IBC2014 Daily D2 Saturday 13 September by Future PLC

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Saturday 13.09.14

Google: not Daleks Conference Analysis By Chris Forrester

Matt Brittin: “We should play and partner together”

Matt Brittin, Google’s president for Europe, delivered a fascinating Keynote to a packed Forum at IBC, and told delegates that he was no Dalek! (Dr Who is his favourite show). “Google is not some extra-terrestrial alien from another world,” he said, arguing that the world – despite its 2.5 billion connected people – was barely at the dawn of the changes still to come. Brittin spent much of his session stressing that Google

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wanted to talk to the broadcast community, which he saw as potential colleagues and where Google-based technology was in place to aid the content community. “We want to help the large screen experience be as interactive and engaging as that on smaller, second screens.” He explained how products and services like Google Chromecast, the Android OS, and, of course, YouTube were in place to help consumers. “We should play and partner together,” he suggested. “We don’t know the future. But we can all see the trends. We can see what’s likely to be coming.

“Android will help drive innovation. It brings with it all the apps developed for it. Manufacturers such as Sony and Philips are working on new Android-ready displays. “I’d like to work together with you. Not everything will turn out the way we expect. We are a set of platforms, and we can put your content in front of the right user at the right time. We think we can help you connect with audiences, and we can help the manufacturers and the pay TV players with their business models and help them to innovate faster.”

Inside

Shifting Gears: BBC Worldwide CEO and director global Tim Davie discusses his vision for the future of the BBC’s commercial arm Page 10

Visions of future broadcasting Professor David Crawford focuses on the IBC Future Zone and how exhibits make the cut Page 14

An IBC world’s first on the Big Screen In a world’s first, tonight’s audience will see Ang Lee’s Life of Pi with a clarity never before experienced Page 18 Audio world launch: Lawo’s mc²36 all-in-one audio console has made its premiere at IBC2014, unveiled at a high-energy launch that included a live audio over IP mix of German rockers Rammstein. “The mc²36 is the first production console Lawo has ever built that is designed as an all-in-one concept,” said Lawo’s senior product manager for Audio Production, Christian Struck (pictured). “It needs no external racks, as surface, I/O and DSP are all built-in, which makes it very compact.” He added: “The newly designed DSP micro-core with internal 512x512 port audio matrix and inbuilt Ravenna/AES67 connections make this console a fully networkable desk, and 100% future proof.” The mc²36 features onboard Loudness Metering and offers 21.5-inch full HD touchscreens with touch-sensitive colour-illuminated rotary encoders. “We expect it to be used for broadcast operations of course, but the portability also makes it suitable for rental applications and we see it going into theatres and houses of worship as well. We’re looking into whole new groups of operators with this desk.” 8.C71

FTA Grand Alliance: The UK’s freesat, France’s FRANSAT and Italy’s TivuSat are coming together in an alliance designed to prepare for ‘nextgeneration’ developments, writes Chris Forrester. In the first collaboration of its kind, the FreeTV Alliance aims to promote the harmonisation of satellite TV services and technology across Europe. This will help drive the continuing rollout of compelling free-to-view satellite TV, benefitting viewers, manufacturers, broadcasters, retailers and service providers. The news emerged at an IBC press launch yesterday. Alberto Sigismondi, CEO at TivuSat and the Alliance’s first chairman, said: “We are hugely excited by the prospects. In putting together this Alliance we want to take the whole effort of free satellite TV to the next level. The TV manufacturers are already building in digital satellite TV tuners to their sets. In Germany, for example, almost every set has a double front end and can handle cable or satellite reception. In Italy, it isn’t quite so many sets, but we are getting the message out.” Pictured (L/R): Jean-Luc Deroudilhe, directeur général FRANSAT, freesat managing director Emma Scott and TivuSat CEO Alberto Sigismondi.

Exhibitor list and floor plan Plan your way around IBC2014 with the full exhibitor list and floor plans at your fingertips Page 61 Read our IBC news stories on the move… Published on behalf of the IBC Partnership by

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Leaders face the future In exclusive research for IBC, global consultancy Deloitte asked executives from the broadcast and communications industries who were the top innovators. The answers were the likes of Google, Amazon and Facebook – and only 5% named broadcasters. This was the reality facing the delegates at the IBC2014 Leaders’ Summit, the invitation-only event for top business leaders in the industry. Their debate centred around the effects of disruptive technologies. “The aggregate of all these changes over the past decade is a television service which has retained audiences and grown revenues, despite the recent surge of digital and digitally-enabled services,” according to the Deloitte research. Average viewing hours had risen between 2004 and 2013 from three and a half hours to almost four hours, with television advertising revenues rising by 12% in the same period. In their closed-door sessions, IBC Leaders’ Summit delegates heard that short-form video clips, for all their billions of online views, would be a supplement to rather than a replacement for traditional long-form television.

Equally, while subscription services like Netflix will have a place in the new firmament, they will remain only a small part of overall viewing. But a Silicon Valley delegate warned against complacency, citing that after learning that, in the US, the average Netflix viewer was watching 100 minutes of its content a day, it would be foolish not to be paranoid. The key message of the Summit was how quickly technical innovation, like the move to IP and new distribution platforms, could be implemented. A European broadcaster said: “I make it clear that we must innovate through the company from the cleaner to the chief executive.” Change must cover all processes such as the way rights are acquired, he argued. Certainly there is a continuing demand for premium content, not least sports rights which are rising at 14% a year. Continuing innovation, from IP infrastructures to the prospects for cord-cutting, will be certain to exercise delegates at the IBC Leaders’ Summit at IBC2015. To find out more about the IBC Leaders’ Summit visit www.ibc.org/leaders.

CION camera ready By Carolyn Giardina

AJA president Nick Rashby (left) and founder John Abt with the CION

Production models of the CION — the first digital camera from AJA — are on display at IBC and will soon be available for $8,995. “CION is so multiformat; people are looking at it for all applications,” AJA president Nick Rashby said, noting that this includes IBC keynote speaker Douglas Trumbull, who is developing a 3D, 4K 120fps exhibition system. CION supports 4K and 120fps. In fact, these features

have already been tested by NASCAR and Major League Baseball. At IBC, AJA revealed that its Raw CION camera format will soon be supported in Adobe Premiere Pro CC. Said Rashby: “While CION enables a multitude of ProRes codec choices, and other direct-to-edit workflow options, customers who will want the ultimate in colour range and flexibility may choose to work with AJA Raw files in Adobe Premiere Pro CC.” 7.F11

AFP chooses Quantel for ‘Production Everywhere’ By Carolyn Giardina Agence France-Presse (AFP) has inked a deal with Quantel, which will provide the international news agency with a global news production system thought to be worth several million Euros. Scheduled to go into service in January, the AFP system brings together Quantel Enterprise sQ, QTube and revolutionQ technologies to provide a ‘Production Everywhere’ workflow. AFP typically produces 100 video stories a day, with localised versions for six

different markets, all in TV and web formats, making a total output of around 1,200 unique pieces daily. The new workflow is expected to archive up to 3,000 hours of media every year. A fundamental requirement of the new system is to give users anywhere in the world easy, fast access to all archive media alongside current footage. The system will combine an Enterprise sQ production system at AFP’s Paris headquarters with support for 11 international bureaux and 60-plus roving journalists via Quantel’s QTube technology.

The archive will be handled via Quantel’s revolutionQ software. The workflow also uses Alchemist standards converters from Snell, which Quantel acquired earlier this year. "We knew this was a very challenging project and, having researched some of the manufacturers in the marketplace, the only company that had the technology actually capable of delivering it without a major software development effort was Quantel,” said Philippe Sensi, AFP’s VP of technology. 7.A20

Party time at IBC! It was the first time at IBC for Scottish lighting startup Blind Spot Gear. Blind Spot’s Billy Campbell said, “IBC is by far the most outrageous but well-organised show in the film and TV world.” When asked what was “outrageous” about it, he smiled: “It’s in Amsterdam!” The Cisco team (top) enjoyed a break from a busy day. Cisco’s Bart van Daele said, “It’s been a splendid atmosphere, lots of interested customers and good interaction.” Eastern European delegates (above) unwound at the IBC party. Radoslav Markov of Bulgarian company Orphei said, “We are very excited to be at IBC. It’s where you can see all the new technology in one place!”

Conference Highlights Today at IBC What caught my eye: Digital dividend 08:30, E102

New workflow at MediaCityUK: dock10, the digital media service provider at MediaCityUK, has completed a new workflow around Avid MediaCentral, supporting the ‘Avid Everywhere’ strategy, to expand into the global media production market. The new workflow uses tools from Avid’s Artist Suite, including Media Composer Software and Pro Tools; Media Suite, including Interplay Production and Interplay MAM; and Storage Suite. It covers production and post, through archive and distribution. “With Avid Everywhere, we can greatly extend the reach of our business by collaborating with geographically dispersed teams, all working in realtime on projects housed in our highly resilient, secure, and protected space at MediaCityUK,” said Paul Clennell, CTO of dock10 and founding member of the Avid Customer Association. Pictured: Mark Senior, CEO of dock10 (left) and Tom Cordiner, VP sales international, Avid. – Carolyn Giardina 7.J20

Keynote: Realities of transformation: How BBC Worldwide is adapting to the new media world 10:30, Forum Event cinema - more than just TV on the Big Screen 12:00, Auditorium, FREE SESSION Who owns the audience now? 12:00, Forum Major international sports events, producing for a global audience 14:30, Forum Big Data, hype or reality? 16:30, Forum A new era of compression with high efficiency video coding 16:30, Emerald Room IBC innovation showcase 16:30, E102 theibcdaily 03

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IABM: Challenges ahead Conference Analysis By George Jarrett The IABM’s annual market evaluation was a mixture of rude health and rude shocks. Market value is $40 billion, growing to $45 billion in 2017, but this industry is playing catch-up. Under the banner ‘What future for broadcast technology?’ IABM CEO Peter White produced a mass of stats – the top user spend prediction is multi platform for content delivery, 69% of vendors are in profit, and the big companies take 85% of revenue – being just three of dozens. “The market is quite buoyant, but it is going to change,” he said. “There will be new players coming in and established names going out or being absorbed. We are still spending a lot on innovation and R&D, but

“Quantel and Grass Valley should be partners of Imagine,” said Charlie Vogt (far right)

is that roadmap aligned with market requirements? “If you are not into workflow management, managing assets, and providing that sort of service you are likely to be missing an opportunity,” he added. Price pressure is immense, margins pinched, R&D a risk or at risk, but the IABM’s evolving membership is so indicative of change. “We are not finding many large global members. There are a lot of small companies DutchView’s Michiel van Duijvendijk and EVS CEO Joop Janssen shake on the deal at IBC

coming in that provide IP network services and streaming,” said White. “A lot of the innovation is coming from the smaller players.” Dan Castles, president and CEO of Telestream, can sleep at night because 86% of users want to make ‘best of breed’ purchases. All the consolidation just makes people nervous. “I have been in this industry for 30 years and there has never been this level of vendor and strategy change,” he said.

Kabel Deutschland link Evertz By Michael Burns

First sale for DYVI Live DYVI By Heather McLean EVS company, DYVI Live, has been selected by Netherlandsbased broadcast and production facility companies Dutchview and Infostrada Creative Technology to enable true realtime remote production in Europe. Dutchview and Infostrada Creative Technology specialise in providing integrated media acquisition, post production, broadcast IT and data services to major media companies, including Fox Sports, and have a long-standing relationship with EVS. The deal consists of two modular switcher panels and three IP-based servers from DYVI Live, the developer of what is claimed to be the world’s first fully IT-based production suite. Using industry standard hardware and optimised software, DYVI Live claims that DYVI signals the end of traditional hardware-based 04 theibcdaily

production switchers and opens up broadcast production to a more flexible, IT-based world. Scalable Video Systems (SVS) in Weiterstadt, a company formed by a group of production switcher experts, is the technology developer for the DYVI product line. Explained Peter Bruggink, CTO at Dutchview and Infostrada Creative Technology: “Infostrada Creative Technology started the transition to a full IP-based broadcast platform in 2006. With the acquisition of a DYVI Live production mixer platform and the recent investment in a new full 100 gigabits per second-enabled core network, the company will further expand the capabilities of the highly innovative IP-based production platform of Infostrada Creative Technologies and Dutchview.” DYVI told The IBC Daily that a second customer deal will be announced next week with a large organisation in Belgium. 10.F30

Ray Cross, executive chairman and CEO of Quantel, said: “Everyone is looking to do more for less, and if you help them do that you are going to be successful. The industry is coming of age.” According to Marco Lopez, president of Grass Valley, “customers are seeing a lot of change, and we want to ensure they are future ready. Investment in R&D is critical because the industry is making such an important shift.” Charlie Vogt, CEO of Imagine Communications and Gates Air, added: “This is an industry that’s a decade behind where it should be. A big part of this mess is the way the networks have been designed and built. We are going to see a lot more consolidation. “This industry has got to get to a common protocol, and that’s going to be IP. This is a community and we have to find a way to work better together. Quantel and Grass Valley should be partners of Imagine,” he added.

Kabel Deutschland has chosen Evertz Software Defined Video Network (SDVN), featuring 46Tb/s EXE Video Service Routers. Evertz said the EXE routers would be used to transition Kabel Deutschland’s uncompressed high-quality video routing to a future-proof IP network-based architecture, without compromising quality, reliability or resiliency. The company said that by

deploying two EXE routers along with SMPTE2022-6compliant Evertz high-density 570IP-Gateway/IP encapsulator modules, Kabel Deutschland extends its uncompressed video routing capacities by the factor of 10. The move also bridges the gap between the company’s video and IT-networks as the EXE routing core is completely network based and therefore format-agnostic. It can thus transport uncompressed video streams of multiple current and future standards such as UHD. 8.B40

MPEG software firm is acquired by DTS Digital surround sound company DTS has acquired Manzanita Systems, the developer of MPEG software applications for digital television, video on demand (VoD) and overthe-top (OTT) markets. According to DTS, the acquisition will enable the company to offer greater value to its customers in those markets. “We are committed to growing our business in the network-connected media ecosystem and believe that the acquisition of Manzanita Systems will help DTS further strengthen its position in the space,” said Geir Skaaden, senior vice president of digital content and media solutions, DTS. 2.B50

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

Sparking the Lightbox flame: Spark New Zealand, formerly Telecom NZ, is making use of the Xstream MediaMaker video management platform for the delivery of its new OTT video service Lightbox. Lightbox, a wholly owned subsidiary of Spark, is available as a SVoD service to all New Zealanders no matter what ISP they are using. It offers over 5,000 hours of episodic TV content and can be used across multiple devices, including laptop, desktop, iPad and Airplay on Apple TV. The Xstream MediaMaker and set of RESTFul APIs were key to the creation of the OTT service. Some core features in the OTT solution powered by Xstream MediaMaker includes advanced voucher integration and functionality and advanced parental control. Xstream MediaMaker also provides a transparent workflow management for content ingest, including an OTT loading dock service with screener application which is integrated with Gracenote and Technicolor, asset management, automated and scheduled publishing across devices and subscriber management. Pictured: Mike McMahon, CTO Lightbox and Peter Baungaard Holmelin, CTO Xstream. 14.F15

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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In Brief New LINQ product family is launched Clear-Com has introduced the LINQ product line. LINQ interfaces are compact devices that enable connection of two-wire partyline with call signalling and four wire audio over LAN, WAN or internet IP infrastructures. LINQ is available in twowire (LINQ-2W2) or four-wire (LINQ-4W2) options. The LINQ-2W2 is both Clear-Com and RTS TW compatible. The LINQ-4W2 can interconnect with devices, such as analogue ports of any matrix intercom system, analogue telephone circuits, two-way radio gateways and audio consoles. LINQ uses the OPUS highquality audio codec. The bitrate, bandwidth and delay can be changed without introducing any distortion or discontinuity in the audio. As a low audio latency communication link, LINQ can be used for natural intercom conversation, networked music performances and for audio signals that are transported via different facilities (transmission synchronisation).

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Space-saving server The new Live+ Broadcast Server from Dejero comes in a compact, rack-mounted 1U package, and includes dual redundant power supplies and RAID hard drives for increased reliability when receiving video from fieldbased devices such as the Live+ 20/20 Transmitter, Live+ VSET, Live+ Mobile App, and Live+ NewsBook. “The Live+ Broadcast Server plays a critical role in the Dejero bonded wireless production chain by receiving video transmissions over IP links and then integrating them into the broadcast workflow,” explained Brian Cram, CEO, Dejero. “With the newest version, the server takes up less space in a facility's equipment room or in a mobile production truck where space is even more limited. News crews can save time and money getting live and breaking news on the air by transmitting high-quality video files directly to the Live+ Broadcast Server using our patent-pending bonded wireless technology.”

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Power Station hot to swap Atomos By David Fox Hot-swappable batteries can now be used with almost any type of camera or other portable equipment, in the form of the new Atomos Power Station. “We’ve been watching our customers with 5D Mark IIIs, etc, and they have so much to carry – always stopping and changing batteries. The more professional they become, the more devices they use, powering those devices becomes a big challenge, and this is the answer to that,” said Jeromy Young, CEO and founder of Atomos. “We bring our continuous

power, patented technology into a light, portable and easy to mount unit for any camera, monitor, recorder, lighting or microphone.” It can deliver up to 48W of power, which limits the size of lights or complex camera rigs it can be used with, but for most users this should be more than enough. It can power up to three devices, and has a built-in charger, with DC input, which charges one of the two included 2600mAh NP-size batteries in one hour (or both in two hours). There are also two USB outputs. Available next month, it will cost €219/£179/$295, and weigh about 210g including batteries. 9.D25

Welcome to TalkShow

Power on tap: Young shows off the back and front of the new Power Station

SCTE: Filling a dire need By George Jarrett

NewTek By Carolyn Giardina TalkShow VS-100, has been unveiled at the NewTek booth. With TalkShow, any television or live video producer can reach sources via Skype, which has an estimated 300 million users and incorporate them as guest speakers into live programmes with full-frame Skype video calls. Built on Skype TX software from Microsoft, the TalkShow 1RU system can be used for initiating, receiving, monitoring and managing video calls. It also offers customisable settings for fully colour correcting live video calls (including features for

automatic colour balancing) as well as SDI-embedded audio, and compressor/limiter, equalisation, and adjustable head-room controls for further improving audio quality. It’s designed for use in any production environment, though producers using TalkShow with NewTek’s TriCaster multi-camera video production systems will be able to route Skype video calls directly to and from a TriCaster over a network connection without tying up an additional HD-SDI input. The TalkShow VS-100 model is expected to ship in Q4 and is available to order now at an introductory price of $3,995 (international pricing varies). 7.K11

Remote 4K possibilities Bradley Engineering/ AltaSens By David Fox A compact 4K remote controlled camera has been developed by Bradley Engineering using a new Super 35mm CMOS image sensor from AltaSens, with digital processing by JVC (AltaSens’ sister company). It comes in three versions, but “the fibre back, we think, is going to be the one everyone goes for, because it’s 12Gbps,” said company founder, David Bradley. Using technology from Bluebell Opticom, the fibre back has a range of 10km, whereas the

Quad HD-SDI back has a limit of no more than 10m, and the HDMI 2.0 back less than that, “and for a remote camera, that’s kind of pointless,” he admitted, although they will suit some applications. The 15W (12-15v) camera was built around the Micro Four Thirds lens mount, as he wanted to make sure the camera would have a good choice of affordable lenses of sufficient resolution, and MFT was the best choice (with lots of adaptors available for other mounts). It will include remote zoom and focus, and will work with Bradley’s standard remote control panel. 11.F41

SCTE, the Society for Broadband Professionals, started life in 1945 as The Society of Relay Engineers and has morphed its way through many technology eras to become agnostic with regard to content delivery methods. From radio wireless it saw TV arrive and reach remote homes via four twisted pairs. “About 1952 we decided to become Cable and TV Engineers (SCTE) and that went through several stages,” said president Roger Blakeway. “By the time we had gone through the 80’s with broadband TV being introduced by Margaret Thatcher (Hunt Report), the duopoly review took place and cable operators were allowed to provide switched telephony,” he added. “By 1995, we were all cable operators putting in telephony overlays.” No longer cable TV, the initials stayed the same and the business morphed into cable modems and networks providing pure data. How does SCTE attract members? “We have always held that there is a dire need in this industry,” said Blakeway. “None of the universities or technical colleges teach installation of cable type networks, or even their design. “We saw that was an enormous gap, because those people being trained had no professional career path,” Blakeway added. “There was a need for an infrastructure, and like other learned institutes they

Roger Blakeway: “We saw an enormous gap”

can become Fellows. That is a career structure many technical people would not get any other way.” SCTE is seeking nominations for its 2015 individual and technological innovation awards, which recognise success in the broadband industry. These start with the Technician of the Year, the Richard Harris Member of the Year Award and the Tom Hall Award. The other awards, plus one for winner of the best overall submission, are for Best Broadband Network Transmission Solution, Best CPE Solution, and Best Digital Processing Solution. The awards ceremony will take place at SCTE's 70th anniversary dinner on 27 June, 2015 at The Tower of London. 8.F51e

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Q&A with IBC CEO Michael Crimp True TV What are your expectations for this year’s event in terms of numbers and the demographic of attendees? Last year, IBC was able to welcome 52,974 attendees, and while we are lucky in that for many of our attendees IBC is a firm fixture on their calendar, we never take that for granted. We listen to our attendees and we research the wider market, and this feedback drives us to constantly evolve and add new features. This year sees the debut of IBC Content Everywhere Europe, a focal point for the high profile and disruptive nature of IP connectivity and the second screen. As part of this, you will also see a brand new Feature Area, IBC Content Everywhere Cloud Solutions, which focuses on the impact of increasing amounts of content production processes and delivery being virtualised on remote servers and controlled by software. The implications of this will be profound. I would expect these

successfully adapting and generating new revenue streams.

Michael Crimp: “We listen to our attendees and we research the wider market, and this feedback drives us to constantly evolve and add new features”

initiatives to prove highly popular and help us bring in a new audience to the show. How well do you feel the traditional broadcast sector is applying itself to the changing landscape brought on by IP connectivity? Over the past 18 months the sector has seen considerable M&A activity and we can expect further consolidation. In some

respects this is simply a sign of a maturing industry and increasingly commoditised technology. The switch to IP and IT infrastructure is fundamental to change in the industry and I think that at IBC you will not only see the participation of many newer players to the broadcast market, but plenty of vibrant innovation from so-called traditional developers and service providers who are

How do you think IBC will reflect the industry in 2020? Where we once had the content is king mantra, we now have content everywhere. There is an unstoppable logic behind the demand consumers have to be able to watch what they want when they want on what they want and the march of technologies to enable this. What is increasingly apparent and visible around IBC is that the momentum does not stop there. Personal, wearable computers and sensors connected to everyday items from cars to temperature controls are creating vast amounts of data that will some day run our lives. The nexus of this Internet of Things is the home and the logical place for it is the giant-size Ultra HD screen in the living room. The potential is vast and is already being eyed by vendors and media organisations.

Night Weekender – Hosted By Makam

FIFA scores with IBC Judges

Especially for the committed clubbers,Trouw opens its doors for a marathon session this weekend. On Saturday, Berghain’s Ryan Elliott and a list of local jocks – including Benny Rodrigues and Boris Werner – play their favourite techno jams. Headlining on Sunday is Moscow’s fashionista-cumunderground electro DJ Nina Kraviz with additional four/four joy coming from Steve Rachmad, Clone Records boss Serge, Awanto 3, William Kouam Djoko and curator Makam. Saturday 13 and Sunday 14 September,Trouw, from 23:00 on Saturday. For more information, visit Iamsterdam.com.

The Judges’ Prize – one of IBC’s biggest awards – will this year go to FIFA TV for its coverage of 2014’s World Cup in Brazil. It will be presented during the IBC Awards Ceremony which takes place tomorrow night, in the Auditorium at 18:30. All IBC attendees are invited to this free event. The 2014 FIFA World Cup in Brazil was hailed as both a sporting and a media success. It is estimated that close to a billion people worldwide watched the final between Argentina and Germany. This year the coverage included many innovations, including a remarkable multi-platform service, which gave viewers the option to

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look at alternative camera angles, direct their own slow motion replays, and collect statistics and additional information. All matches were, of course, covered in HD, with 34 cameras at each stadium. Some games were also shot in 4K Ultra HD and 8K Super HiVision. Some of the 4K footage will be seen at the IBC Awards Ceremony tomorrow. The award will be received on stage by Niclas Ericson, FIFA’s director of television. He said: “The global football audience is always hungry for more – for more cameras, for more detail, for more replays and for more analysis. In Brazil this year we worked together with our partners to provide

more engaging multi-platform content and to develop the language to cover football in high-resolution formats. It was an exhilarating team effort, and I am proud to recognise all those who contributed.” Ericson will be joined on stage by representatives of 14 partner organisations, led by HBS, the host broadcast organisation. Alongside them will be Sony, NHK, Telegenic, EVS, Deltatre, Eutelsat, Globosat, Eurovision, Netco, Fraunhofer Heinrich Hertz Institute, Boxframe, Dolby and Fujinon. The IBC2014 Awards Ceremony starts at 18:30 tomorrow night in the Auditorium. Seats are free to all IBC attendees.

Anywhere Ericsson

By Ian McMurray Describing it as the realisation of its vision for the future of clouddriven TV experiences where TV is on any device and the experience evolves with the consumer, Ericsson has announced MediaFirst. At the core of Ericsson MediaFirst is the Ericsson MediaFirst TV Platform, a software-defined, mediaoptimised platform for the creation, management and delivery of next generation Pay TV. The new end-to-end cloudbased platform is said to embrace all content sources and delivery networks, equipping operators to deliver what Ericsson describes as the most cutting-edge large scale video services to the billions of devices forecast to be connected by 2020. The platform is offered as a software as a service and will be generally available in Q2 2015. The Ericsson MediaFirst TV Platform is based on an open and standards-based approach and architected to be cloud-agnostic, enabling delivery on public and OpenStack private clouds. Key features include what Ericsson calls ‘True TV Anywhere’, in which the Ericsson MediaFirst TV Platform brings together the best of traditional pay TV and over-the-top content with the same user experience across all devices. Users can create their own profiles or share user profiles with other household members and receive tailored recommendations and content feeds based on data, including viewing history and trending content. Through personal device recognition, the TV recognises the viewer’s device and dynamically customises the experience. 1.D61

Join the movement Let’s reinvent our industry together. We have an opportunity to bring more people together. Creators and consumers. Professionals with global collaborators. Media companies with new markets. When we do, we can shape not only how people create and share stories—but how creatives and media companies build sustainable businesses. This is the heart of Avid Everywhere—our vision for the future of our industry. And we want to help bring it to life with you. Let’s get started. Visit us at Hall 7, Stand J20

Join the Avid Customer Association avidcustomerassociation.com

© 2014 Avid Technology, Inc. All rights reserved. Promotions and discounts are subject to availability and change without notice. Product features, speciﬁcations, system requirements and availability are subject to change without notice. Avid,Avid Everywhere, and the Avid logo are trademarks or registered trademarks of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries. All other trademarks are the property of their respective owners.

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Shifting Gears: BBC Worldwide’s media transformation strategy Conference Today By Chris Forrester How does the leader of a traditional media business go about devising a vision and strategy that will equip and safeguard it for the future? A plan that takes account of new distribution, new formats, and new entrants – be they new partners, new competitors, or both? BBC Worldwide, by any measure, is a broadcasting powerhouse although not without its critics. CEO and Director Global, Tim Davie, unveiled his vision for the future of the BBC’s commercial arm in October 2013. The threepronged plan involved increased investment in premium content; the launch of new channel brands; and a radical rethink of

its digital operations aimed at delivering scale and competitive advantage over new digital entrants. The past year or so has seen some unashamed ‘u-turns’ and a tightening of BBC-WW’s focus under Davie. In this Keynote, moderated by The IBC Daily’s Kate Bulkley, Davie will explain how the plan is delivering returns in the seven geographic markets in which it operates – returns that benefit not only the BBC, but also independent producers, and viewers in the UK. He will explain the challenges that faced BBC Worldwide and how they were overcome, and how the strategy is transforming the business. This important Keynote also sets the agenda for the third day of IBC2014 in which we examine the potential impact of new entrants on established players, and explore how they are responding.

Today 10.30-11.30 Forum

Tim Davie: Digital strategies to combat OTT

Touch, Connect and Win at IBC If you are one of the lucky 10,000 IBC Content Everywhere Touch & Connect Club Members, and have one of our Touch & Connect Devices, you could be in to win amazing prizes. Touch & Connect is your key to additional information and to the remarkable IBC Content Everywhere portal and its networking opportunities. You can continue to debate the issues, and utilise information and contacts collected, inside this special community of interest long after you have gone home from IBC. As well as connecting you to

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like-minded people and great sources of information, your Touch & Connect device could also win you several prizes. First, just by wearing your IBC Content Everywhere Europe lanyard and device around IBC2014 you could be spotted by one of our hostesses. They can hand out spot prizes, from jelly beans to conference passes, to lucky visitors. And at the end of each day, all those prize winners go into a draw to win a PlayStation Vita or a Nintendo 3DS XL. Downloading exhibitor information and connecting with

other users will build up points in your account, and each day the top points scorer will win an iPad Mini. One Touch & Connect registrant will have, unknowingly, a device with special prize powers, and one person who connects with the secret ‘Golden’

device will win an iPad Mini or PlayStation Vita. Finally, when the time comes to leave IBC, ensure you drop your Touch & Connect device into one of the collection bins near the exits. These will be synced for you, and one will be drawn at the end of IBC, and the

lucky owner will win a MacBook Air!! Each daily winner will be announced on the IBC Content Everywhere Portal – log in to see if you have won one of these fun prizes. To log in to the portal, visit www.ibcCE.org/portal.

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Rising to the Top

The IBC Rising Stars initiative brings the brightest and best to IBC

To face the challenges of the multi-platform, multi-format, multi-content future, this industry needs to attract the best creative, technical and commercial talent. IBC plays its part through the IBC Rising Stars programme. This free initiative brings the brightest and the best to IBC. Students, graduates and new entrants to the industry have a tailored programme to help them understand the structure of the industry. The presentations will help them see where their talents can best be employed, and the networking opportunities help them get their foot in the door. Those chosen from the programme come from a wide geographical area, so they have plenty of experiences and understanding to share with each other. On top of that the programme includes networking opportunities with many of the influential people

who support the IBC Rising Stars programme. Delegates in the scheme have passes to key conference sessions. IBC2013 Rising Stars Tom Wilkinson and Hannah Madsen said, “being able to go to some of the conference sessions for free was amazing.” The two-day programme includes special sessions aimed at newcomers to the industry, including how best to present skills and experience to attract an employer. There is also an IBC Rising Stars party night, with all the participants enjoying the Amsterdam nightlife. IBC is the window on the world of electronic media and entertainment. Through Rising Stars, IBC ensures the next generation of talent is drawn in. To find out more, go to the Forum or visit www.ibc.org/risingstars.

