ORF, RedBullTV, ZDF, SVT and beIN Sports. mxfSPEEDRAIL is a Central System platform that controls all ingest processes in a single interface covering transcoding, file conversion, playback, quality control and task archiving. MOG noted that this shifts workflows from
heads. It can also enable a single operator to automatically control the synchronous movement of numerous cameras and provide accurate tracking shots during live events. “The multiple camera installations are easy to set up and control from a central location,” said Assaf Rawner, CEO of Mark Roberts Motion Control. “In F1, for example, there could be substantial savings just on freight costs, taking into account all the peripheral equipment needed to put an operator safely into the field. The broadcast unit also has the advantage of directly controlling and synchronising remote cameras from one place, all over a standard Ethernet
On track to make big impact in small studios: A Nikon D4S on an MRMC pan tilt head
network infrastructure”. The AFC-100 heads provide IP connectivity and scalable architecture. Operating distances are unrestricted and
there is built-in integration with IP broadcast camera, lens, statistical and image analysis technology. 11.A69
a systems-based to a taskdriven approach, meaning a single operator can manage the ingest of multiple content feeds, including automated or manual recording, automatic switching, sub clipping creation, priority scheduling and metadata annotation, all in multiple ingest units. It also can be integrated with numerous popular broadcast technologies and formats. The modular architecture enables the customer to purchase either a whole centralised system or individual components to suit their workflow. “With over 1000 installations worldwide, our constant aim is to improve our systems based on our customers’ requirements and to exceed their expectations,” said MOG CEO, Luis Miguel Sampaio. 7.K28
Tennis broadcast involves TITANic effort Ateme By Ian McMurray When Rafael Nadal defeated Novak Djokovic in the final of this year’s French Open tennis tournament, the match was broadcast live via satellite in Ultra High Definition using Ateme’s TITAN Any-to-Any carrier-grade video encoding/transcoding product. Ateme worked with France Télévisions, the French Tennis Federation (FFT) and Eutelsat to ensure that coverage of the tournament was uninterrupted. According to Ateme, the event demonstrated the company’s ability to ensure full
interoperability of UHD delivery over satellite, with TITAN Live receiving live video feed from the event’s UHD production via its 3G-SDI inputs, encoding with the HEVC codec and delivering a full single 4Kp50 stream below 30Mpbs. The feed was then uplinked on the Eutelsat EUT 5WA satellite. The tournament also provided Ateme with the opportunity to capture content via LiveSphere, described as a 360° video broadcast solution for live entertainment, sporting events and television shows that provides an immersive experience for consumers on second screens. It will be available to in 2015. 1.D71 theibcdaily 111
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On the map: Prism's Atlas offers a USB audio interface for multi-track recording
Teaming on storage with Marquis Project XenData By Carolyn Giardina
Titan and Atlas support a world of sound Prism Sound By Michael Burns Multichannel audio interfaces Titan and Atlas are making their European debut at IBC. Via a USB interface, Titan and Atlas offer analogue and digital I/O for Mac or Windows at sample rates up to 192kHz. In addition, both units feature the new MDIO interface expansion slot, which can be used to expand its connectivity, for example by adding a direct connection to Pro Tools|HDX systems. Titan has four microphone
inputs, while Atlas has eight and is aimed at multitrack recording applications. Each offers eight analogue output channels, up to 10 digital output channels and stereo headphone outputs, to play 20 different channels. For lowlatency foldback or monitoring to headphones or main outputs, each output pair can optionally be driven from the built-in digital signal processing mixer with an individual local mix of any selection of inputs through the supplied controller applet. Atlas and Titan can also operate in standalone mode using their ADAT or co-axial
digital I/O connections. Once set up using the Atlas or Titan controller applet, each unit can be disconnected from the host computer and used independently. The units retain all settings when powered down. On both units the coaxial digital I/O port can also be switched in the controller applet between S/PDIF and AES3 formats. Both Atlas and Titan are designed with Prism Sound's latest CleverClox clocking technology, designed to remove jitter from any reference sync source before it is used as a conversion timebase. 8.E34
World's smallest ProRes recorder Atomos
XenData and Marquis Broadcast recently launched a new version of Marquis’ Project Parking software that analyzes all content on shared edit storage allowing Avid projects to be copied to a XenData system. The goal is to allow finished projects to be deleted from more expensive edit storage. For current projects, snapshots may be copied to the XenData technology and then updated incrementally to provide data protection. The system allows the management of offline LTO or Sony optical disc archive (ODA) cartridges. If a project needs to be restored, Project Parking will identify any offline cartridges, allowing the user to migrate the whole project or selected content back to edit storage by importing the cartridges into a robotic library, or inserting into an ODA/LTO drive.