Opinion

Delivering HD to 8K with IP Move towards a fully IP/Ethernet infrastructure and take on the 4K and 8K challenge at reasonable cost urges Gaël Rouvroy, chief technology officer, IntoPIX UHD data rates get astronomical for uncompressed formats. A 4K video stream Baseband requires 11 880 Mbps, which is eight times the bandwidth needed for an HD video stream Baseband (1485 Mbps). The first and expensive way to take on this challenge is to get more bandwidth over the network infrastructure (from 10G, to 40G to 100G,…) or more SDI cables within the studios and broadcast facilities. But this is not cost effective, appropriate and scalable.10GbE ports, 3GSDI are commonly available, deployed and affordable today and will continue to be massively deployed in the near future. To answer the strong desire to manage UHD 4K and UHD 8K content in a practical and cost effective way on this existing infrastructure, a high quality HD/UHDTV

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mezzanine compression is needed. JPEG2000 is a perfect mezzanine compression. Following the VSF Technical recommendations, broadcasters are using JPEG2000 wrapped in MPEG2-TS over SMPTE2022 1/2 for contribution for its low latency, visually lossless quality and robustness. The codec implemented in FPGA offers huge interest as it supports multiple bit depth, frame rate and resolutions. TICO is a new technology and is based on a marketdriven research for lightweight compression. It aims to enable a mezzanine 4K/8K workflow from 2:1 to 4:1 compression with no effect on quality and latency: it is visually lossless with only few pixel lines of latency. TICO makes it possible to map 4K over a single 3G-SDI, or 10GbE link: it offers a smart infrastructure upgrade to 4K at an equivalent price

and complexity than existing baseband HD operations. With its pixel-lines-basedlatency, it is easy to combine TICO with SMPTE2022 5/6 or Ethernet-AVB. Combination of a visually lossless and ultra-low latency mezzanine compression with future proof transmission protocols such as SMPTE2022 and EthernetAVB over 10G infrastructure are the keys to bring about a cost effective solution that address the 4K and 8K challenge. The industry is moving on to what is sure to be one of the biggest technology trends over the next five plus years. intoPIX compression technologies combined with SMPTE2022 or Ethernet-AVB on FPGA are great examples of how we are pushing the boundaries and contributing towards the move to full IP infrastructure supporting HD but also 4K and 8K. 10.D31

theibcdaily Your portal to the future

Visions of future broadcasting By Professor David Crawford, IBC conference executive producer The IBC Future Zone has become a jewel in the crown of the IBC Show. It is a fantastic collection of the latest cuttingedge projects and prototypes from leading R&D labs around the world, brought together into a single exhibition area in the Park Foyer, next to Hall 8. In selecting exhibits for the IBC Future Zone, we try to select ideas and technologies from all sizes of companies – from large multi-national organisations to the smallest start-ups – and we start from the premise that the craziest proposals may well be the best. There are only really four guidelines for the selection committee: The exhibit must be interesting, innovative and valid

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It must not be a product that is already on the market – these can be shown on company stands in the other exhibition halls It should consist of a practical demonstration, with hands-on interaction where possible Its presentation should have a ‘wow-factor’ (measurable on the Richter Scale), to encourage passing visitors to stop and discover more. This year’s IBC Future Zone exhibitors are truly international, with representatives from a number of Japanese technology initiatives in both broadcasting and communications, MPEG and European collaborative projects, Chinese broadcast science projects, North American industry developments and Korean media research. There are incredible exhibits from some of

the major players at the forefront of our industry, like NHK, BBC, Cisco and VRT. The practical demonstrations on the stands in the IBC Future Zone include: personalisation and enhancement of the viewer experience; highlights of the FIFA World Cup in 8K at 120fps; 4K Cloud services; future digital radio broadcasting; a day in our future ‘Connected Life’; new technologies for AV archive restoration; ‘smart’ convergent media; 360° viewable 3D displays and more. The IBC Future Zone is a portal to view our future directions, rather than just a glimpse of the future!

It is also home to IBC Posters. These are the highly respected, rigorously peer-reviewed ideas chosen by the IBC Technical Papers Committee for their relevance to the subjects of IBC’s Conference Programme and their ability to startle your imagination. The Posters are displayed as two A0-size ‘snapshots’ of innovation, and this year we have created a great new viewing area with more of a modern ‘art gallery’ presentation style. This will enable visitors to view the displays more conveniently, and engage with the Poster authors in more open and attractive surroundings. We are especially pleased to

have attracted Poster presentations for IBC2014 from many different countries around the world. The fascinating topics of international research that are being presented by the authors, from both industry and academia include: UHDTV-IP; HEVC in the studio; Perception of 3D audio; CGI and editing for 3D images; Crowd-sourced music; DTV mobile surveillance; Object-oriented storytelling; Visual quality metrics; 4K broadcast on a budget; Adaptive bitrates and cloudbased architectures for multimedia and more. The Future Zone is open to all, throughout the IBC Show.

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theibcdaily Remote control: The latest model of the DYVI IT-based switcher

Q&A IT-based production switcher evolves Dyvi Live By Andy Stout Some interesting remote live production capabilities are being showcased by Dyvi Live during IBC, including realtime collaborative production between the RAI and an offsite studio located in Hilversum. The company is presenting the latest evolution of what it bills as the world’s first fully ITbased production switcher. The eponymously named DYVI features industry-standard hardware and optimised software, which the company says gives operators more scope for better creativity and access to more processing power and collaborative, remote operations in realtime – from anywhere to anywhere.

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Furthermore the DYVI switcher panel has been designed to offer a top end range of advanced and creative options, such as an unlimited numbers of layers, multiple keyers, real 3D and a flexible panel set-up. But it’s the ‘from anywhere to anywhere’ capabilities that will be attracting the most attention as remote workflows rise up the industry agenda. An integrated DYVI production system in Hall 10 at the RAI will be connected to an offsite DutchView studio located in Hilversum — naturally equipped with a similar DYVI production toolset — to demonstrate how the two locations can review and control media in realtime. Connectivity will be provided via a 10Gbps connection between the two cities. 10.F30

Ben Davenport, director of marketing, Dalet Has IBC come at a good time for the electronic media industry? Why? NAB was all about mergers, acquisitions and restructuring. Five months later, IBC is the ideal opportunity for visitors to see what benefits those transactions are bringing to their business. Having acquired AmberFin at NAB, we’re excited to show the enhancements AmberFin brings to MAM-driven workflows through our Dalet Galaxy platform, as well as new developments within Dalet AmberFin products. What do you think are the key developments in, or threats to, your market sector at the current

time? Dalet offers a broad range of solutions and applications to different areas of the media and entertainment business, but across all of these, there is a common theme – doing more for less. The best way to do this is through the exploitation of key technical and descriptive metadata to drive smart, well-integrated workflows, utilising the best IT practices and commodity hardware. Why should delegates visit your stand at IBC? The Dalet theatre plays host to a number of fascinating talks and presentations from broadcasters, media facilities and Dalet partners alongside educational

sessions with Bruce Devlin aka 'Mr MXF.' We also have 10 feature-packed demo stations on the stand showing everything from Dalet Brio, a compact, highdensity, integrated video server, to News Pack, a complete packaged, turnkey newsroom system. 8.B77

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Perfect Pi: An IBC world first Spacious: The second production and slomo area in Aret’s AR-6 14m OB trailer

All change for OB expansion Aret video and audio engineering By David Fox Aret’s latest demonstration outside broadcast vehicle, the AR-6, is the result of more than 400 changes to improve its space, robustness, safety, ease of operation, time to operation, heat and acoustic insulation, ergonomics, easy maintenance and delivery time. The OB unit on show in the Outside Exhibit area is a 14m long double expandable trailer that is suitable for major

productions, such as premier league football. It has also been designed to be used in very hot countries, which is important, as Aret has just signed a contract for a major Middle East customer to provide a large OB trailer equipped with 16 cameras, one grip truck and two integration vans. Aret claims to be the only broadcast systems integrator that incorporates its own coach-building department. OE103

IBC Big Screen Tonight you have the chance to see one of the greatest movies of recent years: Ang Lee’s remarkable Life of Pi. Better, you can see it in the greatest cinema experience yet created. Best, the screening is free to all IBC attendees. For the first time, anywhere in the world, tonight’s audience will see a full-length feature film using the high brightness, 14 foot Lambert, Christie 6P 2D and 3D. The sound is remarkable, too, as the IBC Big Screen Experience is also fitted out with Dolby Atmos immersive audio. This impressive installation has been built by the IBC Technical team, with the generous support of Christie,

Dolby Labs and QSC. Tonight will be a world first. Life of Pi won four Oscars in 2013, including best visual effects and best music, as well as best cinematography for Claudio Miranda and best direction for Ang Lee. Leading American critic Roger Ebert said “Ang Lee’s Life of Pi is a miraculous achievement of storytelling, and a landmark of visual mastery”.

subject matter can be discovered. Matrox has been offering technology that promotes content delivery via traditional channels for decades. For the last few years we have been complementing this technology with products for new media delivery. For an increasingly important segment of the viewing public, both mediums are embraced, sometimes at the same time. Our live web streaming appliances are being used in markets and applications that our broadcast equipment never

reached. Our technology had long touched some of the most widely viewed content in the world but it is now also found in classrooms, basement studios, halls, theatres, gyms, research labs, houses of worship, law courts and sports venues. A viewing audience has never been so easy to reach. It is through this evolving experience that we see our industry. More people and organisations than ever now have a voice. IBC is an ideal place to learn how best to project that voice, how best to reach your particular audience.

Tonight you have the chance to see it with a clarity never before experienced, in this very special screening thanks to the generosity of 20th Century Fox. Doors open in the IBC Big Screen at 18:15 located in the Auditorium, this screening is free to attend and is sure to be popular, so arrive early. To view the full IBC Big Screen Experience schedule, visit www.ibc.org/bigscreen.

Opinion

Content for you The broadcast business is more diversified than ever and even has a new adage says Daniel Maloney, technical marketing manager, Matrox 'Content is King' continues to be the most basic tenet on which a video professional hangs their hat. When broadcast was the only medium for video content delivery it needed two principal qualities – good production values and mass appeal. The introduction of cable and satellite reinforced this tenet substantially. Content could be themed, making it easier to find a home, but high distribution costs still necessitated some mass appeal for it to be considered viable for broadcast. In the age of Web 2.0, where internet bandwidth and download caps are no longer a factor for many consumers, content aggregators may be on the verge of living by a second adage – 'Content for you.'

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Content with very specific themes, appealing to very narrow yet dedicated audiences can be offered on a shoestring budget. With web broadcasting, distribution costs shrink immensely, and potential viewers are worldwide. This provides an excellent opportunity for creators and producers to conceive of whole new classes of content, appealing to smaller, geographically and culturally diverse audiences. Mass appeal can take a back seat to targeted appeal and narrative. Content need only be compelling to a subset of consumers. In this environment, from modest beginnings, the next big ideas may be incubated, experimented with and perfected. New talent and fresh

Delegates attending IBC are more diverse than ever before. The ranks of video professionals are expanding as all aspect of video technology become more accessible. There are many people walking the floor and attending conferences with questions about how to adapt their business to the latest technological and commercial realties. Each will find their own answers, or at least many options, and it is these many options that fuel the vibrancy of our industry. 7.B29

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Opinion

Always responsive to pressure Serge Van Herck, CEO, Newtec, comments on high throughput satellite and multiservice platforms Our customers are constantly seeking new innovations to improve service quality and network efficiency. The pressure is on us to provide reliable and highly efficient solutions. In the satellite broadcast industry, for example, we knew that as the industry moves from SD to HD and to Ultra HD (UHD) television, and the demand for more bandwidth technology increases, we had to develop new technologies to bring more bits per hertz. Consequently, we teamed up with DVB to help create a new satellite transmission standard, DVB-S2X, to enable reduced costs and increased speeds for operators, as well as new services and higher transmission efficiency for both the broadcast and VSAT industries. As demand for new satellite services, such as Direct-ToHome (DTH) UHD 4K broadcasting, grows, DVB-S2X will become an instrumental enabler. We have demonstrated transmissions to DTH terminals and the transmission scheme

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showed up to a 20% throughput gain, using an unaltered regular geostationary satellite transponder. We have also recently launched another new return transmission technology. Eliminating the headache of choosing between SCPC and MF-TDMA return technologies, our solution, Mx-DMA or CrossDimensional Multiple Access, combines the best qualities of both. On top of improved efficiency, Mx-DMA also enhances the signal availability, helping our customers further improve their service quality. The rise of High Throughput Satellite (HTS - be it Ka, Ku or C-band) is undoubtedly a blessing, creating a new momentum that enables our data customers to offer telecommunication services, in most cases, at a much lower cost. This is key when competing with alternative terrestrial solutions. The introduction of HTS has also had a major impact on the satellite industryâ&#x20AC;&#x2122;s business model and value chain. The first

US HTS were launched by technology companies that gradually became fully vertically integrated; they operate their own telecom services on their own satellites. This has had a profound impact on the profitability and viability of other service providers and satellite operators who used to be their customers and suppliers. Meanwhile, we start to see a new trend where the 'traditional' satellite operators launch their own HTS on which they sell 'MHz capacity'. Iâ&#x20AC;&#x2122;m convinced this trend will expand further, generating strong business opportunities for technology companies like Newtec. IBC sees the European launch of our new multiservice platform, Newtec Dialog. There is a constant shift in which applications are being used more and which are being used less. Broadcasting services will always remain key but, looking past that, we have seen trunking applications over satellite decrease due to more fibre roll-outs. Fortunately,

V-lock and load: Beillenâ&#x20AC;&#x2122;s new high-load BL-BP155HC Li-Ion battery, with LCD readout

consumer broadband, mobile backhauling, oil and gas and mobility applications on land, sea and air represent a major growth opportunity. Our new multiservice platform, Newtec Dialog, allows service providers to build and adapt their infrastructure easily as their business and the satellite market grows and changes. Its flexibility means it can support any type of application, from consumer and enterprise VSAT, to broadcast and mobile backhauling, all from one platform and with the most efficient modulation and bandwidth allocation. Newtec Dialog supports several return channel technologies, including our new Mx-DMA. 1.A49

Mighty mobile power ranges Beillen Battery Jiade Energy Technology By David Fox Two new ranges of lithiumion battery with USB output for charging mobile phones and tablets have been introduced by Beillen. The NE and NC series of batteries and the high-load HE and HC batteries both have the USB port and come in V-mount and Anton/Bauer versions. The NE and HE models have an LED power check indicator (with five LEDs for time remaining capacity), while the NC and HC batteries have a small LCD screen that precisely displays the remaining capacity, charge period, etc. The NE/NC range comes in four power capacities: 95Wh (weighing 760g), 160Wh (1120g), 190Wh (1120g) and 230Wh (1320g), with a standard power tap connector to power a camera light directly. They use nickel sheet in the construction (to connect the cell and PCM), which is unusual for routine production but has the advantage of minimising the voltage drop. There are also four capacities in the 14.8v HE/HC range: 93Wh, 155Wh, 185Wh and 255Wh (each at the same weights as the respective versions in the NE/NC range). They offer a maximum load of 180W, 15A. 11.B52

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Q&A Dean Wales, head of marketing & PR, Screen Systems Ostapiuk: ‘Intelsat has delivered many of Latin America’s most exciting sporting events’

Bringing football to the new world Intelsat By Ian McMurray Televisa, TV Azteca, OTI, Univision, DIRECTV Latin America, TV Globo, ESPN Brazil, Fox Brasil, Megavision, Andina de Radiodifusion, Globecast, Overon America, Canal 13, Arsat TVN Chile, FF Work, Softbank for TV Asahi and British Media Communications for the BBC…these were among the leading news and sports programmers to use Intelsat’s global satellite services and IntelsatOne terrestrial network to televise the 2014 World Cup. Intelsat’s global satellite fleet supported contribution services within Brazil and distribution of the world feed to the Americas. Intelsat also supported the contribution, distribution and fibre back-up demands of sports and news organisations in the Americas, Europe, Asia and Africa on an ad-hoc basis using Intelsat’s occasional use service pool. The satellite services provided complemented existing full-time capacity arrangements used by sports and news organisations for news coverage emanating from the region, with programmers committing to approximately 500 MHz of capacity reserved on seven satellites for full-time services for the duration of the games, which were used to distribute the World Cup matches throughout the Americas and Europe.

“Intelsat excels at bringing the world together to share in some of the most exciting moments in modern history,” said Peter Ostapiuk, Intelsat’s vice president, media product management (pictured). “From the 1968 Olympics in Mexico to the 2014 World Cup in Brazil, the Intelsat network has delivered many of Latin America’s most exciting sporting events to the rest of the world.” 1.C71

Has IBC come at a good time for the electronic media industry? Why? We think it has, yes. We’ve all noted the major progressive changes in the industry such as the 4K explosion. What we as a technology innovator find most interesting about the current market however and what we believe to be more of an opportunity for consumers and vendors alike at IBC is the current seismic shift towards OTT and second screen content in parallel with conventional broadcast. What do you think are the key developments in, or threats to, your market sector at the current time? Enhancing OTT. Bringing a sustained high standard to accessibility services for OTT and web content and streamlining the deployment of such services. Content watched away from the TV will continue to grow, further fragmenting the technology used to view programming. A core aim of Screen’s is to

increase the provision of broadcast quality, OTT subtitling through a technology/player agnostic solution thus minimising extra work required and simplifying delivery. Why should delegates visit your stand at IBC? Screen is very well known in the industry for its subtitling transmission solutions and subtitle preparation software but we’ve scaled and

extended our technology to provide new services. Spoken subtitles (including digitised Audio Description) and intelligent script extraction for subtitle preparation are all available to view on our stand. OTT/web subtitling including ‘live’ and a solution for the management and simple deployment of HbbTV services are being demonstrated. 1.C49

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Opinion

RF peace of mind Satellite teleport performance issues concerning bandwidth and signal integrity are critical says Andrew Bond, sales director, ETL Systems With the steady growth rate in satellite industry revenues, the main drivers for ETL Systems are the increase in high throughput satellites (HTS), the increased HDTV in channels which require more bandwidth use and new higher frequency satellites such as the Ka-band fleet. We are currently working on a number of projects where both slope compensation and variable gain are required within high gain amplifiers in order to deliver the new Ka-band signals up to 2.5GHz. These drivers reflect the growing uptake of new technologies for

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consumer services in both the IPTV and handheld telecoms market, where streaming content is becoming more prolific. ETLâ&#x20AC;&#x2122;s fleet of RF distribution products continues to provide satellite teleports with high quality, high reliability solutions that can deliver the best signal for onward distribution to IRDs and decoders. Our customers design ultrareliable downlink and uplink RF distribution networks that provide peace of mind and 24/7 operations. ETL has therefore seen a huge increase in demand by our customers

for fully redundant RF equipment with enhanced monitoring facilities. The Brazil World Cup is a good example where ETL L-band matrices and splitters were used to distribute signals around the world to millions of customers. Reliable revenue generation is the key. As satellite teleports expand, in order to deliver new services, performance issues concerning bandwidth and signal integrity are critical. We are seeing growing requirements for short distance RF over fibre as it can transport RF signals over tens of kilometres without any

noticeable signal loss or phase distortion. ETLâ&#x20AC;&#x2122;s StingRay range of RF over fibre products solves the issue of long coax cable

runs and we are very excited to demonstrate it at this yearâ&#x20AC;&#x2122;s IBC show. 1.A33

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Opinion Systems integration for global market Peter Thomsen, deputy managing director, Danmon Systems Group, explains the company's rebranding and the background to recent international projects The past year has proved one of the busiest we have experienced in over three decades of supplying broadcast-related consultancy, systems and services. A key reason was our ambition to become a globally active group rather than concentrating totally on our Scandinavian base territories. The first step in this strategy was the acquisition of UKbased ATG Broadcast in September 2006. This was a merger that helped both parties, given ATG Broadcast's substantial presence in the UK, mainland Europe and the Asia Pacific region. More recently we have formed divisions in Asia (Danmon Asia Ltd, based in

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Hanoi), the Middle East (ATG Middle East, based at Dubai Media City) and Spain (Datos Media Technologies S.A, based in Madrid). We also have a close working relationship with our sister companies within the Dan Technologies group including the satcom systems specialist Hiltron GmbH in Germany and various Danmon partners across Scandinavia. To emphasise the integration and tidy up the labeling, ATG Broadcast officially rebranded ATG Danmon as of this IBC. This acknowledges the company's geographic base, just north of London, but will certainly not restrict its international capabilities. Amidst all the IBC-related talk about acquisition formats,

delivery channels, OTT, mobile reception and so on is the most important ingredient: good programmes. Without these, people stop watching television at home and listening to radio in their cars. The many flavours of catchup TV on the web have their place but are no substitute for professionally produced live reporting, well-researched documentaries and creative drama. Much of our activity is centred on designing and building the facilities to sustain this core of the entire television business. Among many successful projects since IBC2013, we have completed a green-field complex for LĂ o Cai Radio & Television, Vietnam. The

facilities provided include a studio stage with a multi-tiered auditorium, a news studio, a multi-function studio, news production control suite, post production suites and a continuity suite. Built around a full high definition core, the station can handle any signal format and any aspect ratio. The facilities we provided include dedicated outputs for terrestrial and satellite delivery as well as streaming both via video-overIP and to mobile viewing platforms. The new broadcast centre is equipped for live production as well as file-based editing, archiving and playout. We recently commenced work on a major contract to build a high-profile production facility in London for a major Middle-East-based news channel. This is a total newbuild which is scheduled to go on air just a few weeks from now. The project is being completed in co-operation with our ATG Danmon UK colleagues and will be a real

showpiece of modern filebased production, contentmanagement and playout technology. In Greenland, we have completed relocation of state broadcaster KNR's entire facility to new buildings. This project was managed in two phases over nine weeks and carefully co-ordinated to ensure that transmissions could continue as normal throughout. Working in partnership with Danmon Systems Group in its systems integration role allows new ideas to be implemented as real systems quickly and coherently. Come see us at IBC. We are happy to help. 8.B51

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Debut for Dialog Newtec By Ian McMurray Described as a scalable and flexible multiservice platform that

allows operators to build and adapt their infrastructure easily as their business and the satellite market grows and changes, Newtec Dialog receives its European launch at IBC2014.

“The Newtec Dialog platform is designed to be used for every type of network, from the very smallest, to the very largest, and from single coverage to multispot High Throughput Satellite networks,” said Serge Van Herck, CEO of Newtec. Newtec says that Dialog is designed to give operators optimal modulation and

bandwidth allocation regardless of the application it is being used for. Newtec’s engineers have achieved this, according to the company, by inventing a new patented return link technology called Mx-DMA or CrossDimensional Multiple Access. Together with the new HighResCoding, it is said to combine the best of both

worlds, incorporating the best features of MF-TDMA and SCPC technologies and enabling services to run more efficiently than ever before over satellite — all while still providing the option to have the platform also run in either SCPC or MFTDMA. For dedicated capacity services, Newtec says that MxDMA typically brings two attractive options when compared to SCPC: save more than 35% bandwidth, or serve 54% more customers with the same bandwidth. Newtec Dialog supports multiple satellites, multiple frequency bands, and regular and spot beam satellites. It is said to be scalable from five to hundreds of thousands of terminals. Featuring what Newtec says is highly efficient DVB-S2 ACM and Clean Channel Technology in the forward link, the new product provides hierarchical QoS management with seven classes, advanced network management system capabilities, both GUI and API, including VNO support. Satlink Manager is provided for satellite resource allocation, reservation and automated link setup or teardown 1.A49

EBU takes 700 Kyrion encoders ATEME The European Broadcasting Union (EBU) has taken delivery of a total of 700 Kyrion encoders from broadcast video compression solutions company ATEME. The EBU’s global video network carried all 64 World Cup 2014 matches in HD, with the round of 16, quarter final and final also carried live in 4K resolution. “ATEME is our encoder manufacturer of choice, most notably for the World Cup,” said Paolo Pusterla, head of procurement and network partnerships, EBU. “We are delighted to work further with ATEME to produce the live transmissions of the FIFA World Cup.” 1.D71

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theibcdaily Winter is coming: Deutsche Glassfaser was announced as the first user of 24i’s Smart Operator solution

ControlCenter-Digital matrix unites extenders, switches Guntermann & Drunck

TV apps for all screens

By Ian McMurray Uniting all the functions of KVM extenders and KVM switches as well as monitoring and management functions in one system, the ControlCenter-Digital (CCD) digital KVM matrix from Guntermann & Drunck enables access to all computers independently from any network or operating system whether in TV or broadcast stations, post production, video editing, control rooms, studios, technical operating rooms, desk workplaces or server rooms. And: when using optical fibre, says G&D, users are able to access their computers in a 1:1 connection even over distances up to 10,000 metres. The ControlCenter-Digital matrix also provides

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24i By Monica Heck

numerous variants of user modules and console modules. Connected in any combination, these modules are ready to adapt to any individual requirements, G&D says: thus, combining and transmitting signals like VGA, DVI, DisplayPort, optical fibre, CAT, USB, RS232, audio or PS/2 has never been easier. For the first time at this year’s IBC, G&D is presenting

Well connected: KVM systems can gives users access to computing resources 10,000 metres away

modules to transmit DisplayPort signals in high resolutions using the matrix. The components enable resolutions up to 2560 x 1600 @ 60Hz and even Ultra HD resolutions up to 3840 x 2160p at a reduced refresh rate of 30Hz. 4.B60

A first time exhibitor at IBC, Amsterdam-based app developer 24i creates TV apps from the first concept to deployment and maintenance, for any screen: smart TVs, STBs, game consoles, tablets and mobiles. During the show, 24i is showcasing its portfolio of TV apps created for international customers like RTL, Pathé, Nubeox, FOX Sports and many others. The 24i TV apps come in three product lines. Smart Apps are fully custom-built applications for broadcasters and media companies to

distribute to all major TV platforms. The Smart Builder is a template-based app engine allowing content providers to easily access and manage the connected TV marketspace at competitive cost. Finally, the Smart Operator is 24i’s TV Everywhere solution, which launched at the show introducing Deutsche Glasfaser as its launching customer. The Smart Operator offers a unified interface for OTT platforms on all devices. 24i operates worldwide with offices in Amsterdam, Barcelona, Los Angeles and Buenos Aires. Remaining true to its roots however, the company is running a daily happy hour, with traditional Dutch bitterballs at 16:00. 14.L05

theibcdaily

Opinion

Automation in a virtual environment Simply taking legacy systems and re-hosting them within a virtual environment won't work argues Tom Gittins, sales director, Pebble Beach Systems Computer and storage clouds promise to supplement and ultimately replace todayâ&#x20AC;&#x2122;s media factories, but for these implementations to be truly beneficial, the applications and solutions they deploy must be designed for the virtual environment and offer maximum flexibility and control. Playout automation touches every area of a broadcast television or video service distribution facility, and a successful solution will need to keep pace with evolutions across the board. Control systems that accommodate the need for broadcasters to work across SDI and IP/VM environments provide operational benefits during this transition by isolating the operational staff from the underlying system architecture. Whilst the first channels to migrate to IP delivery will be those that are highly scheduled and non-reactive, demands on the control system will inevitably increase as more playout is hosted in the cloud. Automation solutions which incorporate the ability to drive all channel variants including those with a high proportion of live content and late breaking events, or that optimise the number of channels a single operator can manage, are poised to offer the most complete solution. The importance of media validation is thrown into even sharper focus as broadcasters move their content into

virtual environments that may be at remote sites and have to rely on delivery across WAN. In such installations the operator needs to know that the output of each channel is secure, regardless of its geographical location. Based on standard IT technology and hosted within a distributed architecture which is capable of being virtualised, Pebble Beach Systemsâ&#x20AC;&#x2122; flagship Marina automation lends itself to cloud-based systems for channel origination at the edge. Its highly intelligent user interface and flexible list manipulation deliver operational efficiencies. Irrespective of where the channels are hosted and regardless of the delivery platform, operators at a central location know whether content has been delivered and every event is safe and ready to play. While broadcasters can now quickly and cost-effectively launch multiple IP channels, there is an inevitable growth in the volume of information that requires monitoring and processing. The challenge becomes how to manage multiple channels efficiently without a corresponding increase in the number of operators. A simpler method of displaying potential problems has to be found. Our â&#x20AC;&#x2DC;Lighthouseâ&#x20AC;&#x2122; monitoring by exception tool is designed to alert Marina operators by highlighting critical issues such as validation errors, timing

anomalies or missing media alerts, allowing them to focus in priority sequence on upcoming problems. Lighthouse aggregates all lists within and across multiple systems, displaying a dashboard of the next problem on any channel, and enabling early intervention and resolution. The tendency in the past has to been to introduce new technology as islands within a larger infrastructure, resulting in

We Heard You

Cases prove sound investment Porta-Brace By David Fox Four new audio cases have been introduced by Porta-Brace, including: a dedicated carrying case for the Zoom H5N recorder (the AR-ZH5); an Audio Organizer Case for the Sound Devices 633 mixer (AO-633); another for the Sound Devices 664 mixer and CL-6 Input Expander (AO-4WT/664); and a redesigned AO-1.5XB Audio Organizer, which can take many different makes of mixer and recorder. All are constructed of durable,

FreeSpeak IIâ&#x201E;˘ Wireless Intercom

abrasion-resistant Cordura, with clear vinyl windows over display screens and controls, and provide full access to controls and audio inputs/outputs without sacrificing protection. The audio organizer cases have a rigid plastic frame and interior padding in the main section and pocket, and can fit wireless microphones, transmitters, batteries, cables, connectors and other equipment. Both sides of the AO series bag are fully detachable side panels that allow easy access to all mixer inputs and outputs. 11.B65 In the mix: The re-designed Porta-Brace AO-1.5XB Audio Organizer in use

the heterogeneous systems we see in many facilities today. Virtualisation and abstraction offers a way forward to streamline and tackle this problem, but we cannot simply take legacy systems and re-host them within a virtual environment. Software and systems must be built from the ground-up to be fully distributed to be able to maximise the benefits of this technology. 8.C71

Loaded with more to offer than ever before. (QMR\ WKH XOWLPDWH OHYHO RI Ä&#x2021;H[LELOLW\ VLPSOLFLW\ DQG performance of this professional 1.9GHz wireless V\VWHP ,W GHOLYHUV DQ RYHUDOO EHWWHU H[SHULHQFH LQ the new, rugged and improved Digital Wireless Beltpack and Transceiver/Antenna System. You can hear every whisper on the system, thanks to WKH ZLGH EDQG GLJLWDO ĂŞ&OHDU &RP 6RXQG ĂŤ 1HZ LQQRYDWLYH LQWHUFRP IHDWXUHV KDYH DOVR EHHQ added to FreeSpeak II which makes it the highest performing wireless option for your team. ([SHULHQFH LW IRU \RXUVHOI RQ 6WDQG ' today and have it shipped to you tomorrow. 0RUH LQIRUPDWLRQ DYDLODEOH DW www.clearcom.com

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Intelligent use of encoding resources

Opinion

The broadcast emergency service

Ericsson

How do broadcasters ensure that their Disaster Recovery strategies are really secure? Lee Sheppard, director product management, SGL, provides the answers Disaster Recovery (DR) is a broad term that encompasses a range of scenarios, from catastrophic disaster (for instance, the complete destruction of a whole facility), to operational disaster such as a transmission server failing. The ideal strategy for rescuing a situation in the event of a disaster is the seamless continuity of business under all circumstances with no assets being lost. Being off-air for longer than a few seconds, or a minute at most, is a disaster in itself and with content now being delivered globally, broadcasters have even greater responsibility to ensure that channels stay on air. There are also strong financial drivers with rigorous service level agreements (SLA) for channel partners with regards to airtime and compensation for lost or clipped ads. So how do broadcasters ensure that their DR strategies are secure enough to continue broadcasting in any situation?

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The DR utopia includes multilayered safeguards against the unexpected, using automated content replication systems to provide synchronised, mirrored or like-for-like asset duplication, across the same site or at geographically disparate locations. At the most basic level, this can be accomplished by duplicating tapes in the main archive and then moving those tapes to remote DR storage. LTFS works well in this environment as any LTFScapable system can read a tape created by any other, and can identify and retrieve the files stored on it. This means there is no requirement for a second archive system to simply read those files. At the other end of the scale, a fully automated DRconfigured archive can be connected to a remote facility with either a robotic tape or disk storage. In this configuration media assets can be automatically copied across the network and synchronised with

the remote site. Automated site redundancy is important and can be achieved by using rules-based implementations, providing fully automated data duplication across multiple storage layers and locations. Multi-site operations can be mirrored and data synchronised across the globe. If one site becomes inoperative, it can be rebuilt entirely from data that has been replicated at other sites. More sophisticated archive management systems are able to offer completely customisable rules-based data duplication, through which content can be automatically copied as it is archived across disk and tape layers and, where required, different locations. SGL has many archives installed around the world where DR workflows are either in use or can be made DRcapable quickly and easily. Its scalable FlashNet architecture provides broadcasters and content owners with a clustered system of multiple servers, or

By Ian McMurray

nodes, each in constant communication. Each cluster node has identical software installed, and each is connected via fibre channel into the archive devices – generally disk storage and one or more tape libraries. At the heart of the cluster is a Microsoft SQL database, which is usually installed across two servers running a Microsoft cluster for automatic failover. Quite simply assets equal value, which equals revenue. Can you afford to lose them? 7.J15a

The latest version of a software product designed to solve many of the issues and complexities operators face today in multiplatform, multiscreen TV delivery is being launched at IBC. Ericsson Virtualized Encoding is the product, and Ericsson is demonstrating how it believes this software solution provides an intelligent utilisation of multiple encoding resources, regardless of the primary platform. Ericsson Virtualized Encoding is claimed to be the only product on the market capable of providing best-in-class compression performance, irrespective of the platforms chosen to run the algorithms. Ericsson is discussing with visitors how it is designed to ensure the best picture quality, using a single interface for deployment velocity and a single abstraction layer for all service creation, thus removing the complexity from video delivery. A single API also allows for easy web-based control or simple and consistent integration into an operator’s ecosystem. The company is also showing how Ericsson Virtualized Encoding has the ability to encode in MPEG-2, MPEG-4 AVC and HEVC, to enable the delivery of services ranging from SD to higher quality and differentiating services such as HD and up to “true” 4K UHDTV at 60p and 10-bit precision. Ericsson is also discussing how operators can prepare for the rollout of the maturing HEVC compression standard. “Ericsson Virtualized Encoding provides the migration capabilities to deploy new services at any time without causing disruption — from SD right through to 4K quality,” said Dr. Giles Wilson, head of TV Compression, Ericsson (pictured). “This gives TV service providers a huge advantage at a time when consumer demands are evolving so quickly and there are enormous pressures to respond with newer, better services.” 1.D61

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Extending 3ds Max and Maya Autodesk By Carolyn Giardina 3ds Max 2015 and Maya 2015 3D animation software have been updated by Autodesk with new extension releases aimed at simplifying the creation and flow of high-res assets throughout the animation pipeline and into post production. 3ds Max 2015 Extension 1 includes support for OpenSubdiv libraries opensourced by Pixar, which allow artists to more easily represent subdivision surfaces and are designed to help take advantage of both parallel CPU and GPU architectures, leading to faster in-viewport performance for meshes with high subdivision levels. Support for Alembic was added to streamline the processing of complex animated and simulated data, and to facilitate the view of large datasets in the Nitrous Viewport, as well as transfer to other programs. New ShaderFX

enhancements in the extension expand shading options and improve interoperability between 3ds Max, Maya and Maya LT. Maya 2015 Extension 1 gains a customisable colour management system to help

artists preserve creative intent throughout lighting and rendering workflows. The addition of Performance Profiler also allows technical directors to better gauge, measure and debug the performance of

individual nodes, character rigs and Maya scenes. With targeted performance enhancements to XGen’s Arbitrary Primitive Generator, Autodesk aims to help Maya 2015 artists create and groom hair, fur, and feathers on characters, and populate landscapes with grass, trees, rocks and debris trails more

efficiently. The Extension 1 also includes a Python API for the Viewport 2.0 hardwareaccelerated display. The extensions are currently available to customers with active Autodesk maintenance subscription contracts or desktop subscription licenses. 7.D25

Discretix acquisition brings new customers Viaccess-Orca by Ian McMurray Since IBC2013, content protection and enhancement company Viaccess-Orca has completed the acquisition of Discretix’s Secure Player business, adding a variety of customers to the ViaccessOrca customer base, including Digiturk, D-SMART, Telecom Italia, and TV4 Group. Secure Player is a multiplatform media player available for Android and iOS tablets and devices that includes DRM for premium VoD and live content. Following the close of the deal, Secure Player was rebranded as Viaccess-Orca’s Connected Sentinel Player, which is now available as a standalone product and as part of Viaccess-Orca’s Connected Sentinel solution for IP-enabled content services — a main component in the company's TV Everywhere end-to-end solution for multiscreen services. 1.A51 theibcdaily 31

theibcdaily Big feat, small feet: The HighPoint RocketStor 6328 is said to reduce footprint without sacrificing performance

Up to speed for 4K recording Codex/Panasonic

Storage for compact workstations

By David Fox Codex is developing a recorder for Panasonic’s new VariCam 35 4K camera. It has also added support in its Vault workflow system for the Red Epic Dragon and Phantom Flex4k cameras. It is working with Panasonic to deliver the only compact, highspeed 4K or Ultra HD 12-bit uncompressed Raw recorder for the VariCam 35. The dedicated recorder (shown on Panasonic’s stand) will capture uncompressed 4K VariCam Raw at up to 120 frames per second, and will work with Arri LDS or Cooke /i technology for lens data capture. Rapid transfer of digital camera originals for post production and archiving is then possible using Codex Vault. The V-Raw recorder connects to the back of the VariCam 35, eliminating cabling completely, for improved efficiency and greater mobility while shooting. It should ship later in the year, alongside the camera.

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HighPoint Technologies

Direct connect: The Codex V-Raw recorder fits onto the back of the VariCam 35

Codex is also is working with Vision Research to provide a robust workflow for the Phantom Flex4k camera, which will use its Vault modular mobile workflow to rapidly transfer the digital camera originals from the Flex4k for review, post production and archiving, with playback of 4K material to a 4K monitor for review, quality control and basic colour grading. GPU-based processing facilitates fast, highquality transcoding to H.264, Apple ProRes 4444, Avid DNxHD 444 and uncompressed RGB formats. Codex also has a new workflow for Red Epic Dragon

By Ian McMurray

cameras, including support for Red Rocket-X hardware processing, for efficient 4K workflows – clone, playback, QC, deliverables and archive. It has worked with Red to provide native Codex debayering for Dragon Raw footage. Codex and FilmLight are showing the results of their technology collaboration that links Codex Vault to the Baselight grading system, allowing grading decisions, made on-set with the Baselight FLIP realtime image processor, to be viewed and rendered into dailies deliverables on Vault. 11.C71/9.D40 and 9.C45

Visitors to IBC old enough to remember when a dual floppy drive PC — rather than a single drive —was the height of computing sophistication are doubtless amazed by how computing storage has been transformed in terms of size, transfer speed and reliability. Showing its latest innovations is HighPoint Technologies. Combining the features of HighPoint hardware RAID solutions and Thunderbolt 2 PCIe expansion into a single, palm-sized adapter, the HighPoint RocketStor 6328 Thunderbolt 2 to 6Gb/s SAS RAID Adapter is said to be ideal for compact workstations or portable computing platforms,

substantially reducing hardware footprint without sacrificing performance. Hardware RAID, SAS expansion, SATA port multiplier, and LTO tape drive devices can now be hosted, simultaneously, from a single RocketStor 6328 adapter, for Mac Thunderbolt platforms and OS X 10.9.x and later. The built-in hardware RAID controller supports RAID 0, 1, 5, 6, 10, 50 and JBOD configurations, while the dual external mini-SAS ports directly support up to 8 SAS/SATA hard drives and SSDs, up to 20 when paired with SATA port multiplier capable drive enclosures, and as many as 128 via an SAS Expander. The RocketStor 6328 natively support arrays created with any HighPoint RocketRAID controller and Mac OS X RAID configurations. 5.C11

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Opinion To UHD or not to UHD Management of the move to 4K is the most pressing decision facing broadcast manufacturers this year says Roger Fawcett, MD, OmniTek Upgrading products and infrastructure requires a big R&D investment at a time when many broadcast manufacturers are tightening their belts. Moving to 4K means risking this spend to create products which may have little market in the next few years. What about competing and complementary technologies such as high dynamic range, faster frame rates and 8K? Avoiding 4K means risking being left behind. So what is the right decision? The answer to this is driven by a combination of technology and consumer demand. On a positive side for technology, we now (belatedly) have all the necessary consumer and

professional interconnect standards for 4K60, along with H.265 compression technology. On a negative side the viewing distance required to resolve 4K means that for some the viewer benefit is questionable. However, this is not how consumers see things. The key propellant for 4K is that the consumer message is very simple and is already being widely marketed. Everyone understands that higher resolution means better quality. For example, high-end smartphones all feature 4K resolution cameras and this is clearly driving sales. When compared to the brief 3D 'revolution', there is no

downside to 4K. For 3D, the depth effect is not perfect, requires glasses and can give you a headache to watch. In contrast, there is no downside to 4K and no one could claim an inferior viewing experience. For these reasons, OmniTek believe that 4K represents an important opportunity that all broadcast equipment manufacturers should embrace. To this end, we have been working hard for the last two years putting together a range of technologies to enable equipment designers to get products to market rapidly. The Ultra 4K Toolbox is a complete solution for 4K test and measurement. At IBC2014 we are announcing full support for SD/HD/3G/6G and now 12G SDI, in addition to DisplayPort and HDMI. The product features a full motion generator, analyser and standards convertor for all I/O. For example we can convert between quad 3GB in quadrants and 12G SDI or

DisplayPort 1.2 at 4K60. A major worry for design engineers for the new SDI standards is signal integrity. Ultra supports full eye and jitter analysis for these new standards along with jitter insertion to test receiver robustness and compliance with the SMPTE recommendations.

In addition to our T&M products, OmniTek offer a range of FPGA IP cores, reference designs and a bespoke design consultancy service. The majority of our business in this area is in 4K adoption and we have already designed a number of 4K products. 6.A18

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theibcdaily

Opinion

The evolution of MAM Broadcasters require a content management system that’s fully integrated with the entire business says Julián Fernández-Campón, head of pre-sales, Tedial Broadcast technology has seen significant change and progress in the last 10 years and sitting at the heart of this evolution is the media asset management (MAM) system. Changing market demands and the development of technology in terms of computer processing, programming languages and network interconnectivity, means the concept of a MAM is almost unrecognisable. Now it’s quite challenging to find a precise definition of MAM, with growing confusion between DAM, MAM and PAM. In today’s digital world, MAM users can expect increased content management options (media and all the related information); integration of different areas for processing automation; and sophisticated workflow management for content preparation. Also, user interfaces are now web-based, which simplifies support and allows access from multiple geographical sites. The MAM has transitioned to a content management system

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that’s fully integrated with the entire business from acquisition, production and delivery to provide efficient and costeffective operations. However, the desire to achieve these results brings about two new challenges. The first is the need to streamline operations to ensure cost control and predictability. The second is multiple content packaging requirements for multi-screen delivery. To serve the multi-screen explosion, broadcasters and telcos are faced with an unprecedented and often unpredictable increase in the amount of media they have to exchange during the production and post production processes and, when packaging for delivery to multiple platforms. Undertaking thousands of dragand-drop operations every day using fixed folders is inefficient and makes little sense at a business level. It’s no longer enough to simply move thousands of media files over IP quickly and

securely with no compromise on functionally. Now broadcasters and telcos are also faced with the challenge of how to automatically manage and monitor the sheer amount of media and metadata that’s being exchanged with their multiple media partners 24/7/365. Adapting typical broadcast processes or relying on simple IP accelerators or transcoding is not scalable or cost-effective. Tedial has created a solution that solves these problems. Its new MEP provides a central media exchange platform that enables fast and secure access over IP and also provides automated workflows that present and package content, delivering to multiple sites and systems and thereby removing the unnecessary complexity that is now a reality for many organisations across many desktops and departments. MEP maximises re-use and minimises re-working of material, allowing large media assets to be moved efficiently,

Straight and narrow: The new MeerCat miniature remote camera has been used by the BBC

making use of centralised management capability without the need for extensive IT support. Tedial’s MEP provides unique global monitoring of these processes using live dashboards and business reports that allow service providers and telcos (pushing content) and distribution platforms (pulling content) to exchange media automatically. At IBC2014 discover how Tedial’s unique media IT solutions help international broadcasters and global media companies to increase creativity and improve efficiency throughout their media workflow. Tedial’s customers’ problems are often complex however its approach is simple: Find IT, Enrich IT, Manage IT and Publish IT. 8.B41

MeerCat stands up for remote cameras Camera Corps By David Fox The new MeerCat miniature remote broadcast camera from Camera Corps is small enough that it can be used as a wearable camera, yet has full control facilities, including manual iris setting with adjustable electronic exposure, which can be performed remotely using Camera Corps’ joysticks and remote panels. MeerCat’s first use was for the BBC on this year’s University Boat Race in London. One camera was mounted inside a thin metal pole at the rear of each boat, providing a forward view. Another was positioned at floor level, looking towards the cox. The camera has a very small footprint, 30x30mm, and is only 93mm high, so it fits in very narrow locations. It uses a third-inch MOS sensor with 1944x1092 effective pixels and minimum illumination of 1.2 lux at f/1.4, which can deliver 1080p, 1080i or 720p video at 50, 59.94 or 60Hz frame rates, via HD-SDI which can be converted to an optical feed using Camera Corps’ optical fibre interface. The power supply and interface can be up to 30m from the camera head, and control signals can be delivered over a standard audio line, allowing the interface to be located an unlimited distance from the operator. Six MeerCats can be controlled from a single remote panel. 11.E55

theibcdaily

Tailored viewing on Norway’s vidFlow Ooyala

Discover and do: Ooyala Discovery constantly adjusts to a user’s behaviour

By Monica Heck New Norwegian vidFlow personalised music video channels provider is using Ooyala’s recommendation technology to tailor personalised music video channels to individual users. Ooyala Discovery ensures that each viewer is presented with the video selections they will find most interesting based on personal viewing preferences and interactions with vidFlow. The exhibitor’s personalised media recommendations mean more viewers return to watch more content more frequently resulting in more advertising revenue and a higher conversion rate to the vidFlow’s ad¬free Premium service. Ooyala Discovery is available on every connected screen and

No Gekkos, but lots of video over IP

Gazing into the future of pay TV Alcatel-Lucent By Adrian Pennington

works within the video player, on a webpage, or within a mobile app. It creates a more TV-like experience for online media offering a balance between a ‘lean-back’ experience, in which one video leads to the next through continuous playback, and a ‘lean-forward’ experience that gives consumers control over the videos they watch. vidFlow launched with a freemium monetisation strategy,

offering a free, advertisingbased service as well as the option to subscribe to an ad-free Premium version. The service offers a complete music video experience that tailors music videos to the user's taste and preference using advanced learning algorithms to personalise the channel experience. A global rollout of vidFlow is planned for 2015. 14.F32

The pay TV market has entered an era of unprecedented change. As a pay TV operator, you need to evolve your network to thrive in this new TV landscape. By migrating to IP video, in which advanced TV services are hosted in the cloud and streamed to consumer-owned devices over a unified IP video infrastructure, the argument is that operators can deliver a unified and personalised experience across devices, reduce overall capital and operational expenses and accelerate time to market for new services.

With a leading product portfolio, global team of video experts, proven field expertise and innovation powerhouse Bell Lab, Alcatel-Lucent claims a unique position to help operators stay at the heart of the IP video value chain. “With Alcatel-Lucent IP video innovations, you can build a massively scalable IP Video network that leverages the latest cloud-based services and IP delivery technologies,” said the company’s Odile Charles. The French telco is welcoming visitors to its hospitality suite to see “differentiated IP video solutions that are as bold, bright and beautiful as video entertainment itself.” MS40-MS41

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theibcdaily

Opinion

Advantages of a diverse industry Consolidation benefits small and medium-sized vendors too says James Gilbert, Pixel Power Probably the big story of the year in the broadcast and media industry has not been about technology, but the sudden rush of mergers and acquisitions around the time of NAB. If you believed the talk then you would be convinced that bigger was better – and that IBC would have only a handful of exhibitors in a year or two’s time. I do not believe that to be the case. My own company, Pixel Power, was established in 1987 as a specialist business, starting in graphics and expanding into related areas like branding and playout. Today, 27 years on, we remain independent, and what business analysts would describe as an SME: a small to medium-sized enterprise.

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I am delighted about this state of affairs. Our aim today has not changed since my business partner and I started Pixel Power. Our over-arching goal is to be able to stay close to our customers, so there is as short a line as possible between the real requirements of a changing broadcast business and the developers and product managers who can translate these needs into real solutions. We have to be flexible enough to be able to respond to what those customers are saying. I am not criticising any of the mega-companies in our industry, and I am certainly watching the latest crop of acquisitions with interest. But I know we can do what they cannot, which is develop a

solution quickly, accurately and cost-effectively. That way, we help our customers be better broadcasters, and save money. Here is one example. Broadcasters around the world told us they needed good branding, but they needed to do it smarter. Tying up edit suites to generate the many versions of a trailer, for example, is a very bad use of resources. If only there was a smart way of creating and delivering a marketing campaign, they said. So we came up with the idea of Pixel Factory, which is a new application running on our standard graphics engine. You give it an address for the video resources, a soundtrack and a work order, and it will automatically generate all the

versions of a trailer you will need, to a standardised template which secures your branding. In a similar vein, for a number of years now we have offered a solution that automatically manages programme junctions. It looks at the automation playlist and generates menus and rundowns, and selects – or builds – appropriate promos. Give it some rules and it will select which programmes are appropriate to promote, based on what is around the junction.

What a company the size of Pixel Power can bring is, first, the ability to react to this sort of requirement – which is not obvious until you talk in detail to broadcasters – and second the ability to tailor the product so it can be installed and then relied on. That is what a company the size of Pixel Power brings to the industry: responsiveness based on real understanding. As far as I am concerned, small to mediumsized can be very beautiful, too. 7.A31

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Home router for 4K over Wi-Fi Quantenna By Adrian Pennington As the number of wireless devices in the home increases, so does the importance of reliable, fast Wi-Fi to stream bandwidth-intensive data. Enter the ASUS RTAC87, claimed as the world’s first Wave 2 802.11ac consumer router and the fastest5GHz model with speeds up to 1.73Gbps. It is powered by Quantenna’s QSR1000 4x4 Multi-User Multiple Input Multiple Output (MU-MIMO) chipset and uses four external antennas and Universal Beamforming to maximise range throughout the home or office, improving signal strength and performance even to older 802.11a/b/g/n

clients. Previous 802.11n and 802.11ac routers can stream to only one device at a time. The router, retailing for $270 in the US, is capable of reaching speeds up to 1.73Gbps, ideal for HD video, ultra-low-latency gaming and heavy file sharing. Its breakthrough MU-MIMO technology enables it to stream rich content to multiple devices in every corner of a home, in full 1080p or 4K Ultra HD. The ASUS AiCloud 2.0 is an exclusive application that turns the router into a powerful personal cloud server. Files stored on the network, on attached USB storage devices or on ASUS WebStorage are synchronized for file sharing by sending a link via email, text message or socialnetworking apps. MS36, 2.A08

Goldcrest Post expands with DaVinci Blackmagic Design By Carolyn Giardina London’s Goldcrest Post has continued its expansion with the addition of three new DI grading suites featuring Blackmagic Design’s DaVinci Resolve 11. “This new post production infrastructure demonstrates our commitment to entering the UK picture post arena,” said Goldcrest Post managing director, Patrick Malone. The company’s colourists roster includes Adam Glasman, Rob Pizzey and Lee Clappison. The DaVinci Resolve workflow for Goldcrest’s main DI suites relies on multiple 4GPU Linux DaVinci Resolves for editing and grading, and also includes multiple 1 GPU Linux and Mac Resolves for preparation and lab work. Goldcrest’s two main DI suites feature a 10 metre throw with 6.5 metre screens and Barco projectors. All DaVinci Resolve workstations are connected to a half Petabyte SAN media storage system for

Resolve 11: “Efficient and flexible workflow”

playback and realtime grading for multiple 4K streams. Blackmagic reseller Jigsaw24 proposed the highest specification DaVinci Resolve servers to run the grading and online suites, all on Linux. “This ensured a uniformity across the creative suites, providing easier support and interoperability in the facility,” said Jigsaw’s Jamie Allan. “The grading and online systems were all built identically, so online playback could be achieved in realtime, without the need for rendering from a grade. All of the systems are powered

by Nvidia Titan GPU processing cards.” Added Goldcrest Post’s chief technology director, Laurent Treherne, who oversaw the upgrade: “Using DaVinci Resolve throughout our editorial pipeline has given us a more efficient and flexible workflow because we are using a centralised database. DI, online editing and conform can now be done using the same project files without the need to render any files or translate and check XML data.” 7.H20

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The IABM DC global market valuation report By Joe Zaller, digital media market strategist, IABM DC Since its first edition in 2006, the Broadcast and Media Technology Global Market Valuation Report (GMVR) has been widely recognised as the most authoritative market-sizing and forecasting report in the broadcast and digital media industry. The latest edition GMVR represents an evolution from previous versions of this report. It has been produced through a unique partnership between the IABM, the trade association that represents media technology suppliers worldwide, and Devoncroft Partners, a provider of market intelligence products and services to the broadcast and digital media industries. IABM and Devoncroft have joined forces and established a joint venture – IABM DC LLC – whose sole purpose is to provide high-quality market sizing and forecasting data, and related products and services. The combined experience, skills, and intellectual property of IABM and Devoncroft have been combined to produce the 2013 GMVR, which is the first result of the collaboration between the two organisations. The GMVR is the only report where broadcast industry vendors come together in a collaborative partnership, under a mutually agreed framework of strict confidentiality, to share their revenue data, future 38 theibcdaily

forecasts, and detailed information on what drives their businesses. Partner data is augmented by interviews with hundreds of industry insiders (including vendors, service providers, and broadcasters), publicly available information, and exhaustive research into each industry segment, sub-segment, and product category. The result is the most comprehensive model ever created of the broadcast and digital media industry. It encompasses more than 2,000 companies ranging from large service providers and technology vendors to small start-up businesses just breaking into the industry. Broadcast industry market sizing Using 2012 as our base year, this report values the broadcast market at $39 billion. Our analysis divides the industry into nine separate segments – eight product-oriented segments, plus a single segment that aggregates services purchased by broadcasters. In 2012, the global market for broadcast products was $19.8 billion, or 51% of the total industry value. The bulk of this report is dedicated to providing detailed information on the composition of this product revenue at the segment, sub-segment, and product category levels. The remainder of the broadcast market is comprised

of service revenue, which comes from a wide variety of sources including transmission infrastructure; managed services; systems integration, consultancy; and the rental and hire of facilities, outside broadcast resources, and specialist equipment. Taken together, the broadcast market was valued at $39 billion in 2012, flat versus the previous year, following growth of 6.8% and a growth of 4.6% in 2010 and 2011, respectively. Although it is difficult to generalise about such a large and dynamic marketplace, broadcast industry growth in 2010 and 2011 was due to a number of factors, including an improving economic environment in North America, the transition to HDTV in China and other emerging markets, project spending in Europe in preparation for the switch-off of analogue transmission and industry seasonality that is typified by the ‘four-year cycle,’ which ended in 2012. However, readers should note that each segment has been subject to major shifts, some of which have changed the entire structure of the market. Even in market segments where revenue appears to be flat compared to previous years, there may be significant changes to the composition of the underlying product revenue. Many of these factors are discussed in each of the segment reports that are contained within this report.

The total size of the broadcast market is shown above, including details of each market segment covered in this report. The market for broadcast technology products and services is a fragmented one. The table above, which shows market share for the five largest players in each market segment, indicates that each segment has many participants and there is no single dominant player. This is not a surprise considering that there are about 2,000 firms chasing $39 billion of broadcast industry revenue. However, taking into account that nearly half of industry revenue measured in this report comes from the services sector, it becomes evident that there are a large number of small hardware and software vendors in the broadcast industry. We believe the GMVR is the definitive market sizing report for the broadcast industry. It provides market sizing data for the entire broadcast industry (about 150 product categories across nine segments). In creating the report, we built a robust data model of the entire broadcast industry. The GMVR data model includes about 2,000 companies including hardware vendors, software vendors, and service providers. One of the key inputs to this data model is the comprehensive data submissions we received from leading industry vendors who have signed on to be partners in

this industry-wide collaborative effort. These partner companies have agreed to share historic and future projected sales data at a granular level according to our segmentation model of the industry. They have also provided extensive input to the report through an interview and feedback process. In addition to partner data submissions, many data submissions were received from non-partners. Data was also gathered from a wide variety of public and proprietary sources. We also did an exhaustive review of company financials, and interviews with end-users about their past and future planned purchasing strategies. In creating the report, one of our objectives was to allow clients to purchase the entire report (all product segments) or just the specific segments that are of interest to them. Therefore the report was designed from the beginning to be modular. This structure is important because the broadcast industry has a large number of small companies who don’t want and/or can’t afford to buy a monolithic report about hundreds of product categories that may not be relevant to them. The GMVR is currently available via the IABM and/or Devoncroft Partners. Work has already begun on the next edition of the report, and we are actively looking for new partners to join this collaborative effort.

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ReducingTCO through simplification Net Insight By Ian McMurray Showing how it can reduce total cost of ownership (TCO) through simplifying network complexities, allowing broadcasters and operators to introduce revenue-generating services in an easy and costefficient way…all this is the goal of Net Insight’s participation in this year’s IBC. Net Insight’s media switch router (MSR) functionality is claimed to provide unique features such as service-centric network management and quality of service (QoS) enhanced links and lossless routing, enabling companies to improve service integrity and performance of dedicated, managed and unmanaged IP networks. Handling the growth in media traffic poses a huge problem for network operators, notes Net Insight, in terms of network manageability. Increased costs, time to market and risks when launching new services and/or extending network reach is becoming more challenging and putting greater strain on

networks. As the media industry transitions to dynamic production workflows, the company says that bar has been raised even higher for broadcasters and operators that

expect content to be readily available whenever and wherever it is needed, which is changing the requirements of networks in a way that drastically increases complexity.

At IBC2014, Net Insight is demonstrating how it believes its Nimbra platform meets these challenges by providing operational advantages and significant cost savings over

media network lifecycles, through making tasks such as engineering, provisioning and troubleshooting more simplified. The company says it has relevant numbers to quantify why and how its solution is addressing the problem of network complexity. 1.B40

Next gen Quadro GPUs released NVIDIA By Carolyn Giardina With more computing power needed to support 4K resolution and other image requirements, NVIDIA is previewing its new professional GPU lineup at its IBC stand. “The latest NVIDIA Quadro GPUs allow users to interact with their designs or data locally, on a mobile device or via cloud-based services, running leading applications up to two-times faster than the previous generation and enabling interaction with massive, complex datasets associated with 4K at high resolutions-all with Quadro’s enterprise-grade reliability,” claimed Wil Braithwaite, senior applied engineer, VFX, NVIDIA. The lineup includes the K5200, K4200, K2200, K620 and K420; they are scheduled to ship this autumn. 7.J39 theibcdaily 39

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New stars in Galaxy lineup Dalet By Michael Burns Enterprise-level MAM platform Galaxy has been boosted with a clutch of new modules, including tools that can manage and navigate complex visual data models to simplify complex workflows. They achieve this by relating essence files and programme components, such as audio and language tracks, subtitles, and other associated assets, in the context of the destination distribution platform. By grouping and organising these components together, these new tools enable more efficient and

transparent workflows for approval, versioning and distribution. A second-generation of the application programming interface, the SOA-compliant API2, provides a set of highlevel services, ranging from asset, media, metadata and search, to more advanced services such as notifications, configuration and access rights. API2 also comes bundled with an intelligent dashboard for monitoring API usage per service. A new enhanced reporting feature fully exploits the KPIs and rich metadata captured by Dalet in the production process to inform operational and business decisions. The new reporting tool introduces

a layer of visibility, making it easier to measure how systems are behaving. New for sports production customers, Dalet is adding native deep integration with Opta feeds, enabling rich metadata to be incorporated into content related to sporting events. News Wire, the scripting and newsroom computer system of Dalet Galaxy, is enhanced by improved integration with social media feeds, the iOS/Android app Dalet Onthe-Go for rundown preview and optimised content upload, and WebSpace, a new scripting and rundown tool. There's a number of enhancements to the Xtend module for Galaxy, which

Today’s weather forecast

Stellar MAM: Galaxy offers improved handling of programme preparation, production and archive workflows

brings MAM capabilities to editors working with Adobe Premiere Pro and facilitates the exchange of metadata between the two systems. Among these is proxy editing, allowing users to work on

Live OB boost for Comtec EVS

ChyronHego By Michael Burns By Carolyn Giardina Making its IBC debut is Metacast, ChyronHego’s weather graphics system that combines data input and editing, visualisation and on-air play out. Metacast is continuously updated with radar, satellite, model forecast, pinpoint city/location forecasts, and remote weather station data. The platform can be used to create local, regional and global weather content for TV, tablet, mobile or web. Technologies featured on ChyronHego’s stand also include the TRACAB image tracking system that uses Super-HD cameras and image processing technology to identify the position of all moving objects in a sports arena.

Warm front: Metacast weather graphics system

ChyronHego’s software analyses every image to extract X, Y and Z positions for each object, enabling three-dimensional tracking in real-time. TRACAB data can be streamed to various visualisation platforms such as broadcast graphics and second screens, and can be used to prepare performance statistics. An enhanced TRACAB product portfolio includes newly

acquired ZXY transponderbased player tracking technology. Also on the stand is the Virtual Placement virtual graphics system; Virtual Football, a virtual graphics system for use with live football production; Paint, a sports telestration system; and GS2 Multi-Touch, a studio touch screen system. 7.D11

native high-res files or choose proxy media for optimised project management. Finished files are reconnected to the high-res media for rendering and output. 8.B77

Mexican TV production firm Comtec is upgrading its live OB HD workflow to enhance productions for its customers, including TV Azteca, ESPN, Concacaf, Telemundo, FOX, TDN and Univision. Multiple, flexibly configured XTnano HD/SD slow-motion replay servers will provide Comtec’s outside broadcast trucks with audio/video file ingest, live feed recording, live slow motion and super motion, as well as clipping and playlist playout control. The workflow is supported by an eight-channel XT3 production server from EVS. Based on the company's continuous recording loop technology, the XT3 melds history, high-definition output and precise editing into

compelling storytelling. XT3 offers built-in proxies, optional 4K zooming, live multi-angle review and an industry first: 12 live recording channel support. “EVS HD solutions have been instrumental in helping us deliver high quality and highly reliable live event productions across our broadcast television, private networks and webcasts,” said Comtec CEO Roberto Perez. “Our customers expect topquality results, and our latest investment in EVS technology is key to helping us deliver on our customers’ expectations.” VP of sales for EVS Latin America, Benjamin Mariage added, “The enhanced HD workflow brings speed and flexibility that will not only improve the efficiency and quality of Comtec’s productions, but will also raise the company’s profile in the production sector.” 8.B90

Introduction of SMP 351 and FlexOS Extron By Heather McLean Debuting at IBC2014 is Extron’s FlexOS and SMP 351, an H.264 streaming media processor for capturing and distributing live AV sources and presentations. Featuring up to five inputs, the SMP 351 creates high impact content by combining two high resolution signals, a background image, and metadata into dynamic layouts that enhance a 40 theibcdaily

presentation's message. The SMP 351 supports both live streaming and recording capabilities, allowing a presentation to be delivered anywhere a network can reach. Extron's FlexOS embedded operating system makes it easily adaptable to new requirements, and applications can be uploaded to the SMP 351 to automate system operation using control ports. It is easy to use, and with no licensing fees, has a low cost of ownership. "The convergence of AV and

IT creates new opportunities for AV systems, delivering presentations over IP networks with streaming and recording," said Casey Hall, VP of sales and marketing for Extron. "With its comprehensive AV integration features and the FlexOS platform, the SMP 351 can be adapted to many system requirements." The SMP 351 offers extensive streaming capabilities. It can stream and record simultaneously and can stream concurrently at two different

resolutions and bit rates using a range of transport protocols and session management options. The SMP 351 creates MP4 media files that are directly compatible with virtually any software media player and popular content management system. MP4 recorded media can be saved to the internal solid state drive, a USB thumb drive, or a network storage directory to meet different application requirements. Designed for use in professional AV systems, the SMP 351 can

Present and correct: Tackling lecture capture with the introduction of the SMP 351 and FlexOS from Extron

be controlled using serial RS232, Ethernet, and four digital I/O ports. Users can install FlexOS applications onto the SMP 351 to interface with control ports and automate system operation. 9.C30

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It’s time for FIMS Cube-Tec By Ian McMurray After succeeding in crucial tests, the time is right for real product

integration according to exhibitor Cube-Tec. Encapsulated into FIMS — the Framework for Interoperable Media Services —inter-company workflows are made easy, the company says, even with

specialised modules for format conversion, QC, automatic MXF file repair or proxy file generation. In relation to FIMS, CubeTec claims that Cube Workflow is especially flexible; it is able to orchestrate FIMS workflows. In addition, Cube Workflow QC sub-system can be called as a FIMS service by MAM systems.