“Project Parking allows you to take control of your Avid shared edit storage because it understands the relationships between Avid projects, folders and bins, and all its media,” said Simon Fearn, product manager, Marquis. “Then having obtained this full picture, it is easy to select projects for transfer to the XenData archive.” “The lack of data protection for content on shared edit storage has been a major problem within the industry for years, and a failure of the edit storage will typically have disastrous consequences,” added XenData CEO, Phil Storey. “Now, we’ve addressed this issue for Avid users with the enhanced Project Parking. It is easy to implement a two-part strategy where completed projects are moved to secure LTO or ODA cartridges, freeing up space on the edit storage, and current projects are backed up using the incremental snapshot capabilities of Project Parking.” 7.H47
Moving mics: The d:fine headset mics are aimed at energetic singing stars
By David Fox The tiny new Ninja Star from Atomos is a flash-based Apple ProRes recorder and player for extreme applications that costs just $295, and should be ideal for use on remotecontrol helicopters or with point-of-view cameras. It doesn’t have a monitor, but weighs only 240g with the included battery and a lowcost Gen 1 CFast solid-state memory card. It has HDMI input, and its small, selfcontained size and flexible mounting options should allow users to mount it to just about any PoV set-up (such as action cameras that record internally only in MPEG). As its dimensions are only 95mmx60mmx22mm, it is the world’s smallest ProRes recorder, and can record 10-bit 4:2:2 images, with up to almost three hours of Apple ProRes HQ using a 256GB card (it also records ProRes 422 and LT). Atomos is also offering its own branded CFast 1.0 media in 64GB ($159) and 112 theibcdaily
Headset mics unchain melodies DPA Microphones By Michael Burns
128GB ($239) cards, and custom HDMI cables. It comes with a CFast USB 3 reader. “We have priced this for the masses, broken the barrier to flash media cost by offering affordable CFast and supplied clever cabling solutions that customers desire,” stated Jeromy Young, CEO and founder of Atomos. The Ninja Star offers frame accurate timecode (via HDMI) and Start/Stop Trigger, thanks to co-operation from Canon, Sony, Panasonic, Nikon and JVC. Audio can be taken direct from the camera on the two
Flight plan: The Ninja Star would be ideal for recording a GoPro on a DJI Phantom drone
embedded digital channels or an external microphone can be added via the audio line-in port for an extra two channels of analogue audio. It also has an HDMI out for an external monitor. The battery should last for about five hours, although it takes only one Sony camera battery instead of the dual battery ports seen on the bigger Ninja and Samurai recorders. 9.D25
Two headset microphones aim to address the needs of vocal performers who have to move freely without the obstructions of a handheld mic or mic stand. The d:fine 66 omnidirectional and d:fine 88 directional headset microphones combine the sound capabilities of DPA's existing 4066 Omni and 4088 Cardioid head-worn units with a new headset mount and flexible ear hooks. The company claims the d:fine range offers accurate, natural voice intelligibility and very high SPL capabilities, allowing users to speak and sing into the mic with no hint of distortion. The new microphones can be
moved from left to right ear by rotating the boom and the earhook. Both are also available in dual-ear mount configurations, dedicated for more rigorous and energetic performance applications. “There is a growing need for durable body worn microphone solutions with excellent sound reproduction for stringent use in live environments and similar settings," said DPA CEO, Christian Poulsen. “When we launched the d:fine headset microphones we believed that they would define a new generation of headsets. They have certainly met our expectations, which is why we have decided to expand the series with this brilliant solution to give users a broad assortment of styles and features.” 8.D70
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Modular solutions for TV Everywhere Xstream By Monica Heck OTT and TV Everywhere demonstrations at the Xtream stand include the Xstream MediaMaker modular based architecture, which allows customers to apply the modules they need into their existing in-house solution or other third party solution or to simply use the entire end-toend solution to create a complete ‘Netflix-like’ solution. An in-built shop and payment module e-commerce solution is also on show, with a suite of tools for building, customising and managing business models on all platforms. Key features include the ability to manage payment options such as credit card, billing or SMS payment, the creation, the management of product and pricing models,
TVoD, SVoD, PPV Live or AVoD, of gift vouchers and the handling of DRM, including Google Widevine, Conax Contego, Adobe Pass and MS PlayReady DRM. A cloud-based and fully customisable ingest module is also on show, addressing demands for a cost-efficient solution that simplifies and accelerates the process of dealing with large volumes of video content and metadata from multiple content providers. Xstream’s domain module, which enables customers to scale their solution by leveraging the power of metadata, is also visible alongside the company’s device management module. This module empowers VOD solutions with a set of rules to protect and control access to media streams from a variety of devices over an intuitive user interface. 14.F15
Free version of Lens mounts go with the grain Catapult Server Wooden Camera XDT By Carolyn Giardina The latest version of XDT’s flagship Catapult technology is at IBC. Customers can sign up for a free version of Catapult Server, which includes unlimited Slingshot clients and a 50Mbit bandwidth limit. “We are excited to announce a free version of Catapult Server,” said CEO Erik Otto. “Users that would not usually have the budget to invest in proprietary transfer applications or who resort to FTPbased systems will now have access to our leading edge technology to meet their highspeed data transfer needs.” Catapult is designed as a fast and secure software-based data transfer application that works over any existing WAN and LAN network. Using any standard network interconnect, Catapult Server is designed to deliver the same local throughput performance of storage arrays between LAN or WAN connected systems. 7.J07
By David Fox Users of the Blackmagic Production Camera 4K can have it modified to add an interchangeable mount that includes a PL mount, plus a wooden faceplate, by Wooden Camera. The interchangeable mount is compatible with Red Epic/Scarlet lens mounts that, by use of adapters, allow users to mount PL, Nikon, Canon, Leica, and BNCR lenses. Wooden Camera is also planning to introduce its own line of lens mounts. The modification includes a wooden faceplate with working wooden record button, although the original rubber faceplate can be reinstalled on request. It is also possible to get the interchangeable mount without the PL mount. For micro four thirds Blackmagic cameras, or any other MFT camera, there are also two MFT to PL Adapters. The Pro (Pocket) is a shimmable version that can be adjusted if