At the 2014 FKTG Symposium in Cologne in May, IBM, Rohde & Schwarz, CubeTec and Dimetis demonstrated for the first time in a live situation how to implement flexible media production and distribution. The live demo showcased a workflow orchestrated by IBM’s AREMA and Dimetis’ BOSS File Transfer Manager, calling Cube-

Tec QC functions as FIMS services. In another subprocess, Cube Workflow itself calls the VENICE Media Hub from Rohde & Schwarz/DVS as a FIMS service to run format conversions. FIMS is a royalty-free, open, easily scalable media technology, providing standardised interfaces for the automation of media processes. The open FIMS standardisation process is administered by EBU and AMWA (Advanced Media Workflow Association) and has broad support from the industry and SMPTE. Leading media business systems already use FIMS today. 5.C41

Sports server just for reference LGZ Broadcasting Tech By David Fox A new Reference System server has been developed by LGZ especially for sports leagues and horse racing to allow them to instantly review events, make decisions about what is happening live, while the server is still recording. The LGZ REF eight-channel (or four-channel) Linux-based looprecording server can record eight HD-SDI feeds simultaneously and has a simple interface. “The systems perhaps most interesting feature is its web interface, which allows people to connect remotely to it and choose clips to export to destinations of their choice,” said LGZ CEO, Joachim Koitsalu. Customers can easily export specific clips or whole chunks of the production to quickly share them with colleagues after the events. “We have systems in Switzerland and Finland and have two large ice hockey leagues that are now considering our product,” he added. It comes with an integrated multiviewer where timecode and cue points are graphically represented. It can have from four to 16 hours of loop recording, depending on size of the SSD drives. LGZ launched its €2,100 USB Recorder at IBC2013, and has since sold some 200. It recently added QuickTime support for Mac, simplified the interface, and has given users the ability to add a logo/watermark for branding or security to any files that are created. There is also a version that includes Blackmagic Design’s Decklink Studio, to allow it to record analogue signals. 11.E41a 42 theibcdaily

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How do we deliver video to mobile devices? George Robertson: Trains and planes have their own specialised problems, and the connected car is becoming an industry in its own right

By George Robertson, principal IP engineer, DTG Over the last two years the phrase ‘mobile video’ has been used with increasing frequency across the mobile, TV and internet communities. Depending on what you have to gain, or perhaps lose, in a move to mobile video, your exact definition of the phrase will vary. From a neutral standpoint, there are three different facets of mobile video: The delivery of video content using mobile telephone networks The reception of video content on mobile devices The reliable reception of video content while the viewer is mobile: that is, out and about and possibly moving. The first meaning is easy enough to grasp: the era of, ‘I can’t show you the video, I don’t have Wi-Fi,’ is coming to an end. The advent of 3.5G technologies (HSPA and HSPA+ theoretically allowing connections in the range of 7 to 80Mbps) means that more often than not, we will be able to view that video clip without being tethered to Wi-Fi. As we are using IP delivered content services such as Netflix or BBC iPlayer more and more, it makes sense for us to be able to receive these services on a 44 theibcdaily

smartphone without the app in question needing to be tied to a Wi-Fi connection. The developments mean that if you find yourself in need of a Breaking Bad or House of Cards fix, you can get it. Well, until your data allowance is used up that is… I have personally found Wi-Fi on the move to be quite an annoyance and the ability to rely on mobile networking would be preferable. Yes there are a handful of networks that I can rely upon, at work and at friends’ houses for example, but there’s now a clutch of ‘free’ or ‘open access’ Wi-Fi networks that either simply do not work (poor antennae/signal, oversubscribed, not really connected to anything) or need you to take action to log in and use. This puts mobiles into a blocked state of constantly trying to use a non-functioning network. Rather than attempt a fix, it’s much quicker to switch Wi-Fi off and download the emails you wish to see using a mobile network. At this point I have to confess to a degree of confusion. I read statements like ‘most mobile data will soon be offloaded to Wi-Fi networks’, or Wi-Fi offloading ‘rose by a whopping 875% in the US last year’. Global internet traffic is

increasing, with Cisco predicting annual traffic of 1.1 zettabytes (or 1.1 billion terabytes) in 2016 and 1.6 zettabytes in 2018. All predictions are that mobile networks will have more demands placed on them as users become more and more ‘data hungry.’ The Cisco prediction is that global mobile data traffic will grow three times faster than it has done previously from now until 2018. Using the switch from 3G to 4G as an example, operators have found that the more bandwidth you give a customer, the hungrier they become. I daresay that a managed WiFi offering in tandem with a mobile network can help. If your mobile operator can give you access to stable Wi-Fi when out and about and the handset can switch seamlessly between this and available mobile network services, then offloading should work as intended. One thing to clear up right away is that I don’t think any sensible person is imagining that mobile telephone networks (even 4G with eMBMS and all the bells and whistles) are a viable replacement for current broadcast TV. Mobile video is a new market, with new devices, new services, and new routes to the existing, and dare I say, wellloved content. The second meaning of mobile video might be used by: a) those who care little about the actual means of transmission and just want to see TV on their tablet and b) those who care a great deal about the means of transmission and want to prevent the exclusion of existing broadcast technologies (e.g. DVB-T and DVB-T2). The issue

TV at home does) that will work as globally. The answer has been: don’t put it in. It has to also be asked, is there value in trying to do this? Apple has never included an FM radio in an iPhone or iPad, and why would they? Is it any more likely they would install a receiver for DVB or ATSC? The third sense of the phrase is interesting. I think it’s fair to assume that people will not be wandering around the streets watching TV. At least I’d hope not. It’s bad enough when people stop right in front of you on the pavement or on the stairs at the station to scroll a website or write an SMS. There would most probably be an element of self-eradication from the gene pool, fuelled either by accident or deadly assault, for those who want to ‘watch and walk.’ We can also, most likely, eradicate the mobile use of DVB transmission: the installed networks are not designed for handheld use, and there has never been a business case to make it so. We are essentially talking about use synonymous with ‘delivery via a mobile telephone network, while out and about but not really moving’. Rapid movement, where the receiver is in a car or a train is a particular issue. Fast changing radio environments and handoffs from one cell to another always result in poor data throughput . You wouldn’t, after all, take your DTT-compatible television on a train journey. Trains and planes have their own specialised problems and solutions, and the connected car is on its way to becoming an industry in its own right.

Where does the DTG fit in? The Mobile Video Alliance (MVA) was recently established and sits nicely under the DTG umbrella with players from a broad section right across the mobile video industry coming together to collaborate with the DTG’s more traditional members, such as the broadcasters. The MVA is chaired by Rory Murphy (Equinix) and Matt Stagg (EE) and this last quarter has seen many new faces joining in discussions. In a sense, although the mobile video industry does not exist as a cohesive unit yet, many of the parts are there and many content service providers are active or at least interested even though the ecosystem is not fully formed. At the DTG we intend to bring together that ecosystem and together we to tackle the issue of Quality of Experience. The DTG is currently looking at how to quantify and measure Quality of Experience, along with technologies that can improve,

here is that devices such as the iPad are global devices using global standards. The 3G or 4G connection is standard, conveying standard Internet Protocol (IP) to connect to a standard HTTP server, giving you standard video. It’s simply not possible to build in a broadcast TV receiver (one that would take the same signal your

The rise of video We have seen that overall global IP traffic is increasing with mobile network usage rising three times faster than wired networks. Cisco predicts that globally, IP video traffic will be 79% of all consumer Internet traffic in 2018, up from 66% in 2013. The internet is becoming a video distribution network.

or even guarantee, a certain level of performance. OTT, on demand, catch-up and eMBMS/LTE Broadcast scenarios are all in scope. There is more on this at: www.dtg.org.uk/mva. If you’re interested in getting involved please contact George Robertson, principal IP engineer, DTG, grobertson@dtg.org.uk.

Also, consider the rise of the smartphone and tablet, the targeting of these devices by OTT video applications and the desire of the public to watch mobile video. One can readily see that mobile networks will be over-subscribed and quality of experience when watching video will vary. I think we are all familiar with buffering and, once the video has got going again, a drop in quality. (Temporary drops in quality where the video becomes quite blocky are an intentional means of preventing buffering known as Adaptive Streaming, e.g. MPEG DASH).

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Opinion

Get onboard now Fast turnaround is critical in live events and vendor responsiveness will set them apart says Alistair Horne, sales manager, VideoSys Broadcast In the broadcast business, particularly for coverage of live events such as news, sport and entertainment, there’s no such thing as 'a little bit late'. Five minutes late is as good as five weeks late. You’ve missed it. On air has been and gone. You’ve blown it, both for yourself and your client. It quite astounds me that in many cases this is still the state of play in many areas of broadcasting, which is perhaps not surprising given the pace of changes with new technologies, standards and most importantly consumer expectations. There are challenges at virtually every stage of the broadcast delivery chain from acquisition to delivery, which means there are equally as many hurdles to

overcome, despite what many manufacturers may claim on a trade show floor. No one can fully guarantee that their solution will answer every question or resolve every issue. The key is to be nimble and versatile – in our case with bespoke products that are designed for one application, but can be readily deployed for any number of additional applications. Who wants to spend, say, multiples of 10K on systems that will be used once, maybe three times a year? Not many I suspect. It’s more likely that that kind of money would be spent on a system that can be quickly and easily rigged, derigged and redeployed almost effortlessly year-round to capture unique vantage

points from a range of locations previously thought to be next to impossible. Those kinds of systems are just what we are showing at IBC. Our camera control, RF and RF-over-fibre systems are all designed from the start to be easy to set up and easy to use. Our engineers have designed and built RF systems for deployment on everything from boats, cars, helicopters, drones, people and even horses, and we’re showing some of our most recent developments at IBC. With decades of experience as working broadcast engineers in the field, we are hyper-sensitive to deadlines. As I said, five minutes late, no matter what the circumstances, is the same as never showing

up at all, and neither is acceptable if you want to stay in business. We’re also able to turn projects around very quickly. With the latest technology at our disposal, we can create and build a bespoke housing or off the shelf camera and control system - which these days are often very small indeed to get into those tight spots so you can really capture the action in a matter of a few days,

sometimes even a few hours. It’s this responsiveness that sets us apart. I wrote this article 20 minutes after I found out about the opportunity, and I’m an engineer, not a writer. Imagine what we can do with something we really know something about, which is knowing what you need, when you need it and how to support it, any day, any time, any where. 9.A18

Helm heads for central control Rascular By Michael Burns Direct access to a much wider range of routers can now be delivered by the latest version of the Helm control software. Helm uses a single customisable interface to control third-party equipment, such as branding devices, routers, servers, VTRs, multiviewers and modular gear. Grass Valley (formerly Miranda) Densité modular

products are the latest to be supported, which Rascular said would allow fast access to card functions at the touch of a button. Recent back-end upgrades have seen Helm also offer control of Blackmagic Videohubs, Grass Valley native protocol routers and Sierra Video’s Aspen router range. The latest version of the company's PC-based router control system is also on show. RouteMaster now includes support for hardware control panels from Blackmagic, Nevion and

Sierra. It can also handle router stacking, combining multiple independent routers to form a single, multilayer router. Using RouteMaster Web Panels, operators can control routers from computers, tablets and mobile phones. Use of the latest HTML5 and Javascript standards allows the panels to work with all major browsers on all major platforms, as well as offering fully customised appearance and functions via drag and drop design. 8.B38a

At the helm: Control software Helm now extends to cover Blackmagic, Grass Valley and Sierra Video products

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theibcdaily Access all areas: ScheduALL Connector locates best fit, most cost-effective providers

Itâ&#x20AC;&#x2122;s all in the Cloud Alticast Bt Ian McMurray

Accessing inventories in realtime ScheduALL By Ian McMurray Uniting all the systems within the enterprise and across business partners and giving realtime access to resource inventories is the design goal of ScheduALL Connector, which is being demonstrated at IBC. This capability to connect, says ScheduALL, allows businesses to find the most cost-effective providers and ensure the best fit for the job at hand. The technology in ScheduALL Connector provides a platform for self-provisioned customer bookings, meaning

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that broadcast and transmission companies can allow their customers to book inventory and resources directly, without the need for emails, phone calls or spreadsheets. Self-provisioning eliminates error-prone manual processes, duplicate efforts and conflicts, according to the company, with ScheduALL Connector providing a centralised view of a global resource network for both the provider and the customer, increasing revenue through maximised utilisation. ScheduALL says that it has built trusted partnerships with the largest media businesses, and ScheduALL Connector unifies these companies in a

global network. The direct system-to-system connectivity provided by ScheduALL Connector delivers a global inventory, resulting in a comprehensive choice of providers, increased utilisation and maximised levels of project profitability. ScheduALL Connector offers resource providers the tools to connect with their customers and give them instant access to booking the resources they need. When a facility finds itself at maximum capacity, ScheduALL Connector can also locate alternate resources to provide what is needed, resulting in accelerated workflows. 1.D30

As well as showing its IP video platform HDMI Media Express, Alticast is also presenting its AltiPlex Server Cloud Solution which provides a complete services platform, including back office integration, metadata delivery, big data support and cloud services. A complete Cloud-based Personal Video Recording system and an innovative Cloud-based User Interface system are key offerings of the platform, the company says, while Alticastâ&#x20AC;&#x2122;s Cloud UI application provides a thin client/server model for delivering the user experience to all devices in the home. This architecture is claimed to reduce demands on the STB CPU and memory by preprocessing the UI in the Cloud. A web-based console enables the delivery of

different UIs to different devices for user experience versatility and MSO testing and service. Alticastâ&#x20AC;&#x2122;s collaborative development environment for RDK code integration is also being featured at IBC. It is a Cloud-based solution that enables system-on-achip (SoC) vendors, open software providers, multisystem operator (MSOs) and system integrators to use a single workflow and release structure for RDK code development. It is also providing demonstrations of its preintegrated solutions, including a demonstration of end-to-end systems. These complete set top box software packages provide core AltiPlatform systems software, a customisable user interface and a variety of content security products. The demos include one based on the AltiView I user experience and another HbbTV design. 1.F36

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Anamorphic zooms get sporting chance Thales Angénieux By David Fox The first Angénieux anamorphic zoom lens introduced at IBC2013 is now being joined by a second, with a third in development. Angénieux is showing a prototype of the Optimo Anamorphic 30-72mm 2S (2x squeeze) to compliment the compact 56-152mm 2S, which has already been used for feature film and TV production. At just 2.2kg, the lightweight 56-152mm T4 zoom is claimed to exhibit exceptional sharpness and lower distortion compared to typical anamorphic lenses, through a new optical design that combines spherical and cylindrical elements in the same group. DoP Charles Brosius has shot American football and basketball using the lens, for promos and music videos for Fox Sports. “The Angenieux anamorphic zoom does

Go wide: A basketball tournament in Las Vegas captured in anamorphic for Fox Sports

everything I need and gives me a cinematic crystal clear image that is brand new to the sports television world. With this lens I am able to create ground-breaking images and push the limits of what is possible during live nationally televised network events. It would be my lens of choice for

all of my future work.” Cinematographer Gustavo Biazzi , who shot the first feature entirely made with the 56-152 2S zoom (Hugo Santiago’s Le Ciel du Centaure/El Cielo del Centauro) found that the zoom simplified the production with its versatility and cost,

allowing them to get a wide variation of shots within a take. “Because of that variation we were looking for, the zoom’s minimum focusing distance of 0.63m was indispensable. Visually, the colourimetry is the remarkable characteristic of this zoom. It faithfully

reproduced the nuances of tone that are there in reality. Mechanically, it’s exceptional – in situations where you change focus suddenly, the lens never breathes. And obviously its lower weight and bulkiness differentiate it from other anamorphic zooms.” 11.F34

Carry that weight: The new Precision Levelling Track is quick to set up and level

World-first adaptors for AJA Cion MTF Services By David Fox

New track is on the level Panther By David Fox The new Precision Levelling Track system from Panther has been designed to work fast and, above all, to be easy to use. It uses different sizes of telescopic tubes that allow the track to be levelled from 0cm up to 67cm and can be clicked into place and adjusted without any tools. Each tube can carry a payload of 850kg and a track integrated adjustment lever 48 theibcdaily

makes the levelling simple. The system is self locking - the more payload is used, the more gripping force is generated in the tubes. Cross bars are only needed with a heavy payload, and then only on tubes more than 50cm high. The track itself is made from aluminium, but can be fitted with lightweight stainless steel protection. Also new is the Buddy Plus Dolly, Panther’s successor to its Buddy Dolly, which offers compact dimensions (84cm long, 53.5cm - 82.5cm wide and 40cm high) with good

stability and versatility. It uses a patented Crab (4-wheel) and Steer (2-wheel) shift box (although can be delivered optionally with or without crab and steer), and users can achieve camera positions from floor level up to considerable height using such accessories as Panther’s Vario Jib. It weighs 59kg and can carry a maximum camera payload of 900kg. Panther has also updated its ring platform to offer more stability and flexibility, including adjustable height. 11.E20

MTF has introduced what it claims are the world’s first lens adaptors for the upcoming AJA Cion digital production camera. It has worked with AJA to develop a range of adaptors so that, with the Cion due to start shipping this month, users won’t be limited in their choice of lens. Although the 4K/UHD Cion comes with the industry standard PL mount, many people own less-expensive lenses from other camera systems. There will be five different adaptors available initially: a Nikon G adaptor with aperture control for both new and old Nikon lenses; an optical solution for B4 lenses compatible with any lens with a 2x extender —

this allows total sensor coverage with an HD B4 lenses as the multi-layer coated optics extend the image from its original 2/3inch size to cover the Cion’s Super35 sensor while maintaining the original angle of view of the lens; plus three adaptors for Canon lenses. The Canon FD-to-Cion adaptor works with the old FD lenses, and there are two options for Canon EF lenses. The first is the standard mechanical adaptor, designed for EF-mount lenses with an aperture ring on the barrel. The second is an AJA Cion version of the MTF Effect range of adaptors for electronic lenses. When used with the MTF Effect Control Unit it controls the iris in 1/8th stop increments, and powers lens stabilisation and focus (for lenses with powered focus). 11.B66

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Opinion Toward a networked audio standard Interoperability for networked audio products is little more than an illusion in the short term argues Mikael Vest, sales director, NTP Technology "Predicting the future shape of technology is a fool's game," claimed BBC Technology correspondent Rory CellanJones recently. "If you believed the forecasts of future-gazers when I was growing up, we would all be taking holidays on the moon, consuming our meals in tablet form and enjoying a 10-hour working week by now." That comment is certainly true at a general level but less so in any area of business related to the electronics industry. Here, if anything, progress comes hurtling in a thousand times faster than the average prophet could possibly predict. Technologies and implementations for delivering uncompressed multi-channel low-latency digital audio over a

standard Ethernet network have existed since the mid to late 1990s. The first commercially successful system was Park Audio's CobraNet which was introduced in 1996. Since that time, IT technology based on Ethernet has been adopted very widely thanks to the ever-increasing capacity of network infrastructures and falling costs. Ethernet is today the dominant delivery platform for audio and video media technology. One of the very important aspects of this large consolidation of network technology is the strong focus on standardisation of Ethernet protocols and formats. Another advantage of Ethernet is the layered approach of building each successive standard on

top of its predecessor. Ethernet is an open and widely accepted standard (IEE 802.3) that, in the IT sector, has largely replaced competing wired LAN technologies such as FDDI and ARCNET. Alongside and after the first introduction of Cobranet, other similar formats for realtime audio via Ethernet appeared. One example is Livewire, which has the ability to operate at the Layer 2 level on fast Ethernet (100 megabit per second) networks. However, the capacity was less than 100 channels and the audio and clocking formats were based on proprietary implementation on top of the Ethernet standards. In recent years, proprietary systems from QSC and Audinate/Dante based on

Gigabit Ethernet Layer 3 offering many hundreds of channels have appeared. Following these, the Ravenna format has been introduced as an open implementation framework by the ALC group. In 2013 the AES67 standard from Audio Engineering Society was published. Formats based on AVB Layer 2 are also used for Gigabit audio interfacing in some systems. These newer generation of formats for realtime audio using Ethernet are all different. The basic Ethernet specifications are used and common, like IP/UDP, and PTP/clock synchronisation via the IEEE 1588 standard, but once we see the implementations as a system with audio packages, clocking, device discovery, configuration and control, they will work only with themselves. So is interoperability an illusion? Over the short term of some three to five years ahead I think that is indeed the case. The main focus for manufacturers and customers now is to implement systems

Audio clarity for public TV ETRI By Adrian Pennington What is the point of TV in public venues like rail stations or airports if you cannot hear the audio properly? Prototype technology could mean that audio accompaniments to video in noisy environments can now be heard clearly via remote wireless audio. Dubbed by its Korean inventors as e-odi k, the audio delivery system works over Wi-Fi base-connected to the

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audio output terminal of the TV. The user is required to install the e-odi k app on their smartphone. â&#x20AC;&#x153;You might be able to watch the sound of the TV clearly in noisy environments, to apply simultaneous interpretation services in conference centres, or tourist guide services without expensive equipment,â&#x20AC;? explained Dr Sung-Hoon Kim of ETRI's Realistic Broadcasting Media Research Department. In addition, the service can be used at home via headphones. Conventional techniques

such as wireless headphones using the radio frequency or Bluetooth, demand a receiver, a dedicated transmission device special is required, and, says ETRI, you will not be able to provide services to a large number of users at the same time. With its technology it is possible to connect a dongle device to TVs and by way of the app e-odi k means its possible to provide a service to large numbers of users, changing our infotainment in outside places. 8.G08

Listen up: e-odi k for public TV

and solutions that work most efficiently within the area they cover, even though the products used may not be universally interoperable. The main focus for a new technology like this is to provide practical working solutions embracing the core benefits of Ethernet technology I am confident that standardisation work will continue and eventually embrace the complete functionality that needs to be in place for manufacturers to offer interoperable products based on open and accessible standards. 8.B51

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Protecting media, assuring revenue Irdeto By Ian McMurray Claiming that being profitable on any screen is more than just having a multi-screen and OTT solution, Irdeto is showcasing its range of solutions for media protection and revenue assurance. Irdeto Multiscreen is a managed service that, says the company, enables pay TV operators to make multi-screen an offensive and money generating strategy. At IBC, Irdeto is demonstrating how easily this solution helps driving consumer demand for a personalised media experience, protecting content on any device and generating new revenue with different business models. Content protection, notes Irdeto, is becoming an increasingly complex set of activities and the pressure is on

operators to reinforce technologies to secure OTT services and meet licensing requirements for premium content. Here, the company offers Irdeto Rights, a set of solutions that is said to provide

maximum reach across the widest possible range of popular end-user devices to make security invisible â&#x20AC;&#x201D; as it should be for consumers. According to Irdeto, the new opportunity for operators to be

profitable on any screen and stay ahead of the ever increasing competition is to leverage their existing expertise in broadcast and use it for the evolution of multi-screen by extending it to a hybrid solution, combining broadcast systems with OTT. Irdeto says that it has the proven track record to allow operators

to let their customers watch content on any device in a simple and easy way, and the expertise to help operators take multi-screen to the next level. At IBC, Irdeto is showcasing a range of hybrid devices including CI+ dongles, HDMI dongles and hybrid STBs. 1.D51

TV-based disaster warnings simplified Enensys By Will Strauss Using a TV network to provide emergency alerts is a useful tool for those countries around the world that regularly face potentially dangerous weather events and natural disasters. To aid this, IBC exhibitor Enensys has developed rEWS (Regional Emergency Warning System) for digital terrestrial TV, both DVB-T and DVB-T2 networks, including those with multiple regions where only one region needs the warning. rEWS negates the need for special receiver software by using broadcast TV channels to convey the warning message across all TV channels in a region or nationally at the same time. The message is triggered by signals in the broadcast transport streams, replacing the video and audio service of all channels with the EWS message. Alerts can be also broadcast from selected transmitters only for regional coverage. 2.A31

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Opinion Depth sensing cameras for broadcast We need more than a series of new graphics tools for UHD, AR and VR. We need a whole new camera system argues Bruno Peter Gyorgy, CEO, Zinemath Broadcast graphics lag behind the quality of todayâ&#x20AC;&#x2122;s commercial and cinematic visual effects by a decade. The new technologies of UHD, 4K or even higher resolution screens and large sensor cameras are a challenging environment for the graphic contents too. Creative people, broadcasters and producers will demand more and more attractive visual elements. We see the need for new solutions in the realtime television technologies, to fulfill the expectations of 4K handling capabilities. The visual expectation of the younger generation and all the other viewers are driven by the rapidly evolving smartphone, tablet, cinematic VFX and video

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gaming standards. We see the evolution of Augmented Reality (AR) solutions as one of the key direction of development in the upcoming years. AR and Virtual Reality systems are limited in many ways: they require a lot of investment, a sophisticated application process and dependent on their tracking environments can be used in studio environments only. They do not support any onsite practical location based shooting. As things stand, AR will not be applicable to TV formats such as news, documentary or entertainment. To surmount these technical obstacles we will need more than a series of new graphics tools a new camera and object

tracking realtime depth sensor system shall be available. Depth sensors may give us the access to new dimensions and offer affordable and more effective methods. Imagine a real breakthrough: it will be more cost effective, so it will be accessible to a much wider circle of broadcasters and productions, while being compatible with the new, higher resolution standards. Creativity may flourish. It may allow informative and spectacular presentations as well as a set of graphics applications that flat diagrams and explanatory illustrations come to life and the border between the real and generated content may be blurred. Depth sensing cameras may

well support everyday news and sports broadcasting as a result of their additional dimensions and the simplicity of their use since they do not require a studio environment or

any complex calibration. I do not need to mention the complex possibilities in the entertainment programmes of utilising such a system. 8.E02

theibcdaily The Zeiss Compact Zoom family: CZ.2 70-200, CZ.2 28-80 and new CZ.2 15-30

A light that can take the heat Sumolight By David Fox The heat of a Baghdad summer, peaking at 47°C, is tough on a passively cooled LED light, but the new Sumo100 kept on shining for the CBS Evening News crew, which was fortunate. “As the Iraqi security forces had seized most of our kit the week earlier I was heavily reliant on what remained, and could not afford anything to fail,” explained lighting cameraman Scott Munro. The black metal parts of the Sumolight, Arri Boom stands and Sony PDW-700 camera became too hot to touch within 10-15 minutes in the heat, and the black power extension cable fuse button popped, while the hinges of a plastic case softened and broke. The external housing of the Sumolight “heated up very fast, too hot to touch, but the lamp kept working very well. [It] is wonderfully constructed, and operated well in the extreme heat.” He didn’t even notice any

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Cine zoom goes wide

Hot story: CBS Evening News correspondent Charlie D’Agata and crew in Baghdad

dimming. It is “very hard to deal with the mid-day Middle East sun's brightness foreground versus background,” he explained. He had the correspondent under a California Sunbouncer Scrim “with the Sumo as a lovely fill light. The versatility of it is great. I’ve swung it on a boom stand in many directions, and used handheld a few times too.” The light, which has a very high Television Lighting Consistency Index of 99, “has a

Zeiss beautiful softness and warmth to it, especially around 3200K. I'm noticing with a lot of the LEDs which are gelled to 3200K they do not look as good as the old tungsten filament colour. This is the closest I've seen,” added Munro. The Sumo100 offers interchangeable optics for 30°, 60° and 120° beam angle, output of 1200 lux at 3m and smooth and accurate colour adjustment 3000K – 5700K. 11.A77

By David Fox The third of the Zeiss Compact Zoom family, the CZ.2 15-30/T2.9, is due to ship soon, filling the need for a wide-angle zoom in the three lens range. It costs €17,900 and joins the existing CZ.2 28-80/T2.9 and CZ.2 70-200/T2.9 lenses. The zooms are claimed to match the standards of previous Zeiss prime lenses,

and also to be the only cinestyle zooms offering full-frame (36x24mm) coverage, so they are compatible with image sensors larger than Super 35mm. When the lenses are used on Super35 cameras, users benefit from a sweetspot effect, for extra sharpness, light and contrast. The 4K-compatible zooms use the interchangeable mount system (IMS), and can currently be fitted with five different mounts (PL, EF, F, MFT and E). 11.F50

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Opinion

Freeing trapped content Mark Christie, CTO Piksel, explains how to free content from the complexities of TV Everywhere The growth in video content consumption continues to accelerate and is an industry trend that’s proving truly fascinating to watch. Viewable on every device, anywhere, it’s clear that we are experiencing an industry-defining shift which promises only to continue. The rapidly expanding video industry is giving rise to complex considerations. Industry players must serve a whole range of new business models such as free (ad-based) models, subscription models or transactional models. This now all needs to be integrated with billing systems, have high levels of social interactivity, and suitable content protection. If you are a content owner, aggregator, or distributor finding the right services to

support your business is becoming increasingly difficult; legacy video ecosystems simply weren’t built to cope with these complications. What’s important is making sure that valuable and memorable content doesn’t become trapped in an ecosystem where the business models don’t align with evolving consumer demands. Content must be freed if its value is to be preserved. It’s clear that a ‘one-size-fitsall’ approach is increasingly ineffective. Content owners, aggregators and distributors should look for the freedom to select only the functionality they require rather than investing in an entire out-of-the-box solution.This is about flexible choice based on the

172B to launch 1H17 Eutelsat By Ian McMurray Procurement and launch contracts with Airbus Defence and Space and Arianespace for the EUTELSAT 172B satellite have been signed by Eutelsat. As an early follow-on programme to EUTELSAT 172A, the new triple mission satellite will provide continuity and expansion capacity at Eutelsat’s 172° East orbital position that is a prime gateway for services in the Asia Pacific region. The 3.5 tonne satellite to be

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manufactured by Airbus Defence and Space will be launched by an Ariane 5 rocket in the first half of 2017 and will use electric propulsion for initial in-orbit raising and all stationkeeping manoeuvres. The reduction in mass will enable this powerful (13 kW) satellite to be launched with the Ariane 5 lower position, offering lower launch costs. In-orbit raising is expected to take approximately four months. EUTELSAT 172B will host regular C-band and Ku-band payloads. It will also host the Pacific Ocean region's first Kuband high throughput payload

requirements of an organisation’s legacy infrastructures and its future needs. At Piksel, we’ve closely examined the current landscape and created an innovative architecture that side-steps complexity, pursuing simplicity, flexibility, costefficiency, and speed. By taking a modular cloud-based approach and using a SOA (service-oriented architecture) framework, it opens up the possibility to deliver flexible pick-and-mix solutions without the hefty price tag. All the while making it to market at unprecedented speed. It is also clear that user experience and personalisation are crucial components in a successful video offering.

Today, video is embedded in an evolving framework of social connectivity, advertising, and recommendations, which in turn are tied to ever changing user interfaces seeking to establish deeper levels of connected intimacy. The second screen plays an important role in bringing content closer than ever to the viewer. Content providers, broadcasters, and advertisers should be looking for a system that can be customised to their exact requirements and used across their entire content library; using interactivity features for live events or a recommendations module for extending the viewing experience. Viewers crave a consistent look-and-feel to the services they experience, regardless of device. Technologies that can provide a commonality across different user interfaces are increasingly important for successful multi-screen infrastructures. The growing adoption of the

cloud will enable the TV and media industry to bring to market new online channels quickly and cost-effectively without having to invest in specialised technology resources or hardware. In an age where viewers are demanding content at the click of a button regardless of location or device, technologies must be able to eliminate the complexities of acquiring, aggregating, preparing, managing, delivering, and monetising content to all devices. This will allow the industry to focus on what it does best: delivering great content and satisfying viewers. 1.C30

propulsion and dynamic power distribution, EUTELSAT 172B reflects our commitment to innovations that benefit our

customers around the world and raises the game for the satellite business.” 1.D59

On Ku: The EUTELSAT 172B will host the Pacific Ocean region's first Ku-band high throughput payload

which Panasonic Avionics Corporation has already selected as its key growth platform for in-flight broadband and live TV for commercial airlines on trans-Pacific and Asian routes. “With the allocation of the contracts to manufacture and launch EUTELSAT 172B awarded to Airbus Defence and Space and Arianespace, we are placing our trust once again in two industry leaders who understand our rigour and high expectations,” said Michel de Rosen, Eutelsat chairman and CEO. “Through a combination of three distinct payloads, electric

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Capitalising on European multiscreen markets Clearleap By Monica Heck A new white paper entitled ‘Content Without Borders’ has been unveiled during the IBC show by multiscreen company Clearleap, focused on how operators can capitalise on opportunities in the evolving European TV markets. Clearleap’s CEO, Braxton Jarratt, presented the findings from the paper and examined the steps companies need to take to go from potential to profit in today’s competitive TV landscape. “The European pay TV market is presenting huge opportunities for broadcasters and content owners,” commented Jarratt.

“But with millions of people, over 50 countries and an abundance of currencies and devices to contend with, getting content across borders is no easy feat. “Whether it’s an incumbent

terrestrial broadcaster looking to launch OTT services, or a new entrant eager to break into untapped markets, senior executives need a local perspective and this is where we

come in to play,” he concluded. The company is also speaking on several panels during the show, holding discussions on the Latin American market and presenting a joint case study

with US broadcaster Scripps Networks. Clearleap is also providing interactive demonstrations of its multiscreen platform at its stand. 14.G10

New Monitor Mode for ChannelPort Harmonic By Ian McMurray Showcasing its line of solutions designed to optimise the production and delivery of highvalue video services in the broadcast, pay TV, and new media environments is Harmonic. Concurrent with its unveiling of version 7.6 of the Spectrum media server product line last month, Harmonic also launched a new Monitor Mode for the ChannelPort system which enables each simulcast port to be used as a master control/gallery monitor wall output of the primary output, with timecode, clip status, and clip names burned into the video output. Operators thus gain at-aglance access to on-air clips, says the company. The addition of a Schedule Tool application enables multiple users to create playlists that can later be played to air by Harmonic's Onboard Playlist Control (OPC) automation. In refining the company's MediaDeck server system, Harmonic has embedded all configuration, maintenance, and monitoring tools within the system chassis. The user is presented with a webpage showing alarms and messages, configuration tools, status configuration, and licensing information and maintenance tasks in an easy-to-use interface. 1.B20

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Professional imaging changes as the industry embraces UHD By Douglas I Sheer Industry professionals are increasing the speed with which they are embracing UHD capturing devices, from conventional cameras and camcorders, Digital Cinematography cameras, DSLRs and PTZ models. That is according to the new ‘Professional Camcorders World 2014’ and ‘Studio Cameras World 2014’ reports, published this summer. Both show a surge in enthusiasm for 4K and other resolution levels of UHD imaging. The two reports published by DIS Consulting Corporation of Woodstock, New York, each focus on their respective products organised by imaging sensor, as well as by type, brand, dollar value, user segment and geographic region. In all, both studies covered seven vertical segments including: broadcast/cable, production/post, mobile/OB, event video, independent video, institutional and rental house in five regions. Three other DIS studies look at imaging products, in sports, cinematography and lenses. Camcorders and cameras While there is a substantial shift to UHD underway, quite a few purchases – the majority -- are still of HD-grade cameras, camcorders and D-SLRs. And, among the camcorder sensors, a big focus has remained in the ½-inch and 1/3-inch sensors as well still for some 2/3-inch sensor models. The Sony EX ½ series has been particularly successful, especially in news operations, but a good deal of interest has been paid to the Canon 1/3-inch

The category of D-SLRs has enjoyed a decade of unrelenting growth

series as well. Generally, camcorders continue to be smaller, lighter, less power hungry and less expensive. Now camcorders feature more interchangeable lenses and agnostic recording and storage choices in new models, than in the past, making them a more attractive choice than they had previously been. A good deal of the buzz this year has been on the rise and brand expansion within digital cinematography where the NAB Show saw dozens of new models revealed. But, most of the camera action – outside of digital cinematography – has been in either in 2/3-inch or 4/3inch models or UHD going beyond cinema, such as in sports or live events uses. Other sensors have been used far less in cameras, outside of cine where Super 35mm reigns. In sports, some of the attention has gone to pricey high-speed models, with higher

frame rates, from Sony, Grass Valley and For-A in particular. Field versus studio The differences between socalled field models and socalled studio models have become fewer and their form factors more similar in recent years, regardless of their origins and applications. Further muddying the camera market are some models of camcorders that come with a studio conversion kit such as JVC’s GY-250U series. As all cameras become lighter, more compact and more flexible and more agnostic this is perhaps less important than it had been. But, the ability to record in the camera body as compared to using outboard recording devices still distances cameras from camcorders. And, while field models are more like camcorders in that regard, they tend to be more upmarket than the common camcorder. It used

to be that sensors in studio models outpaced those in field versions, but that is no longer true. Nor are the weight differences that profound. The category of D-SLRs has enjoyed a decade of unrelenting growth and support from consumer enthusiasm as well. That, however, has now begun to cool. While consumer purchases were off by close to 20% this year, pro sales were less severely reduced, and in some market segments and regions up modestly. But, if it were not for increased interest in UHD (4K) level D-SLRs, the dip would have been deeper. Impact on lens purchases Accessories are abounding for the category. Starting on the consumer side, and expected here on the professional side, there is a battle raging between mirror-shutter and mirror-less technology and we expect the mirror-less technology may win

the fight or cause a merging of the two technologies in future generations of the SLR. The past several years have proven to be demanding for lens manufacturers and end-users alike. As more Super 35mm sensor using cameras and camcorders have proliferated, that has demanded that they be coupled with appropriate 35mm lenses. While in some cases users have been able to re-purpose older 35mm legacy SLR or filmbased cine lenses, many have been confronted with the need to purchase new prime or zoom lenses specifically tailored for Digital Cinematography purposes. As interest in 2/3-inch sensor camera and camcorder models has begun to decline precipitously some customers have expressed the wish that somehow a melding of Super 35 sensor models and 2/3-inch glass were feasible. That possibility could actually be coming soon, which would be helpful to them and create greater 2/3-nch lens sales for the lens makers. While there are some dramatic differences between types, among all modern pro capture devices features or qualities most sought by respondents to Professional Camcorder World 2014 in Europe were: 1) HD capability, 2) low power drain, 3) having greater sensitivity and 4) 4K (or similar UHD level). This indicates that, regarding overall camcorder plans, endusers are still overwhelmingly focused on HDTV production. That said, seeing the significance of 4K this year, among the general camcorder using population in Europe indicates an intensifying of interest and a swing away from HD to UHD is underway.

Douglas I Sheer is CEO and chief analyst of DIS and reached at dougsheer@gmail.com

Leveraging the Internet of Things Nagra By Ian McMurray Making its international debut at IBC last year was Nagra’s Gravity Ultra user experience for 4K UltraHD television. This year, the company says it is taking it to the next level by showing how 4K UltraHD can leverage the Internet of Things to create a smart home and connected TV

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experience. NAGRA is also presenting the 4K edition of its Gravity Edge reference UI running on a 4K set-top box. New this year for the show is a “ready-to-deploy” QuickStart solution, offering pre-integrated SmarDTV devices for fast time-tomarket of new servicess and applications on any TV set, including OTT live and ondemand content, transactional VoD, subscription VoD, as well as

external PVR and network PVR capabilities. NAGRA says that QuickStart leverages its latest technologies including: NAGRA content protection and studio-approved DRM solution, NAGRA PRM, OpenTV 5 HTML5 connectware and user experience capabilities as well as the NAGRA MediaLive and Cloud Services platform. 1.C81

Making waves: Gravity is reaching new heights

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Intelligent redundancy switch added Bridge Technologies By Ian McMurray A new addition to the company’s line of Intelligent Redundancy Switch products is being introduced by Bridge Technologies at IBC. The VB243 follows on from the VB273 for DVB-S/S2, and employs the same concept in a version for ASI, with advanced analysis and decision engine technology providing what the company claims is a highly autonomous redundancy switch capability. The VB243 benefits from the array of analysis technologies deployed in Bridge Technologies’ range of digital media monitoring probes, coupled with a decision engine that can operate according to rules defined by the user for any operating conditions. A wide range of system metrics and rules can be set for validation of the input status on both sources, together with switchback rules to allow for any combination of fully or partially autonomous scenarios, or manual switching. It is delivered in a robust chassis with redundant power supplies, and the switching

module features magneticallylatched relays, guaranteeing signal pass-through even if the card is removed with intact cabling. The signal from each input source is transferred to its

own ASI interface and then to the controller module with its ETR290 analysis engine. Designed to provide a more reliable autonomous switching capability than the previous

generation of products, the VB243 can accommodate semimanual or completely manual operation if required. “The intelligence embodied in this line of redundancy switch products allows operators to make much more effective provision for any failures in the signal channel,” said Bridge

Technologies’ chairman Simen Frostad. “By including the very nuanced and powerful analysis capabilities of our core technologies in the VB243 and the other products in the series, we have been able to take redundancy switching to a new level.” 1.A30

BarnOne product expansion Barnfind Technologies By Will Strauss Collaboration with technology partners and clients has resulted in an expansion of the products available for Barnfind Technologies’ standalone BarnMini frames. At IBC a prototype is on show of a new 2RU sized BarnMini2RU housing that will hold up to eight BarnMini frames standing vertically and up to four LGX boxes horizontally with a single or redundant PSU for all units. Also being highlighted are more HDMI innovations including the new BarnMini-03 that can take signals from HDMI to any SDI SFP, as long as it follows the MSA standard. Barnfind’s BarnMini-04 operates the opposite way with input from any SDI SFP to output HDMI. 2.A42

VISIT US ON BOOTH #4.B72

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French tennis gets 4K coverage Envivio By Ian McMurray At the French Open 2014 tennis championship earlier

this year, French broadcaster TDF used Envivio’s 4K UltraHD compression technology for live streaming of the event. “Envivio provided an outstanding contribution for the debut of live 4K HEVC

video transmissions over a DTT network at the French Open tournament,” said Alain Komly, deputy director at TDF. “The sharpness and rich quality of the video is absolutely stunning, and we

are excited to present this emerging technology for the first time in France.” “The French Open is one of the most prestigious sporting events in the world, and we are extremely pleased to have

provided the compression technology for this world-first, over-the-air broadcast in 4K Ultra HD, in partnership with TDF and TNT,” said Julien Signès, Envivio’s president and CEO. “Our Muse video processing software has been fine-tuned for 4K to provide the best video quality possible, while leveraging the efficiency of HEVC to optimise bandwidth efficiency.” 1.D73

Artist Suite updated Avid By Carolyn Giardina Avid is demonstrating the latest updates to its Artist Suite of creative tools for audio, video and live sound production. This includes new versions of Pro Tools|S6 and System 5, which run on the Avid Media Central Platform. The System 5 version 6.0 software update provides full support for and integration with Dolby Atmos, Dolby’s immersive object-based sound format. New features in Pro Tools|S6 software version 1.2 include VCA spill, the ability to spill VCA slaves onto the surface from a VCA master to access and update as necessary; multi-workstation layouts, the ability to map channels onto the surface from any of EUCON-connected DAW – side by side; an expand mode, providing the ability to expand a plugin and its parameters across a single or double knob module; and audio editing from an S6 channelstrip, meaning that a user can fade in or out a clip, trim the head or tail, slip or nudge it in time or adjust its clip gain. Version 1.2 also includes the ability to vary the scrolling waveform speed, gain reduction enhancements, and an integrated DVI switcher control. 7.J20

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Exhibitor list and floor plan

Correct as of 28th July 2014

Halls 1,2,3,4,5 & 6 floor plan.......................................................Page 62 Exhibitor listing .......................................................................... Page 64 Hall 7 Floor plan ........................................................................ Page 65 Exhibitor listing ............................................................................Page 66 Exhibitor Listing...........................................................................Page 67 Hall 8 Floor Plan ..........................................................................Page 68 Halls 9,10 & 11 Floor Plan...........................................................Page 69 Halls 12 & 13 Floor Plan..............................................................Page 70 Hall 14 & Outside Exhibition Area floor plan..............................Page 71 Exhibitor Listing...........................................................................Page 72

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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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Halls 9,10 & 11

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Halls 14

& 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

Hyper not hype: HyperSpace “brings SSD performance levels to HDD NAS storage systems”

Entering HyperSpace GB Labs By Carolyn Giardina The new HyperSpace technology from GB Labs is bringing broadcasters and post facilities a new option in storage. HyperSpace uses SSD enhancement technology to accelerate its Space tier 1 HDD system. It gives users the “capacity of the HDD range with the levels of performance that the company’s SSD range can provide,” the company claims. “Many of our customers require large capacities – up to 1.7PB – and very high performance for demanding media

applications and large workgroups,” said Ben Pearce, sales and marketing director. “Our new Space HDD platform has fulfilled these needs for most clients. However certain deployments require DPX image sequence capabilities or very large HD stream counts for concurrent editing, transcoding and rendering. The random access capabilities of HyperSpace are ideally suited to these environments.” Unlike the earlier generation of hybrid HDD / SSD disk systems that were designed for general IT deployments, HyperSpace is aimed at “heavy duty” usage in media environments. 7.J15b

V-mount power for Flex4K Blueshape By David Fox A V-mount battery adapter for Phantom Flex4K that has been approved by Vision Research has been introduced by Blueshape, along with a new high-rate discharge battery suitable for the camera. “For the Phantom Flex4K to achieve its exceptional performance it requires a constant supply of high current from the connected battery, so the performance of the battery adapter plate and battery will be need to be exceptional too,” said Toni Lucatorto, cinema product manager, Vision Research. “During the testing that we carried out, other V-plates failed due to arcing caused by the high current discharge with resulting damage to the battery contacts. Blueshape has designed and manufactured a battery plate to accommodate these demands and the result is extremely high quality and something we can all be proud of. I am excited about this new Blueshape adapter and recommend them in combination with their high performance batteries for our new Phantom Flex4k camera.” The MVPHF adapter has a lateral D-Tap connector and can be fitted to the camera with four screws.

Phantom power: A Blueshape Granite battery and V-mount battery adapter fitted to the Phantom Flex4K

Blueshape has also developed a new Granite 14.8v battery, the BV270HD, to cope with the demands of the Flex4K. It has a capacity of 18.0Ah, 266Wh, with a maximum discharge current of 12A, is shockproof and IP54 certified, and has two Auxiliary DTaps providing up to 5A with independent overload protection. It weighs 1.62kg and comes with a new enhanced contact protection insert, which makes it virtually impossible for a short between the terminals, for safer air transport. Its nickel-based Li-Ion chemistry and heat resistant layer offer improved internal safety, higher energy density, longer durability at higher loads and increased performance in low temperatures. 11.A20

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Soft LEDs on the double De Sisti By David Fox A new LED softlight range that offers a high colour rendering index of more than 95 has been launched by De Sisti. The Soft-LED 2 and Soft-LED 3 lights offer a light output that is almost twice that of an equivalent fluorescent fixture. The lights use remote phosphor technology, with either two or three LED arrays, and offer a controlled beam white source (daylight or tungsten versions), ideal for multiple camera use in the studio. They produce soft shadows with even distribution and no pixel effect from the LED (which is a problem with some LED lights).

The compact, lightweight fixtures come with a choice of manual or pole operation, full dimming via DMX, and the LEDs are supplied with DC power throughout the 0 to 100% dimming range for flicker-free operation and smooth cross fades. The lights are built using lightweight carbon steel, with low-glare black epoxy powder coating, and use high efficiency convection cooling. Accessories have been designed for one-handed installation, and the fixtures are available with either positive lock manual yokes, or pole-operated yokes that can be used either via the lighting pole for panning and tilting the lights or manually, as the mechanical activators are equipped with clutches. 1.B45

Robotic pedestal weighs in Vinten Radamec By David Fox Studio cameras decked out with big box lenses, prompters, talent monitors and large viewfinders need a lot of support, which is why Vinten Radamec has responded to customer demand for a heavyweight robotic pedestal with the new FPR-210+, a beefed up version of its FP188, which can handle payloads of up to 95kg. It supports the weight of Vinten Radamec’s Fusion FH-145 head, plus a camera set up of up to

66kg, maximising the payload capacity of the FH-145. The FPR-210+ offers smooth on-air operation, at all speeds, and recognises compact L shaped floor targets or can be supplied with the Fusion Absolute Positioning System. “The FPR-210+ can be locally controlled through the easily accessible buttons to operate the height column and switching the pedestal base to full-manual operation, this makes it simple to switch between free form and pre-programmed show formats providing studios with even more flexibility,” said Phil Dalgoutte, Vinten Radamec product manager. 11.E55

Plus size model: The PLUS version of the C100 large format broadcast console features a 10-in screen

Souped-up soundboards Solid State Logic By Michael Burns New PLUS versions of the SSL C100 and C10 broadcast consoles are being showcased for the European market, accompanied by a bundle of Production Assistant software. The new C100 HD PLUS large format console is designed to offer a complete production solution for news and sports in a single, standard, high-power configuration. It offers redundant Blackrock Processor cards in a compact 2U rack, to process 588 audio mix paths with 256 channels of six-band EQ and 284 channels of dynamics with 512 channels of integrated MADI I/O. The centre penthouse section of the C100 HD PLUS features a 10-inch screen, which can be used to display any HDMI video source and enables the user to select from a wide range of metering options. The console can be specified with SSL’s LMS-16 loudness monitoring system to provide highly configurable 16 x 5.1-channel loudness

Hybrid pay TV: the next big revolution Strategy & Technology By Ian McMurray With growing global interest in hybrid broadcast broadband television, interactive multi-screen specialist Strategy & Technology (S&T) is demonstrating and discussing its technologies to bring innovative new services to interactive television and other screen-based platforms. The company is showing complete solutions for streaming premium content, interactivity and application development. Known for its work in MHEG-5 interactive systems, S&T is now extending into new content platforms, including HbbTV, HTML 5, mobile and smart TV applications. With the growing use of connected televisions, consumers are increasingly expecting to choose the content they watch, as well as where and when they watch it,

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and true peak monitoring. The control surface has also been redesigned to facilitate clearer channel identification in a wider range of lighting conditions. With frame sizes from 16 to 48 faders, SSL said the compact, self-contained and fanless C10 HD PLUS console can be built into vans for ENG operations, specified for network-scale sports productions or positioned for all-round production demands in mid-scale broadcast facilities. Integrated into the C10 HD PLUS, the Blackrock Processor card offers 216 audio paths with 160 channels of sixband EQ and 188 channels of dynamics with 512 channels of integrated MADI I/O. The console also features a redesigned fader panel colour scheme, while the button-driven surface is intended to make life easy for new operators. The standard configuration of both consoles offers the complete portfolio of SSL’s Production Assistant applications, including Dialogue Automix, 5.1 Upmix, Production Automation Interfacing, DAW Control and C-Play, SSL’s integrated audio spot playout system. 8.D83

S&T notes, and meeting this expectation requires an underlying platform for streaming and protecting the content, and giving consumers seamless access to it. S&T says that its solution means that it is practical to develop common applications for smartphones, tablets and smart TVs and other Internetconnected platforms, claiming that the company’s recent acquisition of OnScreen Publishing gives it a development environment that allows designers to create applications via an easy-to-use user interface, without having to necessarily concern themselves with the underlying code. “Hybrid pay TV will be the next big revolution,” said David Cutts, managing director of S&T. “Consumers like the idea of free-to-air broadcasting, supplemented with premium pay services. We allow content providers to meet that need, either with our products or their own.” 1.B22

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Opinion

Challenges of monetising video services Operational and behavioural analytics provide clarity on what’s happening within service provider networks explains Kirk George, director of marketing, IneoQuest Technologies Consumers now have more ways to watch video than ever before. With this shift in viewing behaviour, video service providers (VSPs) are being forced to rethink their business models and technology platforms in order to retain subscribers, ensure a highquality video experience and realise a return on investment. The viewing experience is a new area of differentiation among VSPs. Now with consumers paying a premium for video entertainment and video-enabled devices (like smartphones, tablets, smart HDTVs, and more), VSPs have their work cut out for them in order to gain a better understanding of their customers and turn that information into new business strategies. Delivering multiscreen services today and in the future brings complexities that have never been faced in the video

world before. The different video assets, protocols, delivery infrastructures, encoding, encryption, locations and the exponentially growing intricacies of video-capable devices brings a web of complexity that is incredibly difficult to plan for. Having a strategy for rolling out multiscreen services is absolutely essential. Operators are looking to monetise video services in order to reduce churn, increase their subscriber base, reduce capital and operational expenditure and optimise investments. In order to effectively monetise video, providers need to have end-toend visibility into their subscribers’ video experience. Without this visibility, providers lose control of network quality and, as a result, miss out on the opportunity to monetise video. Monetising video is a difficult process due to the variety of

video networks and the vast number of end device types available. However, providers can overcome these obstacles and be better positioned to monetise video services. Strategy involves learning from the past, managing the present, and building a foundation for the future. Fortunately, there are guiding principles from the past that we can learn from to help manage multiscreen deployments today while planning for future expansion. To achieve success, VSPs will need to combine the intelligence of operational and behavioural analytics collected on their networks, and transform this information into actionable items that allow for better business decisions. Operational analytics give VSPs a holistic view of network operations, including which regions perform the best, channel and programme availability and more. These

operational analytics can give VSPs the tools needed to improve existing operations and provide new insights to make better decisions about managing video services and improving performance management. In addition, VSPs need a firm grip on subscriber behaviour, including understanding who is watching what, where they are watching from, for how long and on what device. By combining operational and behavioural analytics, providers have a complete view into their network and subscriber behaviour, providing a clear picture of exactly what’s happening within their networks. In making this correlation VSPs can identify opportunities for monetising their video services. As video becomes more important and is watched on a multitude of devices and in different locations, IneoQuest

looks forward to helping VSPs monetise their video services through our leading operational and behavioural analytics platforms. We invite IBC attendees to visit us to learn more about solving the challenges of monetising video with our new video analytics platform. MS-38

SatCom partnership moves forward Vislink By Ian McMurray

Search for the hero: The Power Search function helps decrease churn and improve ARPU

Power Search for pay TV DCC Labs By Monica Heck Visitors to Hall 14 can witness demonstrations of the DCC Labs Power Search functionality, which helps TV operators provide more relevant pay TV content recommendations. Power Search is a feature of the company’s flagship Hybrid Middleware Client product, a highly personalised middleware for IPTV, DVB S/C/T and OTT devices. 76 theibcdaily

Power Search enables users to quickly find relevant content across multiple content libraries such as EPG, VOD, shared folders (DNLA), Vimeo, dailymotion, flicker, youtube and others. The search results can be filtered so that users can rapidly fine-tune to the most interesting content of their needs. The Power Search architecture, built around flexible plug-ins, enables TV operators to quickly extend searches across multiple content libraries addressing local market trends. Search

queries and filtering results can be used to enhance the users profile and help TV operators to provide more relevant pay TV content recommendations. By providing viewers more content options and analysing viewer’s search of keywords, the choices they make, things they watch, Power Search feeds the recommendation engine with user relevant data and enables operators to provide more precise recommendations to specific family members. 14.L14

The next step in its partnership with ND SatCom, the satellite communications supplier, has been announced by Vislink. ND SatCom’s SKYWAN 5G modem can now be specified for order as part of Vislink’s full Advent range. Vislink equipment integrated with the SKYWAN 5G modem is ready to ship and initial orders are already being filled. Vislink’s partnership with ND SatCom has resulted in the ADM5100, a new half rack multi-functional encoder that’s paired with ND SatCom’s MFTDMA SKYWAN 5G modem. As an all-in-one device with a wide range of IP support, the SKYWAN 5G is said to be optimally suited for use with any network topology and to offer a greater range of flexibility to the VSAT world, providing broadcasters with enhanced efficiency when transmitting compressed video across all-IP networks.

Additionally, the SKYWAN 5G is available as an integrated option for Vislink’s MSAT range of portable and lightweight satellite data terminals. The MSAT is designed for one-man operation in challenging environments or rough terrain, where a full satellite system cannot be deployed but there is still a need for high bandwidth connectivity. Vislink says that ND SatCom’s modem, which features an integrated DVB-S2 receiver, is capable of achieving the significant data rates required to meet ever-changing demands from the broadcast industry. “The agreement with ND SatCom has let Vislink offer the SKYWAN 5G modem across the company’s full range of broadcast solutions,” said Ashley Dove, general manager at Vislink. “The partnership will also result in further joint development later down the line, and Vislink’s technology will be integrated into ND SatCom’s hardware in the future.” 1.A69

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Media management aided by archive apps NOA Audio Systems By Michael Burns New products to help manage media assets have been launched at IBC. NOA has introduced a new video content tool, mediarc for Web, and released VideoScanner for streamlined video file format handling. The company has also added support in JobDB for a range of modules developed for the mediARC environment. MediArc for Web allows users to access archival content for a large user base, and now features an extension to show video content. It also offers easier navigation based upon an index of shot detected scenes. Video proxy files can be located more rapidly and various video segments can be easily processed to an order basket. Mediarc for Web then exports items in the basket in the required production formats for use in a production asset management system. The new NOA VideoScanner

The quick klik track and dolly Hillrigs By David Fox

Archival Arc: MediaARC for Web features an extension to show video content

decodes a list of dedicated production formats to a lossless compressed mezzanine format. It also produces an index of detected shots and allows for unified handling in the subsequent archiving process. VideoScanner is capable of streamlining the day-to-day TV workflow, and is said to make the production of required file formats more efficient. The JobDB workflow system can now be enhanced with the ingestLINE module FrameLector, and the actLINE modules VideoFileAnalyser, mediaButler, and VideoScanner.

With the additional module options, JobDB now provides an extended infrastructure for service providers and archives not running mediARC. It allows them to produce video preservation formats and proxy formats in order to achieve a variety of workflows in legacy video archive digitisation. These tools, developed initially for a mediARC environment, and successfully deployed at SRF Sweden, RTV Slovakia and RTV Slovenia, are now available for the jobDB workflow environment. 8.D91

Following almost four years of R&D, Hillrigs has launched its Kliktrak and Kombidolly track and dolly system. The Kliktrak uses rugged aluminium sleepers, higrade aluminium rails, and unique klik-quik rail mounts, which Hillrigs claims will allow users to build a professional track for dolly shots in a matter of minutes. Each sleeper is made from 40mm x 40mm anodised matt black aluminium box section and supports a standard 62cm width track. Because the system weighs relatively little, entire track sections of up to 5m

are easily portable. There are built-in fluid levels at each end to make levelling simple and quick, while flat silicone rubber feet and height adjustable tilting feet are fitted to each end of the sleeper. The three-legged Kombidolly comes with fixed width legs for use with standard track, but it can also be fitted with telescopic legs adjustable from 70cm to 106cm, a telescopic push/pull handle, integral monitor mount, and clip-on Lo-Bowl 75/100mm for very low tracking. The track wheels use special Acetal Polyoxymethylene cushion glides, which minimise friction and can be quickly unclipped for replacement with the included lockable studio wheels. 11.A75

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IP: simple solution to contribution Today’s Internet Protocal technology has all the capabilities broadcasters need for contribution networks argues Geir Bryn-Jensen, CEO, Nevion Broadcasters, like those in many other industries, are under pressure to do more for less, both in terms of capital and human resources. IP’s ascendancy into the transport of professional-quality content continues primarily because IP networks are more flexible and cost-effective than systems built with traditional broadcast technology. IP networks can carry any kind of content – video, audio or data – which makes it very versatile. IP is everywhere now, which means broadcasters can link any and all locations together, at any time. What’s more, IP connections are flexible, making them ideally suited to today’s live environment where set up and tear down of services on demand is required to meet constantly changing needs. And IP’s huge ecosystem means that IP solutions are available to meet virtually any conceivable broadcast

requirement, with more solutions emerging all the time. Most importantly, in addition to IP’s cost effectiveness when compared to dedicated links that are often underused and therefore costly, IP-based links can be set up when and where needed, carrying any type of content, making them very attractive to broadcasters. Now, IP is increasingly being used to transport high-quality content in realtime between locations as part of the production process (IP contribution). Using IP for contribution requires an overlay of technology to overcome its inherent limitations. These challenges include variations in latency, the level of reliability (broadcasters can’t afford to lose a single frame of video), and the management of IP networks, which seems so much more complex than traditional baseband networks. The good news is that these limitations have now been

LumaTech Super35 lenses GearCam By David Fox Luma Tech has extended its series of Super35mm Illumina S35 PL-mount lenses at both ends, adding its widest-angle 14mm and its longest 135mm lenses. The Illumina S35 14mm is a T1.8 model, with a close focus of 25cm, and weighs 1.6kg, while the 2.3kg 135mm S35 lens has a T1.8 aperture and 150cm minimum object distance. The other five lenses in the range (18, 15, 35, 50 and 85mm) all have T1.3 apertures. All the lenses use Lomo optics and are claimed to offer high resolution and contrast, with “a forgiving creaminess”. Their European distributor, GearCam, is also showing Lomo’s new optical test bench for cinematographic optics: the Lumacon. Equipped with proprietary sensor components and software, it uses the peak contrast principle to pinpoint 78 theibcdaily

optimum back focus, focus distance scale settings and true light-transmission (T-stop) performance of lenses. The image of a knife-edge reference object is used to generate performance curves, which the software then interprets, automatically locating the point of peak image quality. As well as maintenance and repair, it is useful for in-depth analysis and comparison of optical resolution and assembly quality, and is claimed to be “the most powerful instrument for optical quality assessment ever offered at such an affordable pricepoint.” 11.B65

A forgiving creaminess: Luma Tech’s new Illumina S35 14mm PL-mount lens

overcome, and specialists like Nevion are making IP fit for broadcasting. Consider the case of one of the UK’s largest commercial television networks looking to update its contribution network between 12 main locations and nearly 30 regional facilities. With a goal of improving its distribution of quality content and achieving cost efficiencies, it implemented a solution based on an existing nextgeneration core network connected to the broadcaster sites by 10Gigabit Ethernet links, backed by Nevion’s video compression, transport and monitoring solutions. VideoIPath, Nevion’s media network management system, puts the broadcaster in control of its contribution network. As a result, the broadcaster can now share SD and HD-SDI video signals safely and in realtime between any of their locations, with latencies of just a few milliseconds — compared to

about 600ms with their previous system. Most importantly, with VideoIPath, non-specialist broadcast operators can set up connections between any locations virtually instantly, without expert help. For this and other broadcasters like it, the ability to set up connections between locations on demand combined with resilience and very low latency has the potential to revolutionize production workflows. Virtually any remote

location can become an extension of in-studio or oncampus production, and expertise can be tapped into wherever it’s needed. This is exciting news for broadcasters as they seek to evolve in the face of tough competition. Not only flexible, bandwidth efficient and less costly, IP is ideal for broadcasting’s future, which is sure to include second screens and expanded realtime services. 1.B71

Broadcasters must become agile IBM By Adrian Pennington The rapid adoption of smart devices and the growth in network bandwidth and social media are creating exciting opportunities for media and entertainment (M&E) companies. Yet, increasingly empowered consumers are demanding the content they want, on the device they choose at the location and time that fits their schedule. This new ‘connected’ marketplace requires that M&E firms deliver compelling experiences that meet each consumer’s unique need. “To succeed in this new connected consumer era, broadcasters must become more agile,” said Steven L. Canepa, general manager, global M&E industry, IBM. “They must understand their audience in greater detail, develop efficient frameworks that can deliver customised

Canepa: “Be prepared to deliver innovation at the moment of consumption”

experiences, and be prepared to deliver innovation at the moment of consumption.” He continues: “Traditional audience measurement techniques must evolve to include realtime collection and analysis of social media and transaction data to truly understand consumer behaviours and preferences. Harnessing the vast amounts of structured and unstructured data can provide

powerful insights which can inform business decisions and create enhanced revenue streams. The financial benefits of targeted advertising and more efficient and effective marketing campaigns can only be achieved through these datadriven approaches.” Personalised media is the new imperative, IBM believes. Solutions that integrate cloud, analytics, mobile and social – in a secure manner – are the answer. “Linking distribution with analytics in a cloud environment allows M&E companies to clearly understand the behaviour of connected customers and deliver increased value. The scale and flexibility provided by these new approaches can provide a digital delivery system that enables more than just speed and infrastructure savings. It makes new innovative business models possible.” MS22

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Newsroom integration arrives on cue Autocue By David Fox New newsroom integration tools that enable a prompter to automatically jump to any story selected in a newsroom running order and for script edits on the prompter to be mirrored in the newsroom computer system (NRCS), are two unique features that Autocue is adding to its system. The first new is via support for the roElementStat MOS command, which allows a director to skip ahead to another story in the running order and the teleprompter to automatically display the corresponding section of script. This “eliminates the need for the operator to react to the director’s instructions and jump to the correct point, or for a presenter to have to scroll ahead themselves to try and find the right point to pick up the story,” said Rachid Anis, Autocue CTO. Profile 7 support in AP ENPS allows two-way communication between prompter and NRCS. Normally, scripts are prepared in

the NRCS and output to the prompter, with any changes having to be made in the NRCS. However, profile 7 allows Autocue to enable changes made by the prompter operator to be reflected in the AP ENPS

system. “It is much easier for the teleprompter operator, who is working on the script, to make changes locally on the prompter machine under the direction of the production team. Until now, this has not been possible,”

explained Anis. It has also announced support for the latest MOS protocol versions 2.8.3 and 2.8.4, plus support for “Buddy Server failover mode” in AP ENPS. If the primary NRCS system is unavailable, the prompter will respond to backup (buddy) server MOS commands.