the camera is out of calibration, and comes with a set of colour coded shims of various thickness. MFT to PL Adapter (Pocket) version doesn't come with shims. The Adapter includes a foot for attaching to a tripod or Pocket cage directly eliminating strain on the camera. Two versions of the adapter for Panasonic’s GH3/GH4 cameras include a foot for attaching to the camera base directly, eliminating strain on the MFT mount – this foot can be removed for use with other MFT cameras. There is also an EMount to PL Adapter Pro for the Sony A7s, again with removable foot for use with other Sony Emount cameras. 11.E71
Wooden you know it: The BMPC 4K Modification + PL Mount includes a wooden faceplate and record button
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Master Anamorphic family completed
In what way is personalisation a real added value? Ask TOSCA
Zeiss/ARRI By David Fox
Task oriented search results VRT By Adrian Pennington The EU-funded TOSCA-MP project may have closed, but its legacy lives on, and visitors to the Future Zone can learn of the results of its research. Task Oriented Search and Content Analysis for Media Production is a collaborative research project led by Belgium's VRT and focusing on user-centric content annotation and search tools in networked media production and archiving (television, radio, online). In 2013 the first results were demonstrated at the Future Zone, however, in the meantime prototypes have been finalised, so new powerful search results and visualisation methods will be demonstrated. Over a series of field trials the project addressed such questions as how can editorial production become multiplatform? In what way is personalisation a real added
value, and how does it fit in with a user’s behaviour? How can the experience of live events such as sports and music festivals be enhanced? What is the best and most efficient way for a media organisation to achieve a clear annotated archive? Project results fall into four categories: Content search across multilingual repositories; Distributed workflows for media production; Rich annotations for archived assets; and assisted production of sports events Novel approaches have been explored to browse and visualize search results in a more intuitive way. In addition, the generation of metadata has been fully automated in a service oriented architecture-based approach compatible with FIMS. VRT Research & Innovation is a department of the Flemish public broadcaster. Mike Matton from VRT will present a paper in the session ‘Advanced content production in an automated world’ on Monday, 15 September, 11.30. 8.F02
The new Master Anamorphic MA135/T1.9 lens is the seventh lens in the Master Anamorphic family jointly developed by ARRI and Zeiss, and completes the range. The first three-lens set (35, 50 and 75mm) was introduced at IBC last year, and has since been joined by 40, 60 and 100mm lenses. The 135mm version has just started shipping. They are designed as highperformance lenses that are particularly effective wide open (all are T1.9), and are claimed to solve many of the problems commonly associated with anamorphic optics. The lenses show hardly any image breathing and exceptionally low
Set to receive an Emmy Unlimi-Tech Software By Carolyn Giardina Unlimi-Tech Software will be the recipient of a 66th annual Technology and Engineering
Unified Streaming By Monica Heck Commercial broadcaster RTL The Netherlands and crossplatform video streaming company Unified Streaming are demonstrating the Unified Capture platform during the show. The Unified Capture architecture makes it possible to go from linear to ondemand frame-accurately with no delay, effectively merging VoD with Live. Unified Capture helps broadcasters manage different workflows to make both linear and on-demand catch-up available. In the new architecture, the 114 theibcdaily
linear feed is the central one and on-demand assets are created from the linear feed without delay, as it goes ‘on air’. The business case for this solution, according to Unified Streaming, lies in the speed at which linear content can be made available online and published, which delivers exponential value to both broadcaster and viewer. For commercial broadcaster RTL The Netherlands, the benefits of using this solution include a quasi immediate time-to-view for linear to VoD, fully automated workflow for dynamic ad replacement and insertion and the flexibility to cope with fluctuations in demand. 14.F33
Emmy Award for secure accelerated file movement over IP including the internet. The company introduced its FileCatalyst technology in 2005 to accelerate file transfer. “We are honoured to have been selected for the
F8 LED Fresnel enhanced Zylight
No delay Live to VoD
distortion. The issue of anamorphic mumps – when faces shot at close range appear wider – is balanced out automatically. This is achieved by positioning the cylindrical lens elements at strategically important points in the lens. The almost telecentric optical design reduces colour errors (chromatic aberrations) and shading in the corners of the image.
By David Fox The collapsible F8 LED Fresnel that Zylight introduced last year has been upgraded with several refinements that deliver improved performance for field and studio applications. The F8 delivers close to the light output of a traditional 1kW Fresnel and collapses to less than 10cm thick for easy transport. Its yoke mount has now been angled for greater positioning range and is able to accommodate 90º stand mounting. Plus, all locking and adjustment is done with a single knob. On the light, the selflocking focus now automatically holds focus position. Other improvements include improved bellows design for smoother
operation, a self-terminating DMX input, better protection from the elements and a new heat sink orientation that allows 20% better cooling. “We have been blown
Wide open: The ARRI/Zeiss MA135/T1.9 lens completes the set
The lenses produce a unique anamorphic bokeh that is free from artefacts, and have new iris diaphragm with 15 aperture blades to create a bokeh that is perfectly oval and evenly illuminated. Annoying reflections that can show up in critical lighting situations are largely avoided. 11.F50/11.F21
Technology and Engineering Emmy Award and be categorised with such elite company,” said Chris Bailey, CEO of Unlimi-Tech, “It recognises FileCatalyst as a leading acceleration technology for media and broadcast, and is a reflection of the tireless efforts put in by our team over the last several years.” 7.H40
away by the response to the F8. Broadcast studios, ENG news crews, commercial producers, independent filmmakers – our LED Fresnel has been embraced by video professionals across the industry,” said Joe Arnao, president of Zylight. “We went back to the drawing board to make the F8 even better, without changing the features that make it the most exciting lighting instrument on the market.” Available in daylight (5600K) or tungsten (3200K) versions, the F8 draws just 100W, has a high CRI and its 20cm Schott glass lens maintains single shadow traditional Fresnel beam shaping. The fully dimmable F8 offers an adjustable beam spread (16-70º), with a patented focusing system for spot and flood operations, can be powered from a standard 14.4v camera battery or AC adapter, and is water resistant (IP54). 11.E38
Altogether cooler: Improvements to the F8 include better cooling and smoother operation
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Anamorphic/i lenses extended Cooke Optics By David Fox Cooke is to widen its Anamorphic/i lens range, and plans new focal lengths for its miniS4/i and 5/i ranges. It should start shipping the 25mm and 135mm Anamorphic/i lenses towards the end of 2014, with 180mm and 300mm lenses to follow in 2015. This will take its Anamorphic/i range to nine lenses (including the 32mm, 40mm, 50mm, 75mm, 100mm - all T2.3). Cooke will also add a 21mm lens to both the miniS4/i range (which are all T2.8) and the 5/i series (which are T1.4). “Cinematographers like choices, and by next year they will
have a few more creative options whether they are using Anamorphics, 5/i’s or miniS4/i’s,” said Les Zellan, chairman and owner, Cooke Optics. “We have expanded our workforce by over 10% in the last six months and extended our factory to accommodate rising demand, and we are working hard to have these new choices available in the coming months.” It is also adding sensors for the forthcoming /i Squared Technology metadata system to all new Anamorphic/i, 5/i and S4/i lenses. The inertial system, developed by Cooke with support from The Pixel Farm and Codex, builds on the current /i Technology protocol by supplying position and orientation data, in addition to lens data, to aid post production work, particularly visual effects. 11.D10 With added lens flare: Cooke is squeezing more Anamorphic/i lenses into its range
High performance digital radio SARFT By Adrian Pennington The future of digital radio could take the shape of a China Digital Radio system targeting the switch from analogue FM to digital radio
in the country. The Chinese Academy of Broadcasting Science and State Administration of Radio, Film, and Television (SARFT) is demonstrating research suggesting the system is better than current DAB, DRM (Digital Radio Mondiale) and HD radio
New router is Sublime — X2 Nevion By Ian McMurray The newest addition to Nevion’s Sublime family of low-power routers, the Sublime X2, is said to provide the high redundancy and processing power required of modern routers in a compact enclosure. Also on show is a new H.264/AVC compression solution that Nevion says will function as a versatile media edge adapter, providing high-
quality video compression. On the company’s stand is Nevion’s VideoIPath managed media platform, fully integrated with Nevion’s TNS transport stream monitoring and switching. VideoIPath’s evolving platform now features an improved alarm/status module and new driver structure that makes it even easier to integrate third-party solutions, according to Nevion, with the enhanced usability opening up the platform to new markets and customers for in-service monitoring, routing
systems. The invention uses LDPC code as its FEM scheme to provide 2-3 dB of code gain over convolutional code in DAB/DRM/HD radio systems. This IBC is the first showing of the CDR system outside China. Exhibits on its Future Zone booth include audio encoder, multiplexer, exciter, receiver and the chip. 8.F05
and transport. Other new releases include a licensing system for Ventura VS902, VS906 and VS909 contribution codecs for IP. Additionally, reference sync and frame store have been added to the VS902-LIN and support for 3G-SDI and 1080p 50/59/60 – Level A Single Stream are part of the enhanced VS902-J2K. The Multicon Next Generation Flashlink user interface has been revamped and is now said to offer more user friendly, fully integrated control of Flashlink modules, Flashcase, Flashlink Compact and the new Flashlink frame. 1.B71
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DASH Forum for IBC Conference Tomorrow By George Jarrett The rapid deployment of MPEGDASH over two years is both a credit to the 74 members of the DASH Industry Forum, and a beacon to other standardisation groups looking to accelerate their ratification procedures. It also kills off proprietary legacy solutions. “The whole point of the standard is to enable content owners to reduce the cost of deployment. We have built an interoperable open eco system,” said DASH-IF president and chairman Iraj Sodagar. “We are not here to replace any other standards consortia. The main role is to deploy MPEG-DASH in a coherent way across different markets.” Coincidental to IBC, DASH-IF has issued V3.0 of its implementation guidelines. “We are adding key features like interoperability points for ondemand, live and time-shift streaming using AVC/H.264 and HEVC/H.265 codecs. We had DRM before through discussions with the DVB, but we completed multi DRM support,” he said. “Another key factor is the support of CEA-608/708, which is a format used currently in MPEG-2 broadcast for close caption. “Along with V3.0 we published guidelines for live services and ad insertions: those two enable different business models, different ways of monetising and deploying services. I believe that if companies started deploying these they may come back and ask questions, either for the clarifications of how to deploy, or they may need user cases to be referred to. So the purpose of DASH-IF is just to foster that option. We are going to handle issues,” he added. Where does DASH-IF sit in terms of the immediate future? “We have published implementation guidelines and test vectors, and brought industry players together to agree a set of constraints,” said Sodagar. “We will see how it is going to work out – whether we need to produce more standardisation, more implementation guidelines, or whether it is going to become purely promotional activities. Or maybe it is so successful that DASH-IF activities will wind down.” All new DASH-IF publications are under a public comment period. Armed with clarifications it will finalise everything in two months. Room E102
TSL to merge with IPE TSL and IPE By Heather McLean Systems integrators and broadcast equipment manufacturers, TSL and IPE, have announced that they propose to merge. The merger of the two holding companies combines IPE Systems and Products divisions with TSL’s Systems and Products divisions, although TSL Products will continue to operate independently from the merged business.