“Now that we are no longer in competition [following the sale of its Workflow division to AQ Broadcast], we are building much stronger development relationships with newsroom providers.” It aims “to create the best possible newsroom integration and MOS support.” 11.F45

Engineering Emmy for JPEG 2000 work Artel Video Systems By Wll Strauss The National Academy of Television Arts & Sciences has honoured a number of IBC exhibitors with a Technology and Engineering Emmy Award. Video Services Forum, Media Links, Nevion, DVBlink, Inc, Harris Broadcast Corporation (now Imagine Communications), Ericsson, Artel Video Systems, Barco-Silex and IntoPix were all recognised for their work on the standardisation of JPEG 2000 interoperability. Their contributions aided the development of VSF TR-01, a recommended practice for compressing SDI signals into JPEG 2000 and encapsulating the signals along with audio and ancillary data into an MPEG-2 TS for transport over IP networks. The vendors have helped to develop an industry standard for light compression of HD and 3GSDI signals for transport applications. "Recognition by NATAS demonstrates Artel's dedication to the development and adherence to industry transport standards," said Richard Dellacanonica, president, Artel Video Systems. 2.A20 theibcdaily 79

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IBC signals European expansion Plura Broadcast By Michael Burns The formation of Plura’s new European subsidiary has been announced. The company said setting up Plura Europe was a core part of the its growth strategy across international regions, which aims to bring the company closer to its customers and dealers in Europe, Africa and the Middle East. Ray Kalo, president and CEO of Plura Broadcast, has been appointed as managing director of Plura Europe, with other executives to be announced. Establishing a headquarters and local product assembly in

Wuppertal, Germany, Plura Europe aims to minimise costs for customers, eliminating tariff codes and customs complications associated with product importing and exporting. According to Kalo, the formation of Plura Europe is the first step in a strategic plan to boost the company’s presence in Europe and surrounding regions. Initially, the company will emphasise the I/O connectivity options of Plura monitors for the fibrerich architectures common in mobile trucks and fixed playout centres across Europe. The company is also well-versed in test and measurement equipment and software, character/templatedriven graphics generators,

and other broadcast and production systems. “On the technology side, Plura products and solutions offer a wide range of diversity and flexibility for broadcasters worldwide that solve the problems of connectivity limitations in signal monitoring,” said Kalo. “From a business perspective, the formation of Plura Europe will strengthen our means of customer engagement across many unique business cultures, which will improve our depth as a global operation.” 8.B73 Plural role: Plura’s president and CEO, Ray Kalo, takes on the role of MD of Plura Europe

VS4Recorder now shipping Matrox By Carolyn Giardina The Matrox VS4Recorder Pro, a multi-camera recording and multiviewer app for use with Matrox VS4 quad HD capture cards, is now available. Each VS4-based recording system captures up to four video and audio inputs to create files for use with apps from Adobe, Apple and Avid and for long-term storage. H.264 is provided in either MOV or MP4 wrappers. AVI files can be created using the Matrox MPEG 2 I-Frame codec. MOV QuickTime files can be created using DV, DVCPRO, DVCPRO50 and DVCPRO HD. Matrox noted that the VS4Recorder’s multiviewer capabilities “offer pristine video quality even when monitoring interlaced sources on progressive computer monitors.” “Synchronised, frame-accurate, multichannel HD capture is simpler and more affordable than ever before,” said Wayne Andrews, product manager, Matrox Video. “With VS4 Recorder Pro, live event producers and video editors get the quality, versatility and

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intuitive control they want, at a fraction of the usual cost. Complete systems can be assembled for as little as $3500 and as much storage as needed can easily be added.” Features include automatic input detection for on-site set up; event markers for Adobe Premiere CC so that while recording, users can highlight moments of interest for quicker post-event editing; and settings for capture duration and file switching without frame loss. VS4-based systems are also recommended for multicamera live production streaming with Telestream Wirecast for Windows or StudioCoast vMix software. VS4Recorder Pro and the Matrox VS4 card lists as a bundle for €1,995, and the VS4Recorder Pro upgrade software is available to current VS4 card owners at €995. 7.B29

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Plugged in: Northwire Technical Cable is now part of Lemo

Latest versions of FLIP, Baselight Filmlight By Carolyn Giardina

Custom cable makes connection Lemo Connectors By David Fox Lemo has acquired US-based custom cable manufacturer Northwire, so that it can now offer complete cable and connector packages. “We will be able to provide our customers high-quality

complete cable-connector solutions,” said Alexandre Pesci, CEO and president, Lemo Group. Although the existing structures of Northwire and Lemo will remain unaltered, Northwire will be integrated into the Group. “Lemo has achieved a worldwide reputation for highquality, leading-edge

connectors and we are truly proud to become an integral part of their team. Lemo’s field-proven custom connectors revolutionise NWI’s suite of offerings that evolved in our past 43 years, originating from wire, cable, retractiles, value-add to cable assemblies,” added Katina Kravik, CEO of Northwire. 11.D42

The FilmLight IBC exhibit includes a new version of its FLIP realtime image processor for on-set work, Baselight Editions, and the latest version of Baselight with high dynamic range support for the new Dolby Vision format. The new version of Baselight software also includes direct DCP rendering and ACES 1.0 support. Baselight Editions takes the colour processing engine from full Baselight workstations and implements it as a plugin within certain editing and VFX packages. That currently includes Avid, Final Cut Pro

and Nuke; additional support is planned. “Whether they are involved in Hollywood blockbusters or high-pressure television production, all our clients tell us that workflow is critical,” said Wolfgang Lempp, cofounder of FilmLight. “Collaborative working is not only more creatively satisfying, it is the best way to get the project finalised and out the door. The result is that audiences see the best possible quality and creativity, and our customers can take on more business. “Creative professionals can work where and when best suits the needs of their production, knowing that all their decisions are securely captured and preserved in the final deliverables,” he added. 7.F31

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Cage of freedom: The latest in Walimex Pro’s Aptaris range of cages is designed for Blackmagic Cinema cameras

Lightweight LED lights launched

Robots on rails: Shotoku’s new SmartTrack can be used on the floor or ceiling

Lupo Lux By David Fox

Blackmagic Cinema cameras are caged Walimex Pro By David Fox Walimex Pro has added to its Aptaris series of camera cages with a version tailored to the Blackmagic Cinema 4K and 2.5K cameras. The unit comes with two removable 15mm stainless steel rod modules (of 200mm and 250mm in length) at the top and bottom, which provide sufficient space for follow focus, matte box and other accessories (such as a

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light or microphone). The modular aluminium system can also be extended to become a lightweight shoulder rig, using a handle and shoulder module. The cage also comes with a handle that can be fastened at any side and which is particularly useful for ground level filming. The Aptaris system can also be fitted with such accessories as a lens support, a monitor carrier and the convenient cable protection. 11.G68

Two new lightweight (carbon fibre reinforced polymer) LED Fresnel lights have been launched by Lupo Lux. The 50W Dayled 650 and 90W Dayled 1000 output the equivalent of a 650W and 1kW traditional Fresnel respectively, and come in 3200K or 5600K versions. They can be used as spot or flood lights, with hot restrike and 0 - 100% dimming, with DMX connection via 5 pin XLR. They have 14.8v battery connections via 4-pin XLR for location use, or can be connected to mains at 220v or 110v. The Dayled 650 has a 120mm Fresnel lens, weighs 2.5kg, and its dimensions are 190mm x 160mm x 180mm, while the Dayled 1000 has a 150mm Fresnel lens, weighs 3.5kg, and measures 210mm x 260mm x 230mm. 11.A65

Smart rail camera system Shotoku Broadcast Systems By David Fox The new SmartTrack System from Shotoku is a fully integrated railbased camera system for floor or ceiling use based on core trackbased technology from MAT, Germany. In combination with Shotoku pan/tilt heads and control systems the MAT system has been turned into an ideal robotics package for daily TV studio use. “It is highly adaptable, supporting floor or ceiling operation and a range of height column configurations, in both upright and inverted modes,” said Shotoku, which promised that it

would be robust and stable, and suitable for long-term use in demanding applications such as 24/7 news or TV Shopping environments. Shotoku has also enhanced its TR-XT control systems, to offer greater camera capacity and more dynamic configuration, and is showing systems controlling multiple cameras and sharing camera operation across several controller-types. Also upgraded are its fully robotic studio pedestals, to provide complete X-Y-H camera positioning with free-roaming capability, where track systems would not be appropriate. Enhanced features include Virtual Reality tracking and simple referencing. 11.F40

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Automatic repurposing of live video Elemental Technologies By Ian McMurray Demonstrating a range of new products and features for delivering video services over IP, satellite, cable and terrestrial television networks is Elemental Technologies, who specialise in softwaredefined video solutions for multiscreen content delivery. New product demonstrations include a multiscreen video solution for streaming live and on-demand content to smartphones, tablets, browsers, and smart TVs using adaptive bit-rate streaming protocols including HLS, Smooth Streaming, and MPEG-DASH. Elemental is also showing how its solutions can automate repurposing of live video content for on-demand

catch-up TV, pause TV, and nPVR video services. Other new features include support for end-to-end content encryption, integration of third party DRM technologies and

ad insertion for content monetisation. The companyâ&#x20AC;&#x2122;s HEVC and 4K UHD TV video processing solutions is also being showcased at IBC along with

software updates to its Elemental Live and Elemental Stream products. These include new features for facilitating the integration of HEVC encoded video into

content delivery workflows and support for 4K UHD services at 50/60 frames per second and 10-bit colour. Elemental Cloud is also featured for live and ondemand video processing in pure cloud and hybrid groundcloud deployments. 4.B75

Building a bridge to the Internet of Things UPnP Forum By Monica Heck Global home networking standards group UPnP Forum is demonstrating UPnP+ capabilities, using sensor management control over a cloud network to show how UPnP can integrate devices into the Internet of Things. The UPnP Forum has created a strategy around using new and existing UPnP device control protocols and UPnP Cloud architecture to provide protocols specifically for Internet of Things applications. UPnP core technology provides a base for IoT, creating bridges to both widearea networks and non-IP devices. The Forum has already produced DCPs for lights, thermostats, automatic blinds and security cameras and is now developing support for new IoT devices, specifically those with constrained resources. A UPnP+ demonstration is planned as part of the Content Everywhere hub demo presentations at 11:30am on Sunday 14 September. 14.L17

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Opinion

Exciting time for direct broadcast satellite Entropic’s digital channel stacking switch simplifies satellite installations and lowers operating expenses says Matt Rhodes, SVP Global Marketing Major trends in the satellite market coupled with advancements made by leading Integrated Circuit (IC) solution providers are driving a global transition from analogue to digital products, making 2014 an exciting year for the Direct Broadcast Satellite (DBS) Outdoor Unit (ODU) market. The satellite market is expected to continue as the largest broadcast market over cable, and IPTV, with nearly 500 million households in 2017 according to IHS. With 4% CAGR between 2012 and 2017 the pay TV satellite sector is well positioned to expand in its leadership role. Being the leader is not without challenges, as both the cable and IPTV markets are

fighting to gain market share. New features such as ‘second screen’ apps, enhanced Digital Video Recorder (DVR) and a transition toward gateway/client architectures are expected to increase in deployments over the coming years. For satellite operators to remain competitive, many are looking at single-cable solutions to support their growth initiatives and simplify the traditional delivery of satellite video into and throughout the home. Channel Stacking Switch (CSS) solutions enable multiple video streams to be delivered throughout the home on a single-cable run. This technology drastically simplifies and lowers the cost

of the installations by reusing the existing cabling within the home. Instead of multiple cables from the set-top box (STB) to the ODU product (low noise block converter or multiswitch), a single cable installation is possible. Adding a DVR to an existing or new viewing location is as simple as plugging in the STB, no new wires required, no holes in the wall, no return calls to repair installation issues. Additionally, now that all video viewing locations are connected via a single cable, home networking solutions such as MoCA (Multimedia over Coax Alliance) can be used to provide multiroom DVR (mDVR) features, connect to a broadband network for over the

Sensorama: the smart life schematic

top (OTT) services, as well as stream content from a larger gateway/server STB to a small low cost client box. With the rapid increase in the number of tuners in a home, Entropic recently advanced its IC technology to allow for digitalisation that is both costand power- efficient. Entropic’s second-generation digital Channel Stacking Switch (dCSS) series, the EN5500 family, is recognised as the world’s lowest power, most cost-optimised and smallest form factor when compared to competitive ODU products. In support of dCSS technology, the industry is updating the communications standard between the STB and ODU. CENELEC EN50607 is

Everyone wants greater Access Vortex Communications By David Fox

Enjoy Your Connected Life Cisco By Adrian Pennington As Ultra HD moves into the home there is an opportunity for service providers to exploit the larger real-estate of super-sized screens by hooking not only video, voice and data, but smart home controls and userwearables devices into a wider personalised network. This is where traditional broadcast meets the Internet of Everything (IoE) which brings together people, process, data and things together to make networked connections more relevant and valuable than ever before. In the IBC Future Zone, Cisco is sharing its vision of the Connected Life. Supposing a 84 theibcdaily

typical 'day in the life' of two primary school students coming home from school Cisco will show how the multitude of connections in their life, and their family's life can improve their experiences. Service Providers have a robust network, millions of subscribers, and an increasing ability to work un-managed devices into their service offerings, Cisco explains. This provides them the ability to integrate numerous Connected Life services under one umbrella. This integration is a proven value proposition that most consumers gravitate towards. As seen previously with internet and Digital Video Recorders, when a new service is integrated with an existing service adoption sky rockets. Having the ability to integrate

home management, home monitoring, personal health, and a multitude of other services into their existing offering, Service Providers have a lot to gain providing an integrated Connected Life offering. This vision highlights emerging new features based on wearables, direct gesture control, and direct manipulation and inference of presence using micro-location technologies. According to Cisco, these emerging technologies will provide a fundamental shift in how consumers receive and use new services. “The IoT turns information into actions that create new capabilities, richer experiences and unprecedented economic opportunity for businesses, individuals and countries.” 8.G11

currently going through industry ratification and will enable single cable communications of up to 32 demodulators, a major improvement over the eight currently specified in CENELEC EN50494. For DBS operators, dCSS solutions now support up to 32 user bands, which is needed as they migrate to gateway/client architectures or look to deploy single-wire hospitality and multi-dwelling unit (MDU) implementations that have high tuner count installation requirements. G106/G107

The Comrex Access IP codec for live audio, offering low-delay connections over 3G/4G, Wi-Fi, Ethernet and satellite, has been upgraded to support new audio coding algorithms, including Opus and now incorporates Net Manager-II, which brings dualstreaming technology (as seen in the HD Video LiveShot codec) to provide even more robust connectivity, especially with smartphones and other dualstream codecs. It allows outside broadcasts to be conducted from almost anywhere, particularly when used with the V3X Intelligent 3G Antenna, which locks onto the cellular network with the best data throughput even if it is many km distant. This has meant Access has been in huge demand this summer in the UK for Vortex's Hire Division. “Everything was going well until we realised that there was a crunch weekend on 5/6 July. The units that had been at Glastonbury were not going to be

back in time (with or without the mud), the World Cup codecs in Brazil were still doing their stuff with the final still a week away – and then in Yorkshire, the Tour de France arrived for ‘The Grand Départ’, the same weekend as the British Grand Prix was being held at Silverstone and the Wimbledon finals were taking place. Extra codecs were suddenly needed,” said Vortex sales engineer, Doug Yeaman. It needed more codecs, “but we also did not want to have a load of ‘not new’ codecs left after everyone came home, so knowing how eager Community and Hospital Stations are to have ex-demo equipment at a discounted price, we started offering ‘previously-enjoyed’ codecs to those stations,” and quite a number were interested, added Vortex director, Ian Prowse, who committed to many more Access codecs for its hire stock, all of which found new homes following the Commonwealth Games. 11.G11

The Access codec with mixer, now offers dual streaming and Opus codecs

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Turning Android devices into STBs NewFaceTV By Ian McMurray The Ovation media and show sequencer is one of the beneficiaries of a 64-bit boost

Upgrades streamline 64-bit performers Merging Technologies By Michael Burns New versions of Pyramix, Ovation and Vcube are being launched at IBC, following the introduction of new 64bit versions of the software. Major enhancements for the Pyramix virtual studio relate to virtual transport improvements, archiving metadata workflows and digital album publishing for DSD/DXD multichannel releases. The Ovation media sequencer was recently in

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action powering the Commonwealth Games opening and closing ceremonies. The upgrade brings the option to enable or disable the playback logging function, either manually or on a time cues. This ensures that no false logs are made during set-up or rehearsal but nothing gets missed as soon as the show goes live. HD player/recorder VCube gets a complete update on rendering options and now supports a range of video cards from Blackmagic Design for capture and playback. Merging said the cost efficient and high

quality PCI Express cards and USB video interfaces significantly enhance the value offering throughout the VCube range. Also on show is the Iris Networked Post System which Merging said was not only aimed at broadcast and film post, but has also been used recently for recording and live sound reinforcement duties. Additionally, a new selection of VS3 and VST plug-ins from companies like Flux, Vincent Burel, Algorithmix and AudioEase are being showcased. 8.E96

SetAppBox is a commercial software framework being demonstrated at IBC by its developer NewFaceTV, who provide technology for TV user interfaces. The framework is said to enable any Android TV connected device like Google TV or Android-based HDMI dongles to become a TV grade set-top box in a short time, without huge investment in Java applications development. SetAppBox allows the running of HTML-based TV portals on any Android platform. Using common web technologies like HTML, CSS and JavaScript, together with

the device remote control, it is said to be possible to create TV apps like an electronic guide, live TV or VoD store. It runs either as a standalone application or as a device launcher. Targeting markets vary from small service provides to tier one operators, the SetAppBox solution is designed to help the use of any Android platform to enable a TV-grade experience for end users. IPTV/OTT, hybrid (DVB-T/T2, DVB-S/S2, DVB-C, ATSC) and hospitality are just some of the potential users. For content owners, the company claims that SetAppBox is the fastest route to TV, by making a VoD store targeted at any Android device. 5.B40

In the sports action Orad By Carolyn Giardina The lineup of Orad’s sports production systems at IBC includes a tool kit to address the different aspects of live sports events, including

sports enhancement graphics, virtual advertising, and slow motion replay servers. Avi Sharir, president and CEO of Orad, said the aim is to “provide broadcasters with an efficient production workflow while enriching their productions with sophisticated and compelling graphics.” The PlayMaker sports replay server provides up to eight I/O channels of ingest in multiple video formats, with synchronised slow motion replay and editing tools. Enhancements include a new studio mode, a dedicated workflow for highlight editing of multiple playlists from various incoming feeds, and FlexFX for realtime video effects and 3D graphic transitions for sports highlights, all integrated into PlayMaker’s workflow. Orad is also featuring its MVP for prepping sports highlight clips. New enhancements include Run by Run, where only the chosen player continues to move while the other players are frozen in place; iFly, with tracked flying cameras allowing object tracking arrows and players’ highlights while the cameras move; and new graphic effects that integrate with statistic collection systems and databases. 7.B27

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Software encoder for OS X Mobile Viewpoint By Monica Heck A new software-only solution for laptops and desktops was recently added to Mobile Viewpoint’s encoder family. This allows its bonding technology to be used on any computer. All available network connections on the computer can be used for bonding, while ingesting live video is handled by BlackMagic Design Thunderbolt capture devices. The company predicts that of the major use cases will be the use of portable BGAN and KA-sat terminals for live transmissions in remote

locations It can be monitored from the WMT VideoManager and routed to one or more HD SDI Playout devices for total flexibility and footage exchange options. It is available as of August for Mac OSX 10.9 and higher. A Windows version will be available later this year. Earlier in the year, Mobile Viewpoint added a HLS web encoder to its product portfolio which outputs streaming video compatible with any device, mobile or desktop. Support for H.265 (HVEC) and VP-9 video codecs was also integrated into the company’s new WMT Expert265 backpack encoder. 14.F21

Digital TV Labs By Ian McMurray

Remote control: The new encoder delivers high video quality in remote locations

Breaking Bad tops UK streaming GfK By Monica Heck New research from GfK has revealed consumption data at a title level for programmes viewed on SVoD services in the US and UK.

In the UK, Breaking Bad is clear winner for the most streamed programme during the 13 week survey period, with Dexter and Prison Break taking second and third places, followed by Netflix’s original commission House of Cards coming in fourth. In the US, the top places were more

closely fought, with House of Cards coming in just ahead of Breaking Bad and Dexter taking third place. The top five reasons for subscribing are the same in both markets. In contrast to pay TV services, it’s access to large libraries of content, coupled with the ability to

watch at any time and to watch multiple episodes at one sitting that is driving signup. The GfK SVoD Content Consumption study shows how these services have moved from niche to mainstream, appealing to young adults in particular. 14.F37

Performing at IBC: Immersive video Brightcove By Ian McMurray Designed, says the company, to serve the needs of the world’s leading video publishers, Brightcove is launching Perform at IBC. The new product is said to offer a robust set of management

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APIs and performance optimisation services that enable rich, immersive video experiences. Perform, says the company, combines the speed of the Brightcove player with the Perform player management system to create the fastest player on the market today. Among Perform’s key features are the consistent

Improving interoperability between media devices

experience it is said to offer across desktop and mobile, and its social sharing and integration. Precompiled plugins, skinned assets and thumbnails to minimise download size, optimisation to reduce network traffic and the ability to deploy changes to thousands of player embeds with batch publishing for increased time-to-market are

said to make Perform very fast. Perform enjoys a robust ecosystem of plugins and integrations, with management APIs to easily control player configurations. It is said to be easily integrated with CMS systems and to be easily customisable with CSS and JavaScript APIs. 5.B20

Following the release of three new products designed to improve interoperability between media devices, Digital TV Labs believes this year’s IBC event is set to be its most exciting to date. The company is featuring demos of all three products which provide media delivery solutions for DVB. This year has seen a number of trials of HEVC and UHDTV by broadcasters across numerous territories, and device manufacturers and operators need to ensure that consumers have the best experience and their receivers are interoperable with these new formats. Digital TV Labs has launched its HEVC Test Suite to enable TV, STB and SoC manufacturers to develop HEVC devices or devices which conform to the UHD Phase 1 specifications recently announced by the DVB. The test suite contains HD and 4KUHD HEVC content with E-AC-3 and HE-AAC audio as well as a set of interoperability test streams. The Digital TV Labs HEVC for DVB test suite is claimed to be the ideal testing tool for manufacturers who are investigating or using HEVC or UHD format with the aim of gaining maximum market share. 5.A01

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Opinion

Still searching for MAM at IBC? Media Asset Tracking based on a solid broadcast management platform can be a better solution explains Martin Junek, commercial director, Provys In the last few years we have witnessed a growing popularity of Media Asset Management systems. Functionality of these systems varies from vendor to vendor. Often, there are even completely different opinions of what MAM really is. Is it an archive or a production tool? Is it an IT system or a studio engineering device? The answer is not easy because different MAM suppliers define various key MAM functions, and influence the industry’s MAM understanding. Let’s take a look at MAM from the perspective of broadcasting or nonlinear content distribution. The ultimate goal for every broadcaster to achieve is to have clear and orderly information concerning

thousands of media assets stored on different servers, and their readiness for playout. In particular, the broadcasters require a simple visual system displaying the realtime status of every single media asset. Provys designed such 'traffic light' system and gave it a working name 'Media Asset Tracking'. The red, amber and green icons indicate 'missing', 'available' and 'TX-ready' respectively. This concept goes even deeper as each media asset contains within it a subset of essences (video, audio tracks, subtitles, etc.) and each of these essences must also be monitored using the traffic light system. One of the first broadcasting organisations who chose Provys’s Media Asset Tracking

RussiaToday launches London news studio Sony

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By Michael Burns

From Russia with love: The facility features two studio spaces

based system. Audio is enhanced with four Sony wireless microphone kits with ECM-77B lavalier microphones. Chris Wood, company director of RT - TV, UK, said: “When setting up our London studios, we wanted to equip our first UK facility with the technology that sets the standard in the broadcast industry. Sony’s cameras, audio equipment, and vision mixer are recognised as staples among broadcasters the world over, and we wanted to make sure that it was this equipment that underpinned our UK news operations.” Hall 12

In a superior way to other broadcast management systems, Provys practises nonstop automatic proactive scanning of all in-house servers, including ingest, archive and playout servers, in order to gather realtime data on the status of all media for use by the operations team. Provys also scans all related remote ftp servers, belonging to advertising agencies and other content providers. The development of these interfaces was the result of joint cooperation between the Provys team and Arqiva’s engineering team who are deeply immersed in all the complexities of their IT platform. Successful integration with Diva, Media Grid and Omneon can serve as an

example of this cooperation. The Media Asset Tracking solution also brings with it additional functionalities. Principal among these is volumetrics, through which analysis of different storages is achieved. Provys monitors media volumes on servers protecting them from overcapacity and potential loss of data. Sometimes broadcasters feel they need more sophisticated MAM, whereas Media Asset Tracking based on a solid broadcast management platform, such as Provys, can be a better and more economical solution for their facility. 2.B49

H.265 hardware codec for realtime 4K UHD broadcasts NEC

By Adrian Pennington Broadcaster Russia Today has launched a UK studio facility operating a full HD news workflow. Having previously broadcast all English-language news coverage from Moscow, with opt-outs in Washington US, RT made the decision to begin producing its UK news and current affairs content in the UK, setting up a new facility in Westminster's Millbank Tower. Kit supplier CVP helped equip the RT News Channel with a range of Sony gear. The facility features two studio spaces, which alternate between live shoots and pre-recordings. Sony's MVS-6520 vision mixer forms the backbone of the production environment, integrated with the newsroom's computer system. Three BRC-H900 robotic cameras deliver HD images within the studios, via three 1/2 inch Exmor CMOS sensors. Pan/Tilt/Zoom control is enabled through connection to an IP-

was Arqiva. Some of their principal reasons for choosing Provys were: A huge volume of new material transmitted every day and a need to forecast the volume of media processing required for each day Media Asset Tracking allows full display of the current status enabling timely chasing of missing assets to avoid last minute panic Regular reporting back to Arqiva’s clients regarding all stages of the planning and playout of the respective media Smooth control of all necessary content processing such as transcoding and quality control, together with all associated workflows Integration with all connected systems

The world’s first realtime hardware-based H.265 compliant encoder for 4K UHD broadcast is making its IBC debut in Hall 8. NEC claimed its VC8150/VD-8100 H.265 realtime codec makes it possible to transfer higher quality video with a lower bit rate over any platform and terrestrial, satellite, cable and IP network. A 4K UHD total transmission solution with the H.265 4K/60P Codec is being demonstrated, including a DVB-T2 compliant transmitter, the NEC DTL-30 Series with power-saving Doherty amplifier technology. NEC has been using the VC-8150/VD-8100 4K UHD codec through a number of pilot systems and has participated worldwide in 4K live transmissions. In May

2014, the VC-8150/VD-8100 was used at an experimental 4K UHD live transmission in collaboration with major Korean broadcaster MBC, during the KOBA exhibition in Korea. In the UK, BBC Research & Development has been using NEC’s H.265 solution and

transmitters in the closed trials at its laboratory to demonstrate 4K transmissions over the existing DTT platform, owned and operated by Arqiva. TV Globo in Brazil also used NEC’s 4K UHD encoder for live 4K UHD terrestrial broadcasting demonstrations Also on show is the H.265 VC-800/VD-800 codec family

for 2K and a full HD high sensitivity camera, the NCH1200 Series. NEC said the compact hardware-based VC-800/VD800 codec reduces the costs for HD broadcast transmission by applying a lower bit rate than conventional MPEG-2 or H.264 technology, while delivering higher video quality. Equipped with a 3CMOS image sensor, the NC-H1200 is a full HD camera for both fixed and portable TV production applications. NEC said the camera offers high sensitivity and delivers highresolution colour even under demanding high contrast situations. The camera’s newly developed visibility improvement technology helps deliver superior picture quality even under extremely dark conditions, while a ‘dehaze’ function is useful in foggy environments. 8.B37

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Nano HDTX goes to the races Cobham By Ian McMurray The Channel 4 broadcast of Royal Ascot and the Epsom Derby, the crown jewels of British horse racing, was enabled in part by the deployment of a Cobham Nano HD TX wireless transmitter as part of a wireless camera facility installed by Broadcast RF in the race starting stalls to provide detailed, up close views of jockeys and their mounts in the tense moments before each of many races throughout the day. “In the past there had been issues with the perceived intrusiveness of more bulky camera systems so close to the start of the action,” said Broadcast RF sales director, Chris Brandrick. “These thoroughbreds are, by their very nature, highly strung. They and their jockeys are there for one

purpose, to win a race, and for that they must maintain total focus. Any risk of distraction must be minimised.” “We were asked to resolve the issue of such sensitivity by providing the smallest, most

discreet package we could possibly supply, and our first item on that list was Cobham’s Nano HD TX, the smallest HD video transmitter available on the market.” Importantly for Broadcast RF,

OB provider NEP Visions and Channel 4 Racing, the miniature transmitter system could be very quickly rigged and derigged. Fitted with an external transmit antenna and quick release mount, the system was camouflaged to blend into the starting stalls, and was therefore all but unnoticeable.

With proprietary Cobham COFDM and H.264 encoding technology at its core, the Nano HD TX is claimed to provide excellent live production image quality over wireless links, with support for composite, SDI, HDSDI and HDMI video input formats. 1.F41

Sharp chooses AQUOS browser Espial By Ian McMurray Sharp has said that, in certain geographies, it is to equip additional mid-range smart TV models with Espial TV Browser. Espial software is already deployed in various Sharp AQUOS LED TV models in North America and other regions globally. “Smart TV shipments continue to increase as consumers access Internet video and other apps directly from their TV sets,” said Kirk Edwardson, head of marketing for Espial. “High performance HTML5 support has become a critical element of smart TVs, as top TV manufacturers like Sharp aim to enhance user experiences and support a growing number of HTML5 based internet video apps. At Espial, we will continue to build on our success in providing HTML5-based user experiences for smart TV manufacturers and pay TV operators worldwide.” The Espial TV Browser is claimed to accelerate the deployment of internet video apps like YouTube, Hulu, Amazon, interactive TV content, web browsing and rich HTML5 user experiences. Based on WebKit and HTML5, it is designed with advanced features that are said to provide a high performance user experience for consumer electronic devices. 5.A07 theibcdaily 91

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PlayReady SDKs for mobile Vualto By Adrian Pennington Streaming media solutions and hosted IP services for broadcasters and content owners are all the rage and a central part of any such system is content protection. UK-based Vualto has applied its MPEG-DASH streaming solutions to allow the delivery of live, streamed VoD and offline VoD in conjunction with Microsoft’s PlayReady digital rights management system ready for delivery across multiple CDNs. "The MPEG-DASH and EME (encrypted media extension) buzz words of last year are now forming the basis of our commercially available solutions,” said James Burt, CTO and co-founder of Vualto. “By combining these with PlayReady, we can build up to the minute, highly secure broadcast workflows that deliver content to a huge range of devices.”

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PlayReady SDK is Microsoft’s latest version of its content protection software. It provides a trusted way to extend the reach of its services to iOS and Android and means Vualto can now deliver MPEG-DASH, Smooth Streaming and HLS

content to mobile devices.

It also supports the browser EME, which eliminates the need for a plug-in. Currently Internet Explorer and Chrome support EMEs, making for a slicker connection to premium streamed content. “Vualto is ahead of the market in implementing systems using the PlayReady SDK, with services already online for a number of major players,” added Burt. “Our hosted service, with its unique method of signed token exchange, means that as well as securing the content operators can create playback policies on the fly, and benefit from comprehensive statistics and analytics.” MS1 MS2

Burt: “Ahead of the market in implementing systems…”

Interactive UI for connected devices Wiztivi By Monica Heck The ability to enrich the UX on any connected device is at the heart of Wiztivi’s IBC presence in Hall 14 this year. Visitors can discover the Wiztivi ecosystem in three separate areas of the stand under the ‘Wiztivi Tripods’ concept, a showcase of the company’s latest solutions. On-stand demos include a Wiztivi Labs area, where visitors can discover the latest version of Wiztivi Framework (WIF), which is compliant with over 50 STBs, middleware and masters HbbTV standard,

HTML5, CSS3, Javascript languages, CI+ technologies and more. The Wiztivi Creative studio area allows visitors to experience the company’s brand new UI concept that covers all main use cases for TV Everywhere services providers and to meet the studio creative team.Take advantage of such an opportunity to meet our studio creative team. Finally, the Wiztivi Platform (WIP) area showcases the company’s latest creations around VoD/SVoD services, catchup, or personalised TV channels, applications and EPG. 14.L01

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Automatic for the audio people Dan Dugan Sound Design By Michael Burns Newly integrated automatic microphone mixing technology is being shown for the first time in audio products from three major manufacturers at IBC. A new implementation of Dugan processing has been added to the Yamaha's new CL Series consoles. These compact consoles support a wide range of applications and offer Dante networking for system expansion. Sixteen channels of Dugan Speech System automatic mixing will be incorporated as a standard in these products, allowing the user to quickly insert Dugan processing for automatically optimised microphone gain distribution. Along with automatically managing gain of live microphones, the system effectively reduces feedback, studio noise and comb filtering to allow operators to focus on overall system performance. Dugan integration was announced earlier this year in the companyâ&#x20AC;&#x2122;s QL Series mixers. The Dugan technology in the CL and QL Series consoles is built-in and does not require any external hardware. A plug-in card, the DuganVN16, has been developed and released in partnership with Avid. This 16-channel automatic mixing controller plugs into a slot on selected Avid digital mixers and patches into the Avidâ&#x20AC;&#x2122;s mic channel insert points. The VN16 uses the Dugan Speech System to detect which mics are being

used and makes fast, transparent crossfades. It can be configured with 16 automixing

channels or 8 automixing channels and 8 channels of ADAT I/O, and may be linked with up to seven other Dugans. The Dugan Automixer plug-in from Waves Audio is a software

emulation of the Dugan Speech System for Waves MultiRack Native and MultiRack SoundGrid systems. Like all Dugan automatic mixing controllers, this software

automatically manages the gains of multiple microphones in realtime to create fast, transparent cross-fades. It dramatically reduces feedback, studio noise and comb filtering from adjacent mics without introducing sonic artefacts. 8.C95

Marshall supplies monitors Marshall is supplying IBC with more than 20 monitors for use in various aspects of the show, via Shooting Partners, including: two of its 4Kcompatible Quad HD-SDI to DVI multiviewers; six of the new V-MD 902 dual 9-inch LCD rack mount monitor with modular input and output; nine of its latest V-LCD17 HR 17inch rack mount or desktop monitors with 3G-SDI or Dual HD-SDI; and two of its new VLCD 71 MD 3G 7-inch 1920x1080 on-camera monitors with modular inputs and outputs. 11.D20 theibcdaily 93

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Small channel controller sets sail

At a good clip: Clipster can generate IMF packages up to 4K

Pebble Beach Systems By Michael Burns IBC is the European launch site for Marina Lite, optimised for small scale systems of up to four channels. Based on the company's flagship automation platform which currently controls in excess of 300 channels, Marina Lite benefits from Marina's configurable control layer. Each configuration is available with fault tolerant options, such as 1+1 redundancy with fully automatic changeover. Marina Lite has drivers for over 20 third party devices, and interfaces to many popular traffic systems. Automatic caching from nearline storage to the playout devices is also provided. Systems can be upgraded from 1 to 4 channels, and if the number of devices to be

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controlled should grow, or the channel count needs to increase, the entire system can be upgraded to the full Marina enterprise solution. “Marina Lite delivers world class automation at an affordable price to broadcasters with low channel counts,” said managing director, Peter Hajittofi. “Based on the proven and resilient 64bit client-server architecture of our enterprise level Marina automation platform, Marina Lite is capable of controlling traditional legacy products as well as emerging solutions within video, IT and hybrid infrastructures. One of its major strengths is the highly intelligent and flexible playlist, which has the ability to control highly reactive channels with frequent late scheduling changes.” 8.C71

On a 4K IBC mission Rohde & Schwarz By Carolyn Giardina 4K is very much the IBC focus of Rohde & Schwarz. Many of its products are already in operation, for instance the company reported that its AVHE100 headend was used by South Korea broadcast operator KBS to broadcast the FIFA World Cup live in 4K. The BMM-810 multiviewer and content monitoring system from Rohde

& Schwarz subsidiary GMIT were used to monitor the broadcast. KBS also uses terrestrial Rohde & Schwarz transmitters to broadcast 4K, along with Rohde & Schwarz T&M equipment. Subsidiary Rohde & Schwarz DVS is at IBC with its Clipster mastering station, which processes 4K data in realtime. It supports mezzanine formats such as AS-02 and AS-11 and can generate interoperable master format (IMF) packages up to 4K. It’s also capable of creating Dolby Atmos DCPs.