Additionally, the merger will add IPE’s Integrated Display Systems (IDS) line to the TSL Products’ portfolio of broadcast equipment, providing an international launch pad for the IDS platform into the global market. IPE’s Colin Judge will become MD of the combined systems company, and Chris Exelby will continue as MD of the Products company. Judge commented: “The nature of the systems integration business is changing. Companies that
Full-frame E-mount 4K lenses Zeiss By David Fox The low-light performance of Sony’s compact Alpha 7s fullframe 4K DSLR has got a lot of people excited, as it delivers usable HD and 4K video in very low light at high ISO levels. To complement this camera, Zeiss is launching a new range of lenses that offer manual focusing, manual aperture and “maximal image quality”. The first in the line will be the Loxia 2/35 and Loxia 2/50 lenses.
The new Zeiss Loxia 2/35 is designed to make the most of Sony’s full-frame cameras
According to product manager Christophe Casenave, the lenses will offer “exceptional optical performance combined with compact, modern and unobtrusive design.” The 320g Loxia 2/50 (available next month) should cost €713.45, while the 340g Loxia 2/35 (shipping by year end) lists at €965.55. 11.F50
embrace these changes will prosper. Bringing our two companies together made a lot of sense; this consolidation means we can cover small or large projects in a global market,” Judge noted. David MacGregor, chairman and co-founder at TSL, added: “We’re very excited about the developments and opportunities that this technology partnership will bring to our broadcasters and non-broadcast clients worldwide. By sharing our knowledge and resources and by utilising our individually
Colin Judge, managing director, IPE, leads the combined SI business
established practices and technology, together TSL and IPE can apply experience and skills to providing holistic solutions across the broadcast sector and other industries that is unmatched by any other independent provider.” Completion of the agreement is targeted for this year. TSL 10.B41, IPE 9.A31
Telstra to acquire Ooyala Telstra By Monica Heck In a move that will allow it to build a personalised cloudbased TV and video platform company, telecom giant Telstra is to acquire video streaming and analytics company Ooyala after the companies’ definitive agreement reached in August. The US$270 million investment sees Telstra take the controlling stake in Ooyala, a company in which it already had a 23% share. Ooyala will
become a subsidiary of Telstra, and will operate as an independent business, retaining the Ooyala brand, under the leadership of its existing management team led by chief executive officer Jay Fulcher. “With today’s news, we combine the backing of one of the strongest telco companies in the world with the intensity and agility of an independent Silicon Valley company,” said Fulcher about the agreement. Ooyala14.F32, Telstra14.B01
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Fujifilm presents new Fujinon branded 4K UHD and HD lens line-up at the IBC 2014 At the IBC Exhibition Stand 11C20 new Fujinon lenses will be added, such as the ZK12x25 (25-300mm) to its 4K FUJINON ZK-Series (Cabrio) lens range in Europe. Fujifilm was the first lens manufacturer in the world to develop and introduce a 4K full servo lens to the global market. The advantages of new ground breaking optical technology lays in the concept of a 4K PLMount light weight cine zoom lens that can be operated just like standard ENG Broadcast TV lens. ZK-Series (Cabrio) lenses close the gap between TV Broadcast & Cinematographic production techniques. The ZK –Series focal lengths range from 14.5mm-300mm with starting weights of only 2.7kg including drive unit and servo motors. The ZK12x25 has the longest focal range available in the light weight cine zoom segment.
Videographers used to shooting video in a typical ENG-style will be very comfortable with the full servo function as all ZK-Series (Cabrio) lenses can be controlled using standard Fujinon full-servo zoom and focus control kits or cinema industry standard wireless controllers for zoom and focus functions.
This new ground breaking optical technology represents a mile stone in many ways as it saves valuable time and cost during the production phase. On the artistic side it permits longer film (shot) sequences; DOP’s no longer have to switch fixed
focal cine lenses during shoots which can be disruptive and very timeconsuming; and time is money. The ZK-Series (Cabrio) lenses are also at the forefront of 4 K UHD (Ultra High Definition) TV Broadcast productions.
FUJINON 4K UHDZK12x25 lens now available with or w/o drive unit
TWO NEW HD LENS MODELS INTRODUCED TO EMEA REGION
FUJINON HD HA 18x5.5 two in one solution
About Fujiilm Europe Today, FUJIFILM Europe GmbH (Duesseldorf, Germany) acts as Strategic Headquarters for the region and supports its group companies in Europe by formulating marketing and corporate strategies. In addition, FUJIFILM Europe B.V. (Tilburg, The Netherlands) covers the logistics, finance and procurement control functions for the entire European market.
New additions to the company’s line-up of HDTV lenses for 2/3” ENG cameras offers 18x zoom factor with 5.5mm- wide angle enabling it to capture footage in versatile close up production environments. The all new HA18x5.5BE (5.5200mm)HDTV lens merges the capabilities of a standard and a wide angle lens making it the ideal “two in one” solution as camera operators no longer have to transport two lenses (standard & wide), and will no longer miss a vital scene because they have to change lenses whilst shooting on a live production. The HA18×5.5 BE is a ENG HDTV lens compatible with 2/3” sensor Bayonet mount*2 cameras, covering focal lengths of 5.5mm on the
wide angle end to 100mm on the telephoto end. In addition, they incorporate a 16-bit encoder which enables the lens to communicate zoom/focus position and other vital lens data to various systems in Virtual Studio environments. Fujinon lenses, offered by Fujifilm, are recognized for their advanced descriptive performance, contributing to latest imaging progress through their applications in the production of TV programs, movies and commercials throughout the world. Tapping into its optical technology, high-precision processing technology and assembly technology that have been nurtured over the years, Fujifilm will continue to develop innovative optics that meet and surpass diverse production scenarios.
About FUJIFILM Corporation Nowadays Fujifilm entities operate in about 50 group companies in Europe and employ 5,000 people engaged in R&D, manufacturing, sales, and service support. Throughout Europe they serve a range of industries including medical, life science, graphic arts, electronic materials, chemical, optics, recording media and photographic technologies.
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Heard through the Commonwealth
Firmware upgrades for 4K
NTP Technology Canon By Michael Burns By David Fox Audio routing infrastructure from NTP Technology was chosen for deployment at the recent Glasgow 2014 Commonwealth Games in Scotland. It was used to control interconnection of the International Broadcast Centre, the venues and host broadcaster feeds at the event in Glasgow from 23 July to 3 August. The system supplied was based on an NTP 625 MADI router core, Penta 725 AES/EBU I/O units and Penta 720 3G SDI embedders/ de-embedders. The routing was controlled by NTP’s RCCoreV3 software plus GUI client software developed specifically for this event. A central element of the project was to manage the workflow of the Commonwealth Games Channels in the Commentary Switching Centre. “One of the unique features of the system we provided was
Part of the IBC MCR: audio level displays from NTP routing system on top right
the ability to generate signal level information from all inputs and outputs of the system,” said Mikael Vest, sales director at NTP. “We developed level display software enabling all signals in the system to be selected for monitoring as peak-programmemeter strips on large wall-screens in the IBC master control room. This provided a high degree of flexibility to the operator in charge
of viewing and monitoring audio signals in the system.” NTP Technology was appointed by SVGTV, a joint venture between sports broadcast experts Sunset+Vine and Australian-based Global Television. SVGTV was the host broadcaster contracted for Glasgow 2014 Commonwealth Games. 8.B51B
Second screen progress in sports Aspera By Carolyn Giardina Aspera, an IBM company, recently teamed up with EVS and Elemental to deploy a system for high-resolution live video streaming via the cloud to enable viewers around the world to watch live HD media and sporting events from their connected devices. The heart of the workflow — developed for a major client — is EVS’ C-Cast technology that captures video of multiple cameras angles from onlocation live production feeds.
Embedded Aspera FASP transfer software is used to transfer the video feeds in realtime across continents from sports venues directly to Aspera On Demand server software running in the cloud. The new Aspera Auto-Scale platform manages transfer server instances to meet demand when workloads spike. Elemental Cloud video processing ingests the mezzanine format, converting it into the multiple bit rates, resolutions and streaming protocols required to serve the range of consumer devices. The final output can be
delivered to regional broadcasters and streamed to online viewers. The complete platform has been proven to deliver hundreds of concurrent video streams transferred over the WAN in realtime directly to cloud infrastructure, according to the participants. “This has been achieved with an effective transfer rate as fast as the live video capture rate at sports venues in spite of heavy round-trip latency and packet loss (over 200 milliseconds and 10 percent peak packet loss over the WAN),” they reported. Aspera 7.G30, EVS 8.B90, Elemental 4.B75
Support for the recently defined BT.2020 colour space for Ultra HD production is a key feature of new firmware upgrades for Canon’s EOS C500 and EOS C300 Digital Cinema Cameras, DP-V3010 4K reference display and Cinema Raw Development (CRD) software. The firmware (scheduled for release as free downloads later this year) should better integrate acquisition and management of 4K. The ACESproxy transfer standard advocated by the Academy of Motion Picture Arts and Sciences will also become an option, enabling streamlined colour grading on set and in post for both the C500 and the 30-inch DP-V3010. The DP-V3010 will also become the first 4K professional display to support the 48fps digital cinema frame rate. The new firmware will also output footage shot using the Cinema Gamut and DCIP3+ colour spaces available in EOS C500, simplifying monitoring and post production work. Footage can be displayed using either DCI-P3 or BT.709, with optimised conversion occurring in the display. The upcoming firmware upgrade for Canon’s Cinema Raw Development software
Canon’s EOS C500 gets several additions for improved 4K performance
– CRD v1.3 – will continue to improve on-set Raw workflow, adding BT.709 and DCI-P3 playout options, and EDL support, and is claimed to make 4K Raw production more cost effective. The new firmware upgrade also includes a useful feature for the C500 and C300, allowing users to easily set colour temperature values using the camera’s FUNC button. Improved performance is also on offer thanks to a collaboration with Intel, whose Integrated Native Developer Experience Raw Media Accelerator enables fast de-bayering and dropfree playback of the resulting 4K footage (up to 24 frames per second only) when using a laptop equipped with Intel Iris Pro Graphics. It is showing that it’s possible to edit, develop, playback and output 4K Raw footage using a single, suitably specified, lowpower laptop. 11.E50
RTL enters the German Arena Vizrt By Carolyn Giardina German broadcaster RTL Television is using an array of Vizrt technologies to produce and broadcast the future football games of the German national team. RTL has regained the TV rights to broadcast the current World Cup title-holder’s games for both its qualification campaigns for the Euro 2016 tournament in France and World Cup 2018 in Russia. The broadcaster and its production house, Cologne Broadcasting Center (CBC),