The company’s exhibit includes SpycerBox Cell, which can store data for 4K or even 8K production. Thanks to the web-based SAN Remo management software, the devices can be configured in clusters, with 36 TB of storage and a maximum data throughput of 3 Gbyte/s per unit. Rohde & Schwarz is also demonstrating its Tx9 transmitter generation, and new features for its T&M equipment to test 4K devices. 7.E25

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New monitor features advanced colour calibration ViewZ

Points winner: ViewZ provides a range of broadcast quality monitors

By Ian McMurray Since the company put a new R&D team in place just over a year ago, ViewZ says that it has concentrated on new product development, ceasing all manufacturing and sales activity for old models. Accordingly, this year, ViewZ returns to IBC with a new product line. The show focus is on the companyâ&#x20AC;&#x2122;s P Series broadcast monitor, which features a proprietary colour calibration program that analyses the characteristics of individual panels used in the monitors and applies the companyâ&#x20AC;&#x2122;s own colour algorithm to set the perfect colour for that individual monitor. ViewZ says that it used a high end spectrometer, the Minolta CS2000, to calculate the reference value for all panels and developed its own colour algorithm that could be applied to K-10 from Klein Instruments and i1 from X-rite. The

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company claims that this approach sets it apart from its competitors, as ViewZ software allows users to obtain the same result regardless of their choice of probes. Colour calibration software is provided for users to calibrate ViewZ monitors regularly using their own probes. The P Series features 3G-SDI input and includes waveform,

vectorscope, 16ch audio level meter, closed caption, histogram, peaking, audio waveform, time code, clip guide, UMD, false colour, and 3D LUT. Supported connectivity includes two SDI inputs (one for loop out), HDMI, DVI, CVBS, S-Video, component, SDI to HDMI out, audio in/out, remote control and RS422 ports. SDI input signal

formats include SMPTE425MAB, SMPTE274M, SMPTE296M, 2K Format for HD-SDI and ITU-R BT.601, and SMPTE 125M for SD-SDI. The company notes that it has different sets of algorithm for 1D and 3D Look Up Tables in order to achieve the best colour setting. Beyond its flagship product,

ViewZ also offers range of 3GSDI broadcast monitors using 8bit panels and a 24-in monitor with 10-bit panels for professionals requiring 3D LUT. Also available is a low cost 21.5-in 3G-SDI monitor. A 9-in stand-type and 9-in dual rack type monitors will be available in October. 5.A05e

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Multiple monitoring made easy 2wcom By Michael Burns The FM02 all-in-one FM receiver and a new system for single frequency network (SFN) FM networks have been launched by 2wcom. 2wcom said its FM02 receiver combines FM and RDS monitoring into a single unit to deliver multiple roles of demodulation, source-switching for FM backup, and FM/RDS parameter monitoring. As a demodulator, the FM02’s dual inputs can receive one FM signal for rebroadcasting and another for monitoring, or the same signal on both channels for a backup solution. 2wcom has also debuted a new system that provides assured μs-accurate

synchronisation for implementing FM SFN networks within existing analogue transmission infrastructure. Distribution can be by E1, IP or satellite, and any one of the

feeds can be selected for backup purposes, without affecting the synchronisation. It also offers automatic adjustment of runtime differences and jitter. Also being showcased is the

FlexDSR02+/FlexDSR04+ – IRD for audio contribution via satellite and IP. The compact 1U IRD unit features versatile inputs for up to four different programs with analogue or digital output, a full regional insert solution, SIRC for inband control via satellite, and automatic weight balancing of quality parameters and

program source switching (satellite, IP-line, ASI, SD card) in case of failure. It offers support for the latest codecs, inbuilt monitoring of operational parameters, and reliable hardware, easily upgradeable with software options. 8.E78

New ways of consuming video content SoftAtHome By Ian McMurray Bringing content from multiple sources to the big screen and enhancing the experience there through 4K with the help of advanced HEVC compression are the two areas of focus for SoftAtHome at IBC. The company is showing new ways of consuming video with three alternative options for operators: an HEVC/4K advanced box running UHD TV, small form factor HEVC box and a Cast dongle. The dongle is powered by SoftAtHome’s Software Operating Platform (SOP), which the company says has already been deployed in more than 20 million devices spanning 15 countries globally. SoftAtHome is also announcing extended partnerships with key players at IBC. “We are excited to have crossed this important milestone of 20 million licenses that demonstrates the trust our clients place in our platform”, said Michel Degland, CEO of SoftAtHome. “Our main focus this year has been to introduce radically new ways of consuming video content for end users, bringing greater freedom and simplicity with UltraHD and Cast Dongle. Delivering the best user experience and ensuring quality of service are, as always, our two major objectives.” 4.A51 theibcdaily 97

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Call-Me for IP audio on subscription VTX Technology By David Fox A new subscription service that allows radio stations to provide contributors with high-quality audio connectivity, without the need for them to have anything other than an internetconnected computer and microphone or headset, has been launched by VTX Technology. The VTX-Tech CallMe service gives users easier access to IP audio over the public internet, rather than having to send a radio car or bring contributors into a studio. Subscribing stations are provided with their own branded Call-Me page, which automatically links to their studio codec, providing up to 15kHz live two-way audio with the minimum of fuss and setting up. The Contributor simply clicks on the link and enters the password to connect. The station emails the

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contributor with a link to its CallMe page, on VTX Technology’s server. The contributor just pushes the Call-Me button and using either the built-in microphone on the computer and speakers – or better a headset – they are live on air via the studio’s IP codec. 1.G11

Caller display: The ARC-2 smartphone codec and RemoteMix-One audio interface with headset

Mistika 8.4 supports Dolby Atmos DCPs SGO By Carolyn Giardina The latest features in SGO’s Mistika continue to integrate conforming, editing, colour grading and visual effects tools. Mistika 8.2, which was released in August, includes the Spatial Isolation Toolset, which allows control over multilayer EXR image files by making use of metadata provided by CG animation systems. Other new features include support for Dolby Vision, Dolby’s new high dynamic range format. The first Dolby Vision TVs are

expected to be released in early 2015. Mistika 8.2 also includes an improved ACES workflows, enhanced advanced audio framework support and support for a wider range of codecs such as Canon's RMF, Sony's XAVC and ProRes 4:4:4:4. SGO is also previewing the next version 8.4, which includes Mistika's nextgeneration colour finishing functionalities supporting the Precision Grading Panels and Dolby Atmos DCP generation. Mistika supports various resolutions and framerates, including 4K at 60P and stereoscopic 3D. 6.A11

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West Africa to get FTA DTH

Opinion

An unparalleled attention to detail

SES By Ian McMurray

We develop technology that works in the real world explains Valentijn Diemel, marketing manager, Datavideo Technologies Europe Datavideo is a leading developer of professional broadcast, video and AV equipment. From a complete outside broadcast van fit out to a single tripod mounted signal converter, Datavideo’s solutions are high-quality, cost-effective and user-friendly. Our tools and systems are in use across the world to create and deliver stunning productions. We develop technology that works in the real world. Our philosophy is to prioritise ergonomics, reliability and performance. Datavideo’s focus is on stable systems that can be depended on when you’re live on air. Our systems are designed for use, with an unparalleled attention to details such as heat dissipation, the quality of housing, speed of set up and the ergonomics of each

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system. Most of our product introductions are scheduled around IBC, since we see a greater variety of customers compared to other shows. We receive valuable feedback on our newest products during the show. Because of the customer variety, we even see customers from the most remote places. It’s very good to meet them and hear the stories of how our products are used. One of the stories we’re hearing is that there is a rising demand for online lecturing. Online lecturing turns out to be the solution for people living in remote locations. Even for the lecturer. Instead of a whole school building, lecturers only need approximately 10 square meters, some lights, a green

wall, a camera and a virtual studio set. Distribution of these lectures can be through the internet, or on DVD’s in locations without reliable internet infrastructure. The TVS-1000 is the first in a series of virtual studio systems. This virtual studio is a turnkey solution for the entry level market, like recording and

streaming lectures. We believe that there is a wide market for easy to operate and affordable virtual studio systems for, for instance, online lectures. Datavideo can fill that gap by supplying full workflow solutions including acclaimed products like cameras, switchers and recorders. 7.D39

A new digital TV platform for West Africa has been launched by SES in cooperation with service provider Computer Warehouse Group with the launch of on SES's ASTRA 2F satellite at 28.2 degrees East. According to SES, this independent and neutral TV platform in Nigeria will be the country's first free-to-air DTH digital TV platform and will provide the opportunity for broadcasters to reach millions of satellite homes in West Africa which are pointing their dishes to 28.2 degrees East. Besides providing additional growth opportunities for local and international broadcasters, the platform could be used to quicken the pace of digital migration, SES said. The platform provides end-to-end contribution, ground and space services to local, regional, national and international TV broadcasters across West Africa. SES will be providing the space segment and specific ground services, while CWG will be managing the teleport services as an SES partner teleport operator, providing high operational standards. The service will start in September 2014. "For years, the majority of households in West Africa has been shut out of the digital broadcasting experience,” said Austin Okere, founder and CEO of CWG. “Together with SES, we are excited to enable broadcasters to deliver their content cost-effectively, and in excellent technical quality to millions of households across the region." "Broadcasting via satellite provides better picture quality and a 100% coverage of even the most remote areas and regions,” said Ferdinand Kayser, chief commercial officer of SES. “The long-term partnership with CWG will open up new possibilities for local and international broadcasters and allow them to drive digitalisation and reach their audiences across West Africa quickly and costeffectively." 1.B51

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Versatile transmitters tick green power box Frog now with added DVB Thomson Broadcast

Lean green machine: Thomson's new transmitters are suitable for any MFN or SFN network

Wyplay

By Michael Burns

By Ian McMurray

A new low-power ultra-compact transmitter range has been launched for IBC. Available from 20W to 150W RMS, the lowpower range provides dualcast DVB-T/DVB-T2 coverage extension and benefits from multiple options such as a builtin 1+1 configuration. Thomson Broadcast said the range was designed to adapt to any field situation. The low-power series is based on the same design and concepts featured in the company’s new line of environmentally-efficient transmitters, while the compactness of the low-power range 1RU up to 80W and 2RU up to 150W should allow broadcasters to achieve savings on infrastructure rental costs, according to Thomson. The transmitters are suitable for any MFN or SFN network, and all configurations are available with multiple options

IBC sees the debut of version 2.0 of Wyplay’s open source set-top box middleware. Codenamed Bull Frog, it now features support for DVB. The DVB stack includes DVB Service Information parsing and metadata management (DVB-SI, also known as; ETSI Standard EN 300 468); configurable DVB scan (satellite / cable / terrestrial) with NIT/BAT, TP list, and more; the ability to tune scan algorithms with permanent program monitoring; channel list source; EITs source for present/following and schedule; system clock synchronisation; favourites list; configurable parental control, regions and blackout; signal quality management; and subtitles and teletext support. “Supporting the

including a DVB-S/DVB-S2 receiver, as well as built-in 1+1 capability, to provide redundancy within the compact form-factor, and without requiring additional modules. Available for rapid deployment in indoor or outdoor locations, the low-power range installs in a quick, plug-and-play manner. The transmitters guarantee consistency of performance through advanced realtime digital adaptive pre-correction to address linear and non-linear distortions. Maintenance procedures are optimised thanks to a filter-less air cooling system, an important benefit in unmanned locations. For easy

remote operation management, an SNMP agent and web server is embedded in the transmitter. Thomson claimed its transmitters deliver flexibility with complete agility over the UHF band, as well as instant frequency changes with a simple command. The company said the dualcast DVB-T/DVB-T2 feature makes it easy for global television broadcasters to migrate to DVB-T2 for new digital revenues from HD or 3D, while with the support of up to eight physical layer pipes (PLPs), even greater flexibility of services is achieved. 8.C35

management of DVB Service Information metadata is crucial for television operators to have the ability to distribute changes to their electronic programme guides in realtime to their subscriber base, automatically adapt personal video recording start and stop times to changes in a show, or more simply to display a banner with all TV channels in the operator’s bouquet,” said Wyplay CTO, Arnaud Chataignier. Bull Frog is available to all licensees in source code form and as an operatorgrade fully tested reference implementation on the hybrid satellite/IPTV Monaco STiH410 system on chip reference design from ST Microelectronics with a dual-satellite tuner and on the Broadcom 7230based hybrid terrestrial / IPTV set-top box from Airties. 5.A11

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On a roll: Granderath demonstrates the new ProSup Tango Roller

4K and IP for production is a new reality

Peak practise: The DBUH200 accommodates 1+1 redundancy switching in 1RU of 19” rack

Cinegy By Carolyn Giardina

Tango Roller puts brakes on ProSup/CaSu By David Fox At IBC last year ProSup showed the prototype of the Tango Roller, a camera slider/track system that runs on rubber rolls, unlike most sliders that use ball bearings that make a system noisy and slightly rough to move. The rolls also allow the Tango track to be extended to whatever length is needed, as you don’t feel any transition at track joints. ProSup has now added two brakes to safely stop the unit on a slope, something many of the first customers

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(such as German TV stations WDR and NDR) have requested. Also new are magnetic end stops, “another unique feature of this dolly alternate,” claimed Florian Granderath of distributor Camera Support Granderath. “The Tango can also be operated upside down in an underslung mode with a specially developed underslung bracket.” The Tango is available as a Pelicase Kit including two tracks of 1.2m and 1m, two Manfrotto monopods for end support when operating off a single tripod, sleepers and other useful accessories. 11.E73

4K production completely in software, using IP end-to-end (apart from the camera for now) is reality today and the only flexible and affordable way to do it, contends Cinegy. The company also projects that small, mobile production setups will ultimately be just powerful laptops. At its IBC stand, Cinegy is demonstrating its vision with production systems for 4K based on video over IP using ordinary Gigabit Ethernet. The live camera signals are converted using Cinegy Encode from HDMI or 4x 3G SDI to IP and then transmitted via LAN to Cinegy Live, Cinegy's 4K software based vision mixer. The 4K IP signals can at the same time be recorded by Cinegy Capture to formats such as XAVC and multiple lower-res proxy formats (for instance XDCAM HD422, DNxHD, and various H.264 web formats) in realtime. The 4K IP signals as well as all other IP signals can be monitored using Cinegy's Multiviewer software-based monitoring product that also analyses the content and alerts in case of problems. The new Cinegy Air playout software can play pre-recorded 4K files or pass thru live streams with channel branding added to it. Cinegy Air itself can deliver 4K, HD and SD IP streams simultaneously as outputs. To round it up, this is running inside virtual machines on Cinegy's Private Cloud in its small IBC booth server rack. 7.A41

Block frequency converter announced Peak Communications By Ian McMurray A new, modular block frequency converter platform designed to accept any mix of two frequency converter modules and able to accommodate 1+1 redundancy switching in only 1RU of 19-in rack mounted space has been announced by Peak Communications. The DBUH200 features up and down converter modules covering C, X, Ku, DBS & Ka-Bands that can be inserted/ replaced in the unit from the rear without the need to remove power or disturb the other channel, which Peak says provides flexibility in use and the ultimate in system maintainability. The design avoids the use of card-guide push type RF interconnects associated with front loaded modular systems that the company claims can suffer from performance degradation with repeated mating cycles over time and

under harsh conditions. The DBUH200 chassis units are mains powered with redundant power supplies fitted as standard. According to Peak, these are constructed from high grade components to give the ultimate stability, ripple, spurious and phase noise performance. The DBUH200 unit is available with optional integral 1+1 redundancy switching and control for use when two identical modules are used. Units are offered with a range of optional enhancements and Peak says that it is happy to customise the units to meet specific needs. Other features include a 10MHz external reference option fitted as standard, with automatic internal reference back-up; optional variable gain, 0-30dB in 0.1dB steps at L-Band; optional chassis mute control; and full alarm monitoring. 1.C33

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DOGTV chooses media services provider RRSat By Ian McMurray A three-year contract with DOGTV, which is said to be the first and only television network scientifically developed just for dogs, has recently been signed by RRSat. The partnership allows DOGTV to focus on its content creation, channel programming and marketing while RRsat provides extended media services including content preparation, management, playout services and global distribution. DOGTV is distributed through DirectTV via fibre in the US and in Asia via Measat 3A satellite. This channel is a first for Asian viewers. “RRsat provides the best

technical support and knowhow to our team and creates a seamless solution for managing, playing out and distributing our content,” said Aviv Messa, DOGTV chief operating officer.

“This partnership will enable our team to expand distribution capabilities we otherwise could not accomplish.” RRsat offers DOGTV HD and SD playout capability to multiple

destinations. The ability to obtain all the needed technical support from one vendor, with the reliability RRsat says that its team offers, reinforced DOGTV’s decision to partner with the provider. “We are pleased to partner with a niche channel such as DOGTV and broaden our service

offerings, while enabling DOGTV to focus on its core business functions,” said Lior Rival, chief commercial officer of RRsat. “RRsat’s global network capabilities offer DOGTV solutions beyond its current infrastructure and expand its distribution across the globe.” 1.B24

Driving TV transformation HP By Adrian Pennington The media and entertainment team of this famous name in business, IT and computing visits IBC looking for partners to participate in a 'New Style of TV' HP says it would like to share details of its HP M&E portfolio that drives profit from TV transformation: It is warmly inviting visitors to participate in its IBC programme, the highlights of which include workshops focused on the digital supply chain and demonstrations of new solutions for video delivery and Network Private Recording (nPVR) in cloudenabled infrastructures. There are also video demos including on on Video Optimisation 2.3 which is claimed to enable satellite, IPTV and cable TV operators drastically reduce TV distribution bandwidth cost – without impacting quality. What's more HP solution architect Marco Montenovo is presenting a technical paper at the IBC Conference programme: ‘From the Cloud to TV Production: a real world case study of an architecture and performance model’. 13.MS21

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Opinion

What is 'cloud washed' software? Don't be brainwashed by companies claiming the earth from their cloud solutions says Ian Hamilton, chief technology officer, Signiant The term 'cloud washed' was originally borrowed from the environmental movement’s coined term 'green washed,' which drew attention to businesses that were marketing their products as green without meeting any environmental standard. Cloud washing is a similar practice as software companies brand products with the buzzword 'cloud' without fundamentally changing the way they develop and support their software. Vagueness around the definition of 'cloud', which in its most diluted form is a metaphor for ubiquitous network connectivity, facilitates cloud washing practices. Typically, businesses engaged in cloud washing take software designed for static on-premises deployment, wrap it in a virtual machine, allow businesses to

deploy it on public cloud IaaS instances and pay by the hour to operate it. But this is not what software innovators mean when they say 'cloud' and there are some very significant services missing from cloud washed software, especially for businesses. Automatic upgrades, maintenance and scalability: SaaS (Software as a Service) is a type of cloud software often used by businesses. Designed from the beginning for the cloud, true SaaS is managed and maintained for users across multiple levels of redundancy with multi-tenant architecture. SaaS vendors take ultimate responsibility for operation of the environment, giving customers a virtualised infrastructure with continuous access to the latest product

releases without impacting customisations. Also, SaaS automatically scales according to load for you, spinning up or down virtual machines as load dictates and load balancing across multiple instances. You’ll know if your software isn’t truly cloud-based if you or your IT department is responsible for software upgrades and managing virtual machine instances. Cost savings through network automation: With network automation capabilities used by SaaS vendors, many labour-intensive tasks and processes can be mechanised. From automatic deployment to routine maintenance, networkenabled automation reduces business costs by reducing human involvement. But that’s nothing compared to the cost savings gained from

the scaling capacities of SaaS. With hundreds or even millions of customers served by a common infrastructure rather than dedicated independent infrastructures, SaaS vendors enter economies-of-scale, reducing overall costs with every additional user and passing that savings on. A final advantage of true SaaS in regard to cost savings is the way it’s billed. Often called 'pay-per-use' or subscription billing, it is much easier to track and charge per user with SaaS and scale up or down depending on active users of the software. So you are only charged for what you actually use. The onus is on the vendor to provide value associated with an outcome rather than simply delivering software as a component of the solution.

High-availability and global performance: Software failures happen. However, resiliency and high availability are characteristics of any welldesigned SaaS, which automatically switches to a redundant or standby server in case of failure. And, with SaaS, you can expect the same performance of the software no matter the local infrastructure, as long as you are somewhere in the internet-connected world. For more on Signiant’s cloud solutions designed for moving large data sets around the world and into the cloud, visit us at IBC. 14.L08

Colour change for LED lighting Production version of Satcom6 on show ETC

By David Fox The new x7 Color System from ETC offers the ability to easily adjust the colour in Source Four LED, recently released Source Four LED Series 2, and Selador Desire LED luminaires. In Studio Mode, colour temperatures for all colour-changing and variablewhite Source Four LED luminaires can be set anywhere between 2700K and 6500K, while a green adjustment – operated from the button panel on the back of each luminaire or from the lighting control desk – ensures the fixtures can be fine tuned to studio cameras. A High 25K flicker-free mode can also be implemented to stop the flickering that is commonly seen when LEDs are used with high-speed and rolling shutter cameras. This can be switched on either from the control desk or from the fixture’s button panel. The Source Four LED CYC adapter turns that light into a cyclorama light, bringing smooth, silent colour changing to cycs, with no visible gaps or 104 theibcdaily

ViaLite Communications By Ian McMurray

seams between beams. Also on show is the ETC Unison Paradigm control system, which provides the tools to allow presenters, technicians and camera operators to control lighting in all studio situations. It has been used in an increasing number of remote studios, including at BBC News’

New cycle: The Source Four LED fitted with the new CYC adapter

Westminster studios, where the presenter or reporter can operate the small studio’s lighting from a touch panel on the desk, out of sight of the camera. 11.A62

The production version of the Satcom6 — an intelligent outdoor enclosure designed for satellite teleports — is being highlighted at IBC by UK RF over fibre manufacturer ViaLite Communications. The stainless steel unit can be pole- or wall-mounted and accepts up to six ViaLite modules including RF up to 4.2GHz or support modules such as digital reference and Ethernet. Using SNMP, the links can be monitored and controlled remotely using a simple web browser. CWDM functionality allows multiple signals down a single fibre. ViaLite switch and splitter modules can be used to set up full or partial redundancy. “We developed the Satcom6 specifically for satellite teleports”, said Dr Martin Ryan, managing

Cabinet maker: The stainless steel unit can be pole- or wallmounted and accepts up to six ViaLite modules

director at ViaLite. “Teleport operators can now install RF over fibre links between the antenna and the control room without the need for costly outbuildings, which is a huge saving. Moreover, the hardware in each unit can be configured to meet the individual requirements at each teleport. The production version on display at IBC2014 incorporates refinements that have been introduced to the Satcom6 since we announced it last year.” 1.A21

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Neo tunes up LED lighting Rotolight By David Fox Claimed to be the world’s first on-camera lighting system with accurate electronic colour temperature display, the Rotolight Neo should offer fast, tuneable colour on location. The bi-colour LED light will also deliver 957 lux at 90cm (twice that of competing LED on-camera lights), whilst providing a soft light source, and good battery performance. It uses 120 LEDs to offer full spectrum colour reproduction with an overall CRI of 95 (and a skin tone rating of more than 98), and colour can be accurately dialled from 3150K to 6300K in 10K steps. It has a dual rotary encoder control for brightness and colour temperature adjustment, and uses Rotolight’s Dynamic Drift Compensation to achieve smooth dimming

from 0%-100% with no colour shift. Neo can be powered by six AA batteries for up to five hours (or three hours at 100% power), or via an AC adapter or D-Tap cable, drawing just 9W at full power. It will be available as a single or multi light kit, and include a 10-piece Location Filter Pack including diffusion, skin tone and creative effects filters. 11.D69 The Rotolight Neo has dual knobs for brightness and colour temperature

The massive earthquake in China’s Yunnan province last month saw a huge relief effort put in place, and C-COM Satellite Systems was part of that effort, working with Unisat and China Mobile to deploy a number of its iNetVu antenna systems to assist with communications. “We have been working with C-COM and its iNetVu mobile antennas for more than eight years,” said Jian Liu, president and CEO of Unisat. “Unisat was the first C-COM reseller in China and we have installed a large number of iNetVu mobile products. Many of the C-COM

View point: Zacuto’s Gratical HD has a high-contrast 1280x1024 Micro-OLED display

Zacuto By David Fox Zacuto’s new Gratical HD packs a lot of computing power for an electronic viewfinder, with a powerful dual-core FPGA processor allowing for added functions (such as focus assist) and customisation. It also has a 4:3 1280x1024 Micro-OLED display with an extended contrast range. When the top part is used as a 16:9 1280x720 HD display, there is plenty of room for waveform, histogram, vectorscope and other data. Zacuto had experimented with a full 1080p OLED, but it didn’t make a visible difference at that scale and would have been much more

expensive. It has HDMI 2.0 (for 4K) and HD-SDI in/out, and can cross-convert HDMI to HDSDI. It can also import, export and create look up tables, and users can have separate LUTs in use for both the viewfinder and the HD-SDI output to another monitor or video village (which can also view different scopes to the EVF).

The LUTs can be saved as presets and exported to software like Resolve. It is self-powered (battery), has an Arri rosette on the side for easy mounting, and users will be able to buy custom camera cables, allowing it to show the same on-screen data as the camera’s own display. 11.G64

3G-SDI/HDMI C-Box cross converters

The V-mount version of the new Wooden Camera C-Box converter

C-Com helps relief in Yunnan By Ian McMurray

Powerful electronic viewfinder launched

products we sell are deployed for emergency and disaster management.” “During the last big Chinese earthquake in 2008, Unisat delivered a number of iNetVu mobile antennas to provide emergency communications and TV uplink transmission from the earthquake zone,” he continued. “Our customers in China depend on the reliability of the iNetVu products. All of the systems which were deployed during the 2008 earthquake are still working today without the need of any replacement parts. We expect to sell many more units to both existing and new customers in China.” 4.C55

Wooden Camera By David Fox The new range of C-Box cross converters from Wooden Camera take in 3G-SDI and HDMI input and can simultaneously output three channels of HD-SDI and two of HDMI. There are three versions, one draws power via a D-Tap from a battery or battery plate using an included cable, while the others draw power internally from either a V-Mount plate or Gold Mount, passing power through to the camera on the other side – they also have an additional D-Tap output for accessory power. There is also a 5v Mini USB output, useful if there is a

wireless transmitter, such as an IDX Cam-Wave, in one of the HDMI ports that needs external power. The D-Tap version can take standard V-Mount, QRCstyle Gold Mount, or Red/Blueshape plates. Each video output is independently reclocked for standard SD, HD and 3G SDI data rates and carries the same signal strength as the original. It automatically bypasses non-standard SDI rates from 20Mbps to 3Gbps, and passes SDI embedded audio and ancillary data. LED indicators show status of power and signal. 11.E71

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The power of three: V3.0 software delivers new features and performance to the CL and QL series

Trusted products for DPP standards Wohler Technologies By Heather McLean Wohler Technologies will be discussing its participation in the new compliance programme created by the Digital Production Partnership (DPP), an industry collaboration that provides information and shares best practices to help producers and broadcasters maximise the potential of digital production. The DPP Compliance Programme and subsequent guidelines are intended to help the industry identify trusted products for DPP standards across the UK and to speed up the successful implementation of the digital delivery process by ensuring files are compliant with DPP AS-11. “Compliance with the DPP specification is becoming a critical part of operations for many content producers, and our goal is to enable customers to create DPP deliverables with efficiency and confidence,” said Craig Newbury, VP of sales for Wohler. “To this end, our

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solution, powered by the RadiantGrid Intelligent Media Transformation Platform, automates the DPP compliance workflow entirely within the filebased domain, going beyond other solutions to include features such as automated content assembly and legalisation. “We’re pleased to be part of the new DPP Compliance Programme and look forward to demonstrating how sophisticated yet cost effective file-based processing can successfully speed and streamline the packaging and delivery of DPP-compliant content,” he noted. Through the new DPP programme, participating manufacturers will provide details of completed tests, the sample files produced, and evidence of the results obtained on file delivery or processing products that are in development or being marketed. The programme aims to establish a minimum quality threshold that manufacturers’ tested products need to meet. 10.B10

Third incarnation boosts mixer powers Yamaha By Michael Burns The CL and QL series digital mixing consoles have received a significant boost with the latest V3.0 software for both broadcast and live sound applications 5.1 pan positioning can now be set via the touch panel or knobs and in addition to surround mixing, CL/QL V3.0 adds basic surround monitoring. Monitor alignment capability is also provided, with adjustment of relative speaker levels and delays. Mix to Matrix can be used for international sound production and Mix to Stereo can be used for stereo mixdown.