have been customers of Vizrt since 2009. RTL is upgrading its production and playout facilities at the CBC in order to support production of the German national team games, which are among the most watched broadcasts in Europe and other regions. Among the Vizrt solutions to be implemented and used prior to and during games, RTL is using Viz Arena, which utilises a new image-based tracking system for live game enhancements and analysis. This unique camera tracking capability and integration with real-time 3D graphics from the Viz Engine 3D compositor gives broadcasters
new creative possibilities for football (soccer) coverage. This makes it possible to apply graphics on the field without mechanical tracking heads. RTL and CBC will also use Viz Libero for pre-game, half-time and post-game analysis; Viz Virtual Studio for the creation and implementation of immersive graphics both in their mobile studio and on an interview crane camera on the field; Viz Trio to present scores, player statistics; and Viz Artist, used to design template-based advanced 3D elements to be deployed before and during each game broadcast. 7.A10
Unified UN display: The United Nations has taken delivery of 52 Ruige TL-S1850HD 18.5 inch professional picture monitors for use at its international headquarters in New York. This latest order follows the UN’s purchase of 73 TL-S1850HD monitors in December 2012. “The Ruige TL-S1850HD monitors were originally selected after a very careful comparison of a wide range of displays,” said Jian Ma, general manager of Ruige. “They are being used primarily for videoconferencing which saves a lot of people a lot of time and lot of travel. The UN staff were impressed by the high quality picture, long term stability and excellent after-sales support. They also appreciated the ease with which we were able to customise the displays to allow control via RS-232 serial ports. TL-S1850HD monitors were therefore the logical choice for this latest project which relates to the UN’s simultaneous language-translation activity.” 11.D47
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In Brief 4HM merges with Bel Digital Audio Owners of UK manufacturer, 4HM, Barry Revels and Craig Lovell, have bought into fellow UK business, Bel Digital Audio, to create a new holding company called Bel Digital Group and merging 4HM into Bel Digital Audio. 4HM specialises in MADIrelated equipment for the professional audio, broadcast and live industries, while Bel Digital Audio provides broadcasters throughout the world with delays, layoff recorders and a comprehensive range of inrack monitoring solutions. The merged companies create an expanded business of non-overlapping yet highly complementary products, and will deliver the associated benefits of being a larger business to customers, from product development through significant investment in R&D, to the adoption of new technologies. “The formation of the Bel Digital Group enables us to enhance the Bel brand further with an ever increasing range of audio products, including the existing MADI and forthcoming Audio Over IP units said Lovell. "It’s exciting to bring these two product lines together as one,” added Revels.
DTG picks four innovation winners The UK’s Digital TV Group (5.A09) features the four winning companies from its annual Television Innovation Awards, an event it stages with partnership support from UK Trade & Investment. Eight shortlisted finalists faced Dragon’s Den style scrutiny in which they had five minutes to pitch for exposure at IBC in front of an audience of 70 plus a gang of Dragons from Sony, YouTube, the DTG and UK T&I, plus BBC Worldwide Labs and Televisual magazine. DTG CEO and event chair
Richard Lindsay-Davies (pictured) said: “The quality and diversity of this year's entries shows us how much television technology innovation is coming out of, or scaling up, in the UK.” The four places at IBC went to Chirp, Grabyo, StreamHub and Crowd Emotion. The last is facial recognition software, which reads TV viewers’ expressions in realtime. Chirp is an application which can send messages through an audible trigger from a television broadcast to a mobile app
Gearhouse migrates with EVS: Gearhouse Broadcast is upgrading its 115-strong fleet of EVS machines across its locations worldwide. This upgrade makes Gearhouse Broadcast one of the single largest users of the latest EVS equipment and workflows in the world. The upgrade includes migrating all of Gearhouse’s EVS kit to the latest 10 Gigabit Ethernet connectivity and means all of its 8-channel XT3 production servers will have onboard low res proxy recording. All EVS equipment will also have the latest XFile3 software enabling them to manually or automatically archive content from EVS servers to transportable hard drives. XFile3 also presents a simpler way of handling file formats and codecs thanks to its built-in transcoding possibilities. Gearhouse is also investing in the first 4K licenced XT3 and all of its OB trucks will have C-Cast, the platform that enables users to maximise the value of their media by connecting live content with production teams, accredited teams and final viewers for second screen applications. Pictured: Gearhouse Broadcast owner John Newton (left) with Luc Doneux, executive VP Sports Division, EVS. 8.A96
RF small matrix DEV By Ian McMurray
10.A30
New CTO at ContentWise Pancrazio Auteri has been announced as the new CTO of ContentWise. Auteri will drive forward ContentWise’s technology roadmap and oversee the company's technology vision and innovation as it redefines the content discovery experience. Auteri joins ContentWise from TiVo, where he held the position of director of product management, and aims to bring to the company relevant knowledge of creating data-driven consumer choice and experience. Auteri led the Italian team that introduced the first digital terrestrial Internet-DVR that featured HTML apps, as well as driving the multiscreen and big data evolution of the IPTV platform at Minerva Networks.
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device to send the user interactive content such as links, video or images. StreamHub offers analytics software for big data, which combines viewing figures with social media, app and YouTube data. The Grabyo application allows users to quickly edit and share branded video clips from a live broadcast online – which is fully integrated into Twitter, Facebook, and YouTube. Apart from the designated space on the DTG exhibit, all four get a year’s affiliate membership. 5.A09
On-board with British Touring Car drivers Cobham Broadcast By Ian McMurray Videosys Broadcast has announced its support of UK outside broadcast specialist Cloudbass to supply onboard camera and video transmission systems for high definition coverage of the 2014 British Touring Car Championship (BTCC), in which 31 drivers compete in two-litre engine versions of their road cars over 10 races at circuits around the UK each year. Working closely with Cloudbass and using Cobham Broadcast’s Solo 4 HD TX transmitter and PRORXB eightway receiver/decoder unit, Videosys devised new onboard
camera transmission systems for four BTCC cars, two support cars, four pit lane cameras and one pit lane return vision monitor; plus a bespoke fibre link and live switching system designed by Videosys. The designated BTCC cars are equipped with cameras attached to Cobham’s Solo 4 HD TX wireless transmitter. The 2RU PRORXB wireless receiver platform from Cobham is a COFDM receiver designed to work with H.264 wireless camera systems. Cloudbass Head of RF Jason Naismith said, “They understood our need to have a system that was specific to motorsport but that could be versatile and be able to be redeployed in to other situations." 1.F41
Said to be superior to other RF matrices in terms of variable gain and tilt, DC insertion, local user interface and other technical parameters, Archimedes from DEV is being launched today at IBC. Archimedes is also differentiated, according to DEV, by its small size – it hosts a 64 x 64 matrix in a high density 4 RU rack – and by a price that is claimed to be 40% lower than competing products. With optical inputs, redundancy options for inputs, outputs and controller that DEV says are
Vodafone plays Nordija Vodafone has choosen Nordija as its middleware partner in the Netherlands. The middleware is being used to deliver the IPTV portion of a new triple play proposition, driving Vodafone's STBs, multiscreen devices and WebTV. Vodafone recently created a new solution for its fixed broadband triple play proposition in the Dutch market. End users have access to a third party Vodafone app,
unique and other features are said to provide users with market-leading flexibility and reliability. Available in standard configurations of 32x32, 32x64, 64x32 or 64x64, DEV says that Archimedes can easily be upgraded to 64x64 in increments of eight. With the LNB power option, each RF input port is capable of delivering LNB power and is able to select the polarity and band of the LNB. In addition, the matrix provides an integrated TV receiver that is operated via the multi-touch display. Each input signal can be routed to the TV receiver which can play unprotected content. 1.B31 which allows them to watch live TV on smartphones and tablets, or engage these as a second screen while watching TV. Nordija’s second screen interaction technology will enable Vodafone customers to control the interactive STB and manage recordings from anywhere. Integration between platforms is said to be an important feature of this new solution. 14.L06
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In Brief Fujinon raises service game Fujifilm’s Optical Devices Division has opened a new sales and service facility for the United Kingdom and Ireland. The new office, in southwest London, will support its Fujinon broadcast lenses and is equipped with the latest service technology. Fujinon’s sales and service team has been bolstered by the addition of a new key account manager, Chris Williams (who joins from one of the other major broadcast lens manufacturers), and a new service manager, Dan Waller, an experienced broadcast engineer.
Q&A Jongil Kim president, Media Excel Has IBC come at a good time for the electronic media industry? Why? IBC has always been at the forefront of new technologies and trends, including HEVC and UHD TV. IBC historically sets the trendline for the coming year, in good and bad economic times. It’s a great time for the industry this year, meaning you will see deployed, commercially
adopted technologies, not just future technologies. What do you think are the key developments in, or threats to, your market sector at the current time? At IBC, you will see HEVC featured in several trials and deployments across the globe, in actual real world applications, which is very exciting. MPEGDASH and UHD TV further contribute to HEVC adoption and together
enable compiling workflows in both unicast/OTT and broadcast (eMBMS/LTE) mobile video delivery. You’ll also see hybrid video processing solutions that take advantage of ground, virtualised and cloud-based infrastructures that help align service demand with OPEX. Why should delegates visit your stand at IBC? We think we can re-excite people about the state of the
video industry. Every IBC, people tend to say that the old news is old and the new news (such as 4K) is too futuristic. We believe we are in the sweet spot, where commercial adoption of advanced video technologies is happening. We have some very interesting field data about our 4K performance, and customer adoption stories about our HERO product line from around the world we’d love to share. 14.D27
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Amira and MFT lens mounts adapt A new range of IMS Lens Mount Adapters for the Arri Amira and Micro Four Thirds mount cameras has been introduced by P+S Technik. The company launched the Interchangeable Mount System in 2001 to allow camera users to pick from a huge selection of lenses from different manufacturers, and has since expanded it to cover most of the main camera systems.
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Pebble Beach integrates with Harmonic: Vislink-owned automation provider Pebble Beach Systems has announced a new OEM agreement with video delivery infrastructure supplier Harmonic to provide a series of integrated packages designed to deliver premium integrated channel playout solutions with automation to the international market. The packages, which combine the benefits of Pebble Beach Systems’ Marina automation with Harmonic’s Spectrum media servers, will deliver integrated solutions and expand the capabilities of Harmonic’s Spectrum ChannelPort integrated channel playout system to encompass ingest, playout, graphics and branding requirements. Peter Hajittofi (pictured), managing director of Pebble Beach Systems said, “The agreement will give customers a single point of contact for their playout solution, whilst allowing them to benefit from the expertise of two specialist and highly experienced vendors.” 8.C71
Orad and MUV: interactive capabilities to any surface
Orad and MUV By Carolyn Giardina Orad and MUV, a provider of interactive solutions that you wear, have combined their
expertise to provide an interactive device which is worn on a presenter’s finger and which turns any surface into an interactive screen. Ideal in a studio environment, the presenter can stand anywhere and rotate, scale, move, drag, tap, hold, draw or highlight graphics on any surface. The combined solution will be presented at Orad’s stand. MUV’s tracking technology can identify where the presenter is pointing to, standing, which surfaces are relevant, how much pressure is applied, etc. The data from the MUV device, called Bird, is then transmitted to Orad’s Interact system, which presents the corresponding graphics on the surface. For example, the presenter can drag any image on any wall in the studio or emphasise a particular object in the video wall. “This groundbreaking solution opens the door for broadcasters who want to turn any surface into an interactive surface. Moreover, by having the sensors on the presenter’s finger, he or she can stand anywhere in the studio as opposed to standing in front of the interactive screen itself,” commented Avi Sharir, CEO and president, Orad. 7.B27