Dugan automatic mixing has been included on QL consoles since their launch last year, but V3.0 now brings the facility to all CL series mixers as well. Provided through close co-operation with Dan Dugan Sound Design, gain distribution for up to 16 speech microphone channels is automatically optimised in realtime. An accurate VCM model of the Buss Comp 369 buss compressor is also included. Yamaha said it was ideal for inserting on the stereo mix buss for increased loudness, more uniform levels and warm overall sound, for both live and broadcast applications. Frame delay in this version, means it's now possible to incrementally delay audio at the mixer to achieve proper

synchronisation with video signals. Additionally, V3.0 makes it possible to select eight band parametric EQ in the GEQ rack and effect rack. A realtime analyser (RTA) is now provided to support room tuning and other operations. Mix Minus, important for relay broadcast applications, is now available to QL consoles, as well as CL series consoles from V2.0 upward. DCA assignment has been added to the parameters for Recall Safe, Focus Recall, and Global Paste and four banks are now provided for enhanced User Defined Keys convenience. It also allows keys to be grouped by function for improved audio production mixing efficiency. 8.D15

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Racking up features: The RMio64-D rack unit offers close integration with Yamaha products

Waterproof cases for 4K cameras Dante/MADI converter unveiled at the show Yamaha By Michael Burns IBC is playing host to the worldwide launch of the RMio64-D rack unit, for Dante/MADI conversion in broadcast and live sound application. The 1U high RMio64-D allows audio from a CL/QL live sound (or other Danteequipped) system, to be converted to MADI and fed to an OB vehicle or other recording facility. Alternatively, it can allow a MADI-based console to be easily integrated into a Nuage system for post production. The unit marks the third chapter of Yamaha’s Dante Rseries i/o units. Yamaha’s Rio3224-D and Rio1608-D i/o units were launched with the CL series digital mixing consoles in 2012, followed in 2013 by the Ri8-D and Ro8-D for Dante-based audio systems. Word clock synchronisation can be an issue when converting between different audio formats, but the inputs and outputs of the RMio64-D feature built-in sample rate conversion, meaning sources with differing word clocks can be connected without causing noise or dropouts. In addition to redundant Dante network connections, the

RMio64-D supports MADI redundancy through simultaneous coaxial and optical connections. There’s also MADI Split (loopback) capability, where a signal received at either the coaxial or optical input can be also retransmitted to the other output. The Rmio64-D can be mounted using the CL/QL console touchscreen displays, with convenient remote control of Dante patching and sample rate converter settings; Yamaha said support for the latter is planned for a future update. Precision synchronisation with Nuage system Direct Monitoring and VST System Link functions is also provided, as well as remote control from the Nuage Workgroup Manager software. “The RMio64-D allows built-in sample rate conversion to effectively overcome word clock synchronisation issues that would otherwise limit the choices in system design,” said Nils-Peter Keller, marketing director at Yamaha Pro Music and Pro Audio. “Extensive compatibility with CL/QL series consoles and Nuage systems significantly enhances the value of those products for use in a wide range of situations.” 8.D15

BOSS is enhanced Dimetis By Ian McMurray Since IBC2013, a major enhancement to BOSS LINK Manager for both carriers and broadcasters has been announced by Dimetis. The Dimetis BOSS LINK Manager is an OSS platform that the company says dynamically configures, schedules, monitors and controls video/audio/data connections across transmission networks of all types. True service orchestration is now enabled by Elastic Cloud, according to

Dimetis, giving customers the capability of managing extremely large networks. The new enhancement is designed to solve the problem of operators trying to manage large networks effectively. For example, BOSS LINK Manager can have multiple fault management instances throughout a network, giving it the ability to easily manage large regional networks with a high number of elements and enormous bandwidth use, as is the case with IPTV and DVB networks. It can also provision services as the network grows without any scaling or performance limitations. 1.B30

SKB Cases By David Fox

Submersible: The new iSeries case for Sony’s FDR-AX1 and PXW-Z100 cameras

SKB has expanded its iSeries range of injectionmoulded waterproof hard cases to include custom interiors to accommodate a wider selection of camera gear along with cubed foam and padded divider options, with new cases for Sony 4K cameras, the PMW-F5/F55 and the PXW-Z100/FDRAX1. The 3i-201510F5 for the F5 or F55 has an interior custom cut from high quality PE foam that can accommodate the camera with either the DVFEL100 or DVFL350 viewfinder attached, with

compartments for the AXSR5 recorder, memory cards, batteries and accessories. The two battery compartments will fit Sony’s BP-FL75 or Anton Bauer batteries. The 3i-201510AX1 case for the FDRAX1 or PXW-Z100 cameras accommodates Sony’s HXR-NX3, HXR-NX5U or HDRAX2000 models, plus batteries, cards, additional shotgun microphone or other accessories. SKB’s iSeries cases are made from highstrength polypropylene copolymer resin and feature a waterproof, submersible design resistant to corrosion and impact. Both new models have roller blade style wheels and a pull handle. 11.F65

Personalised audio in your future BBC R&D By Adrian Pennington New ways of describing and delivering content as media objects can provide exciting new opportunities for novel user-experiences and personalisation. BBC R&D is demonstrating its latest ideas on audio production techniques and workflows at the Future Zone as well as the innovations in user-experiences that object-based audio can provide to audiences. “The new Audio Definition Model can be used to store object-based immersive audio in programmes,” said Andy Bower, head of external relations, BBC R&D. “Demonstrations include

playback and manipulation of some example programme files.” Use of the Web Audio API to present interactive audio-visual navigation and immersive audio programmes is also a highlight. “We are demonstrating a variable length radio documentary — as far as we know the world’s first — which shows how in the future, in a non-linear, object media world, content could be personalised to fit the time available that individuals have to consume a particular programme or with individual preferences.” In the demonstration, paths are dynamically created through the narrative graph in response to the desired programme set by the listener. The final broadcast is reproduced by delivering

individual audio assets to the client’s device, reassembling them, and reproducing them in real time using a multichannel WebAudio scheduler. The research body will also debut multiformat audio playback based on ADM BWF files and a Radio 5 Live Football experience as an example for improved accessibility using object-based audio. These demonstrations are aimed at providing the industry with a snapshot of BBC R&D’s vision for how broadcast media could evolve as we migrate to a world based on IP systems. “These are experimental systems – they do not indicate a commitment on the part of the BBC to launch specific services or functionality,” stresses Bower. 8.F18

GX reseller appointed for DSNG IEC Telecom Group By Will Strauss Fixed and mobile satellite services provider IEC Telecom has been named as a value added reseller for Inmarsat's Global Xpress (GX), the global Ka-band

network for digital newsgathering. With a presence in Western and Northern Europe, the Middle East and North Africa, sub-Saharan Africa and Central and South East Asia, IEC Telecom will specifically focus on opportunities for Inmarsat’s GX high-throughput satellite

services in the energy, media and NGO sectors. Inmarsat's Global Xpress (GX) will provide broadcasters with broadband speeds of up to 50/5Mbps to mobile and portable devices when it launches in EMEA at the end of 2014. Global coverage is planned for 2015. 3.B29

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Lock in for HDMI camera ports LockCircle By David Fox DSLRs typically have less than robust HDMI connections, which are easily pulled out or damaged. To counter this, LockCircle developed the LockPort, which protects the fragile output on the camera from abuse thanks to a solid universal clamp and a smart micro to full-size HDMI adapter (which allows you to use stronger standard cables). The full-size HDMI 90°

Protect to survive: LockCircle’s LockPort HDMI adapter locks out damage to fragile DSLR connections

output can be used in the front or rear positions (there are two different adapters) to provide the best cable routing for the rig set up. It is already available for the Canon 5D and 7D, Nikon D 800 and Blackmagic Pocket cameras, and now the Sony A7S and Panasonic’s popular Lumix GH4 models have been added to the list. The camera plate takes seconds to fit, and costs e129. The LockPort GH4 weighs 100 grams, while the LockPort A7comes in at one hundred and twenty grams. 11.G35

Colour grading for on-board monitor SmallHD By David Fox

Making the grade: Editing a LUT on the SmallHD DP7-Pro on-camera monitor

A realtime, on-camera colour grading system, designed to dial-in quick colour grades and provide users with a clear view of how the finished video will look, has been added to monitors from SmallHD. It is part of a free downloadable firmware upgrade V3.0, and ships with the new DP7-Pro on-camera monitors, and means that users don’t need additional hardware to see what the video will look like in post. The graded video can be sent

Q&A Erwan Gasc, chief executive officer, AVIWEST Has IBC come at a good time for the electronic media industry? Why? This is indeed an exciting time for broadcasters. The rapid development of bonded cellular uplink systems has initiated a revolution in the industry. The advanced technology provides broadcasters with increased flexibility for covering live events and opens the door to new revenue opportunities. AVIWEST is excited to be a part of IBC and showcase our latest developments in the digital mobile newsgathering market.

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What do you think are the key developments in, or threats to, your market sector at the current time? AVIWEST offers the most advanced portable bonded cellular uplink device on the market. Our solution has been selected and deployed by most tier-1 broadcasters in EMEA. The size and the weight of our transmitters, combined with the quality and the reliability of the systems, as well as recent deployments of 4G networks, are the main drivers of our success.

Why should delegates visit your stand at IBC? At IBC2014, AVIWEST is launching the brand new DMNG Manager. This new product is a key component of our digital mobile newsgathering offering as it enables users to monitor and manage a complete fleet of DMNG equipment, including DMNG transmitters, smartphones using the DMNG APP, and DMNG Studio receivers. Needless to say, the product offers significant time and cost savings. 2.A49

downstream via HDMI or SDI to another monitor. It also allows importing 3D look up tables created on desktop colour grading software, and for modifying them on the DP7-Pro. The resultant grades can then be exported for use in post. “More and more cameras are producing flat looking image profiles, which is better for post but have made it harder on shooters who need to instil confidence in clients and directors on set. We've changed all of that. The DP7-Pro colour grading system is a compact, low-cost way of giving a client or director an instant view of what the up-coming or just-finished take will look like coming out of

post,” said SmallHD co-founder and CEO Wes Phillips. A further enhancement is the ability to overlay any JPEG image via SD card on top of live video using selectable transparency of the JPEG, to help shot match CG work or camera alignment for 3D rigs. The update also allows the DP7Pro to capture nearly unlimited screen shots from the video feed, as a reference for continuity, shot composition, or for future overlay use. The 7-inch HD monitor is available in three versions: the DP7-Pro LCD (SB), DP7-Pro OLED and DP7-Pro High Bright (HB). 11.G64

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Baby steps for 9K light output

Repurpose and monetise assets

K5600 Lighting Square Box Systems

By David Fox The Alpha 9K, which took its first steps earlier this year, provides a single shadow light that is focusable from 5° to 60°. The lightweight, compact and versatile unit also has an Open Eye mode that delivers light output at over 100º and benefits from the ability to be used pointing straight down. It comes with a compact ballast, weighing 24.8 kilos, that can fire up a 2.5K, 4K, 6K or 9K lamp, and runs at 100Hz, 300Hz and even 1000 Hz. It also has an AutoScan function that automatically corrects the frequency to ensure stable shooting at any speed. The first user of the 9K in France, with five units, was a new NBC four-hour miniseries, Rosemary's Baby, based on Ira Levin's 1967 horror novel. It was shot by French DP Michel Amathieu, and starred Zoe Saldana and Carole Bouquet. Some scenes took place on

By Carolyn Giardina

Hanging out: A line of Alpha 9K lights being used in Paris for NBC’s Rosemary's Baby

the third floor of an apartment in the 16th arrondissement of Paris, but the gaffer, Christophe Dural, didn't want to use a cherry picker because it would have been too difficult to hide. It

was important to light all five windows and still allow the cameras to move around, so he chose to use five Alphas mounted to the side of the building one floor up. “The key

factors making this configuration possible were compactness, weight, and quality of the Fresnel through the windows,” he explained. 11.E28

DAM systems developer Square Box Systems is recommending its latest CatDV 11 DAM software to enable content owners to repurpose and monetise their media assets, as well as for workflow in broadcast, cinema and IPTV applications. CatDV 11 releases for small, medium and large enterprises offer new media management tools; support for digital cinematography cameras, broadcast production and delivery standards; and features for integration with video editing and creative collaboration tools. Among the highlights of the latest version is improved workflow capabilities between CatDV and Adobe Premiere and Adobe Anywhere. 7.J15C

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Q&A Kieran Magee, marketing director, Professional Imaging, Canon Europe Has IBC come at a good time for the electronic media industry? Why? Absolutely! It provides the perfect opportunity for the creative industries to come together and collaborate to drive the future of television. The creative opportunities available today are ushering in a new era of broadcast and the conversations that take place at IBC will help to

shape the direction of the industry in these exciting and innovative times. What do you think are the key developments in, or threats to, your market sector at the current time? The proliferation of Ultra HD represents a massive opportunity for the entire industry and it’s critical that professionals have the tools

they need to create content for this new world. The expectations on TV in particular are beyond anything we’ve seen before and we’re enabling this powerful, visual storytelling through our technology. Why should delegates visit your stand at IBC? The Canon stand reflects the rapidly changing broadcast

industry. Delegates can get hands-on with our entire lineup of broadcast solutions and technologies including the recently announced CN7x17 KAS – our first-ever cinema lens to feature a servo drive unit. We're showing off our Xseries camcorders, pioneering Cinema EOS range and extensive portfolio of over 100 lenses. 11.E50

High-capacity interface futureproofs audio transport Studer By Michael Burns The new A-Link digital audio interface system has been unveiled, designed to connect the huge number of audio channels supported by the Infinity Core DSP of the new Vista X console. Studer has also announced that Evertz now includes A-Link as a standard direct interface into its range of router products. A-Link is a fibre-based audio interface that uses a 3 GBit/s

data rate to offer 1,536, 32-bit audio channels per single fibre connection. Studer said this ultra-high capacity link provides more than enough capacity for today’s audio systems but, by using such a fast data transport, will allow audio systems to grow in the future without having to change interface standards. The A-Link interface uses standard SFP (Small Formfactor Pluggable) optical interfaces. These interfaces are widely used in the telecoms industry and a huge range of compatible modules are available, offering multimode

and single mode operations with wavelengths from 800nm to 1600nm and distances of up to 80km without repeaters. The new Studer Infinity Core DSP engine offers 12 of the new A-Link ports on a PCI-express card, capable of over 5,000 inputs and 5,000 outputs for the huge I/O interface counts required of the new processing engine. A newly designed, D23m high-density I/O system is used to break out these A-Link connections to standard analogue, digital and video interfaces. New A-Link DSP cards are

available for the Studer SCore Live DSP engine and can be retrofitted to existing systems. The A-Link interface also provides direct connection to the MediorNet distributed router, allowing multiple Infinity Cores to be connected together. The interface to Evertz routers is in the form of a simple single fibre cable connection, providing 640 channels of ‘zero latency’ digital audio between the console and the video router (equivalent to 10 MADI connections). Studer said this direct connection not only saves installation time, but also removes the need for AES or

Classic giveaway supports broadcast education at IBC Miller Fluid Heads By David Fox IBC visitors could win a limited edition Miller LP ’54 Classic Tripod today in a charitable raffle being held to mark the 60th anniversary of Miller Fluid Heads. All proceeds from the raffle will go to the IABM Educational Foundation, which supports broadcast students in furthering their technical education. The raffle is open until 15:45 today (with tickets available at https://www.justgiving.com/ia bmeducationalfoundation/). Any IBC attendees that enter 110 theibcdaily

the raffle can collect a free Miller 60th anniversary camera plate locking key ring at Miller’s stand. The winner of the classic hand-built wooden tripod will be announced at 4pm by IABM Foundation Chair, Alan Brill. Just 40 of the tripods, which were first introduced in 1954, have been built this year from the remaining components left after the last production run of the Light Professional. They are crafted from Australian Blackwood. “We are very appreciative to receive a donation that allows us to continue to support individuals worldwide who are interested in furthering their technical education to

advance their careers in broadcast and media technology,” said Roger Crumpton, director and trustee of the IABM Educational Foundation. “As a company that strives to continuously develop camera support solutions that help cameramen improve the way in which they capture imagery, Miller is committed to assisting the next generation of forward-thinking creators and fortifying the future of broadcasting through education. We are happy to raise money for the cause,” added Mike Lippmann, European manager, Miller Fluid Heads (Europe). 11.D30

Lippmann: Miller is committed to “fortifying the future of broadcasting through education”

Linked in: A single A-Link interface offers 1536 audio channels per fibre connection

MADI interface frames, thus saving significant space and heat; both important considerations in OB van installations. 8.D60

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CameraTote launches Joseph Electronics By Heather McLean Joseph Electronics, with its host at IBC, Bluebell Opticom, is showcasing the JFS Camera Tote system that offers a new option to enable quicker operator deployment of point-to-point communications. Built into an industrystandard Pelican enclosure, the compact Camera Tote system provides waterresistant protection of field electronics in the harsh environments encountered by news and field crews. An internal filtered fan ensures that extreme temperatures will not be a factor when the system is used in exposed locations. The system’s standard signal complement includes 4x4 3G/HD-SDI, 4x4 analogue audio, 1Gb Ethernet, and wet intercom. The unit is also available in a 2-RU rack-

mount model for permanent installation. Fibre options include Lemo, ST, OpticalCon Quad, or MX. When four fibre connectors are used, two units can be daisy-chained for multicamera applications. 10.F24

Electonics protector: The Camera Tote system provides water-resistant protection of field electronics in harsh environments

Wowza integrates with Kaltura video Kaltura By Will Strauss For the first time in Europe, Wowza Media Systems’ streaming engine can be seen working with Kaltura’s open source video platform at IBC2014. Integrating the two technologies gives Kaltura customers the chance to provide a better and more reliable live streaming experience when ‘broadcasting’ live video to smartphones and tablets, connected TVs, set-topboxes and games consoles, the company said. Services can be added via the cloud or locally. “This integration enhances our live streaming capabilities with features such as live clipping and instant provisioning,

providing customers with a proven, scalable and affordable system on which our customers can build a long-term live and ondemand strategy,” explained Kaltura chief executive Ron Yekutiel. “Wowza’s out-of-the-box system and future-proof technology catapults Kaltura ahead of the competition in the depth and breadth of our live product offering.” As a result of the integration Kaltura users will be able to transcode a single stream in realtime to multiple formats for crossdevice distribution. It will also be possible to make live streams “seamlessly transition” to VoD within the same video player, removing the need to re-ingest or swap the player embed code. 3.C67 and 3.B20m

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C the world: Apps allow users to access wireless motor control information using cworld

New remote integrates haptic feedback tech ruwido By Ian McMurray

Lens data makes a splash in smart cworld Cmotion By David Fox A new wireless interface that allows users to access and edit live lens data has been introduced by Cmotion: cworld allows Cmotion control units and web-enabled smart devices, such as iPhones and iPads, to be connected so that it can allow multiple users to access to lens and distance information, firmware updates, and user guides on a cvolution camin. It means that a director could remotely access the iris

data and physically adjust the iris scale through their own smartphone, while other members of the crew view other readouts. A €350 smart range finder application (cfinder) provides a wireless distance read out when cworld is connected directly to a measurement tool, such as cmotion's cfinder, Arri's UDM or Cinetape. The €400 lens data and lens information package has two applications: clensdatabase and clensinfo. The first allows an operator to create detailed lens files for individual lenses and save them by lens name,

serial number and owner. It also allows you to edit existing lens files, use them as a template to create new lens files, transfer files to and from cmotion's cdisplay II, and to share them online. This lens data can also be used by cmotion to create precision engraved marker rings for your hand unit. In clensinfo, users can display an animated depiction of the current lens. Each scale is clearly displayed together with depth of field. When used with the cfinder set up, the measured distance is also displayed. 11.G42

IBC2014 sees the launch of the r147 remote control, the latest product solution from ruwido, the Austrian remote control specialist. The r147 is said to integrate innovative haptic feedback technology to ensure that the growing diversity of TV services can be controlled and navigated. TV has, notes ruwido, transformed over the last decade to become almost unrecognisable from the linear experience it once was: the current TV landscape now includes a vast choice of content, complex menus and extensive VoD libraries. The r147 is said to be In line with the company’s ethos of ensuring that control rests with the end user. According to ruwido, the look and feel of the r147 complements the brand value of advanced TV service providers. It maintains the button based navigation that users have become accustomed to, enhanced by haptic force progression and the option of speech transmission. The new remote control is focused on usability, maximising comfort for

the user with high quality surfaces and softened edges. “The remote control is an ever–present and fundamental element of the modern day TV landscape; it is the bridge between the user and a world of entertainment,” said Ferdinand Maier, CEO, ruwido. “Our new remote control provides a high level of interactivity to enhance the television viewing experience, while at the same time providing an aesthetically pleasing design which the user is proud to have on its living room table. The combination of ruwido’s design language and the deep functionality of the r147 helps forge a closer relationship between the user and our customer’s brand.” 1.F68

Q&A Bernhard Reitz, head of product marketing, Rohde & Schwarz DVS Has IBC come at a good time for the electronic media industry? Why? Absolutely, IBC as the most important tradeshow for broadcasters comes at a perfect time. We are seeing a strong interest in Ultra HDTV and 4K – and it is picking up speed. During the FIFA world cup, test runs were shot in 4K and this was a chance to gather further experience in doing so live. Not only the resolution plays an important role when it comes to the visual image quality but also higher frame rates that may even reach up to 120 fps. To process these high resolutions and frame rates,

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more efficient coding algorithms are necessary. This also means that besides the required performance the video format variety is once again expanding next to already established HD and SD formats. So it comes as no surprise that there's an ever-increasing need for high-performance multiformat systems, since you won’t lose time with complex transforming processes. And this goes for the entire media food chain, starting with ingest, processing and storing data to its distribution in movie and TV environments.

What do you think are the key developments in, or threats to, your market sector at the current time? Crucial to the success of 4K content is a clearly defined mastering format. Whereas SD and HD content were mastered on videotapes, it only makes sense to master 4K content as a file package. New mastering formats such as IMF (Interoperable Master Format) offer ideal conditions to do so. A standardised and well established mastering format enables optimum content exchange – here we could take DCI as a successful example in the digital cinema area. With

regard to the future it is important that the new mastering format is expandable to upcoming needs. IMF is on the right track and stands a good chance to be successful. Why should delegates visit your stand at IBC? Visitors to the Rohde & Schwarz booth can experience innovative 4K solutions. Our reliable mastering station Clipster for DCI and IMF is now equipped with watermarking capabilities for standardized and secured content exchange up to 4K. The highend presentation player

Pronto4K-HFR supports up to 120 fps in 4K and offers an incredible immersive experience for projections used at tradeshows or theme parks. The new SpycerBox Cell is a standout storage solution that is scalable both in performance and capacity and ideal for handling demanding data in movie and TV production environments. Our successful Venice ingest and production server offers new features for efficient multi-format file-based live workflows in TV studios. 7.E25

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SADiE masters the WAVs Prism Sound By Michael Burns The latest upgrade to the SADiE 6 audio recorder and editor software is being showcased at IBC. The new toolset include WAV Master, which allows users to create WAV files for an entire album. It uses PQ marks to define the start and end of the WAV file for each album track, with track titles, artist name and other information automatically incorporated into these files. Prism Sound has also introduced a new high quality

Sample Rate conversion algorithm and ensured that resolution changes can be applied during the bounce process used to create WAV files.

The new version of SADiE 6 now caters for engineers who want to work with Broadcast WAV (BWF) files, which incorporate ISRC data. An ISRC in BWF feature is included in SADiE's WAV Master option and is in the SADIE version 6.1 update as part of the Mastering Suite and Sound Suite packs.

SADiE also features enhanced video support for BlackMagic Design Decklink cards, as well as timecode support on SADiE native systems, where the ASIO audio hardware used supports timecode functionality. Prism Sound is also showing its full range of Test & Measurement solutions at IBC,

including the dScope Series III Audio Analyser. This features a freely-available test suite that can be used to evaluate the performance and compliance of any loudness meter on the market and ensure that a chosen product can deliver both ATSC and ITU BS.1770 compliance. 8.E34

Harness big data Skyline Communications By Ian McMurray As well as announcing the latest release of its DataMiner network management platform, Skyline Communications is also highlighting what the company describes as its revolutionary DataMiner CPE Manager solution. According to Skyline, it is the first professional OSS solution harnessing the power of big data technology in the IPTV, satellite, HFC broadband and broadcast industry. The platform is claimed to enable operators to mine massive amounts of operational data across the entire population of customer premises equipment, including modems, set-top-boxes, OTT clients etc. It is also claimed to allow aggregation and correlation of data around the clock to detect anomalies and system issues across the entire ecosystem. DataMiner CPE Manager is designed to offer operators unprecedented visibility into their operation, and to deliver significant operational savings and increases in quality of enduser experience. With the new DataMiner 8.5 release, Skyline says that it has now started leveraging the unique capability to use a single platform for both CPE management and traditional device management. Those two worlds now come together in the DataMiner 8.5 release, providing a seamless navigation and cross correlation between real-world devices (such as amplifiers, CMTs, DSLAMs) and aggregated CPE data. 1.A23 theibcdaily 113

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Classical concert conversion NTP Technology

Class act: AX32 converters captured the José van Dam concert in Brussels.

By Michael Burns The DAD AX32 ultra-high-quality digital/analogue/digital converter is being showcased in Hall 8, fresh from capturing a largescale recording of a concert with baritone José van Dam in Brussels. The recording was made at the city's largest cultural venue, the Palais des Beaux-Arts, for the Queen Elisabeth Music Chapel. The concert was streamed directly over the web using low-latency uncompressed audio-overethernet networking. Composer, musician and sound engineer Jarek Frankowski was responsible for the recording and the sound design: "We were able to take this feed straight from an Audinate Dante card in the AX32,” he said. “The event worked so well that Music 3, the main Belgian classical radio channel, asked me to be an

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Spotlight on the CVP-2 guidelines DLNA By Monica Heck

adviser for its future Dante setup.” “I decided to invest in two DAD AX32 converters for my Brussels-based company, Acoustic Recordings, because of their very high sound quality and versatile connectivity,” he continued. “Each converter allows up to 48 microphones to be routed as IP data along 100 metres of Cat 6 cable or a practically unlimited distance via optical fibre.”The AX32 comes as standard with Avid Pro Tools and eight AES/EBU and MADI inputs and outputs. It can optionally be fitted with a Dante IP audio interface and two optical MADI interfaces.

The structure allows analogue-to-digital, digital-todigital and digital-to-analogue converters to be assigned to any digital interface, as well as patching between the interfaces on a channel-to-channel basis. An optional microphone preamplifier for the DAD AX32 provides up to 72 dB of analogue gain. The AX32 can be fully remotecontrolled via Ethernet using NTP Technology's DADman software. Alternatively, the preamps can be controlled from Pro Tools software and basic control is also possible from the front panel. 8.B51

The recently announced CVP-2 Guidelines for viewing subscription TV content across multiple devices in the home are taking centre stage at the Digital Living Network Alliance (DLNA) stand. These guidelines enable consumers to stream pay TV content such as their favourite television programmes and movies from their local operator to DLNA certified products such as digital televisions, tablets, mobile phones, Blu-ray disc players and videogame consoles anywhere in the home. The CVP-2 Guidelines were developed through close collaboration

between service providers and members of the consumer electronics product development ecosystem. They’re an extension of the standard DLNA Guidelines and enable client devices certified to the CVP-2 Guidelines to interoperate and share media with the billions of existing DLNA Certified servers. The alliance suggests that as CVP-2 capabilities are built into home network products, consumer choice will be improved for seamlessly enjoying subscription TV content from providers on multiple devices in the home. DLNA Members can begin certifying products to the internationally agreed specifications in September 2014. 14.L22

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Saeta chooses OBE

Field of view: The FieldCast fibre optic cabling system can carry 6- or 12Gbps data over long distances

Open Broadcast Systems By Ian McMurray Saeta TV Channel 10 Uruguay has selected Open Broadcast Encoder (OBE) for its national ISDB-T platform. OBE is used to encode HD MPEG-4/AVC services compliant with the ISDB-T standard as used in Latin America. A further 15 channels throughout Uruguay will also be using OBE as part of systems integration work by the local team who delivered the encoding platform for Saeta TV.

As a software-defined encoder, OBE is said to allow broadcasters to deploy high quality broadcast encoding on commodity hardware, allowing for new encoders to be rolled out within a very short space of time, simplifying and adding flexibility to operations. “OBE has been a stable and high quality encoder for our channels that we have been able to build and install locally,” said Marcelo Coggan, chief technology officer of Saeta TV. 4.A61h

Deploying revenuegenerating IoT multiscreen services Marvell By Ian McMurray Claiming to help provide consumers around the world with a powerful and truly immersive entertainment experience, Marvell is showcasing the company’s latest innovations for enhancing the service provider multiscreen experience. A broad portfolio of Media Processor Platforms is being demonstrated with integrated connectivity solutions allowing, says the company, seamless deployment of revenue-generating Internet of Things services. On show are Marvell's Internet of Things platform, including energy efficient home automation and lighting management systems; complete software development kit, including Android and RDK, powered by quad-core ARM architectures for deploying smart TV applications; Marvell’s QdeoT Video Technology extended to 4K HEVC decode; HDMI Dongle software platforms designed for quick time to market of OTT business models; and Gigabit networking over existing powerline, coax, phone line and plastic optical fibre. Also featured is what the

company describes as a complete portfolio of G.hnenabled platforms for the connected smart home, including IP-enabled set-top boxes with Wi-Fi and G.hn MIMO connectivity embedded. 5.C33

Fibre for 4K and beyond Rosenberger OSI By David Fox The new FieldCast high-speed fibre optic cabling system from Rosenberger OSI is designed to cope with 4K and beyond. It supports very high data rates over extended distances for HD, 4K or 8K, and is claimed to overcome some traditional drawbacks of optical cabling, such as price and availability. “With a simplified range, widely compatible connectors and straightforward colour coding system, FieldCast is arguably the first truly easy to use fibre system,” the company claimed. For UHD video over coaxial

copper cable there is a limit to the distances over which signals can travel. With 6Gbps, for example, the maximum distance without repeaters is around 60 to 70m, which is limiting even in the studio. “Despite the shortcomings of copper, until now there has been a reluctance to go with fibre,” said Ab Vingerling of Rosenberger. “The variety of cable types, standards and connectors can be bewildering. FieldCast will finally help the technology to go mainstream. Now, using fibre will be little more complicated than buying and plugging in a coaxial copper cable.” Rosenberger has drastically reduced the number of options, and is offering a very

simplified, pre-configured range, featuring standard, sturdy connectors that can withstand extended use in studios and stadia. “Whether PC or APC polishing has been applied is meaningless and irrelevant to most users; it only serves to confuse the typical buyer,” added Vingerling. “What our customers are interested to know is that FieldCast has been created to the highest specification, is compatible with broadcast and AV technology and is very attractively priced.” Distribution of FieldCast for the EMEA territories is being handled by Mediamachine, in the Netherlands, while Holdan will serve the UK and Ireland. 11.E39

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theibcdaily Metering loudness: The user interface of the plug-in is based on the RTW TouchMonitor

Meters to mind loudness limits RTW By Michael Burns The Masterclass PlugIns Loudness Tools are making their IBC debut. RTW’s standard-format DAW plug-in is the first in a new monitoring product line, initially in VST 2.4 format for Windows and RTAS for Mac OS. Full VST, RTAS and native AAX64 support on both platforms will follow. Each RTW Loudness Tools Masterclass PlugIn visually depicts audio with all relevant level and loudness values as specified by international standards. It conforms to the EBU R128 loudness standard, as well as SPL, ITU-R BS.1770-3/1771-1, ATSC A/85,

ARIB, and custom (to set OP59, AGCOM). The company said it provides essential loudness metering without strangling the normal audio processing capability of the workstation. The instruments provide graphical/numerical, as well as bargraph views, and can be freely rearranged and scaled. Various function parameters, such as integration time, operational range and tolerance, along with a number of viewing options for metering data and scales, offer extra flexibility. RTW said the plug-in was also a handy tool for quality control, offering the precision and ease of use required to ensure compliance with custom specifications. Operation of the plug-in is

highly intuitive,claimed the company, stating that even users without a great deal of experience in monitoring loudness can use it effectively. The RTW Loudness Tools support all standard sampling rates up to 96 kHz and offer plug-in operation in mono,

stereo and surround formats (eight channels maximum). The plug-in includes RTW’s Peak Program Meter, TruePeak, and Spot Correlator instruments and also offers all common loudness formats plus MagicLRA and an SPL view.

Q&A Chris Crump, senior director of sales & marketing, Comrex Corporation Has IBC come at a good time for the electronic media industry? Why? Comrex has been innovating for over 53 years and we continue to develop new technologies with the aim of helping broadcasters create better content. IBC is a great opportunity for us to share our latest advances with our customers and distributors. Given the massive amount of choice that the entertainment consumer is barraged with, it only stands to reason that

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content creators must find the best methods by which to differentiate their product. IBC’s platform has never been more relevant. What do you think are the key developments in, or threats to, your market sector at the current time? 4G LTE and VoIP technology have been fundamental to the success of our current product line up just as IP technology touches every aspect of the M&E business.

Developments in wireless technologies as well as improved encoding technologies will be key drivers in the way we continue to improve our products as well as develop new products in the future. Why should delegates visit your stand at IBC? Our LiveShot Video IP Codec has changed the way television broadcasters do live shots by offering return video, two IFB returns and a

cue channel in addition to the very low delay HD/SD video it can send to the studio using multiple IP networks (3G/4G/WiFi/SAT/wired broadband). STAC VIP is a VoIP Call Management system that integrates a new technology called WebRTC that is poised to change the way we all communicate. It’s definitely worth taking a moment to learn about these industry-changing developments. 3.A48

PACE anti-piracy and iLok USB copy-protection dongle are used for handling license management and plug-in activation. On an authorised computer, users can use unlimited RTW Loudness Tools instances. 8.D92

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Keep your digital content safe DAVID By Adrian Pennington The multi-member Digital AV MedIa Damage Prevention and Repair project studies how to keep digital audiovisual content usable in the face of adversity. These it numbers as the obsolescence, media degradation, and indeed failures in the very people, processes and systems designed to keep digital content safe. “For file and tape based digital video DAVID analyses the origin of potential damage and its consequences on the usability of content, detects and restores

damage already happened and develops strategies for avoiding future damage in a way that balances long-term costs, risks of loss, and content quality,” explained Peter Schallauer,

project leader at Austria's Joanneum Research. Among the results demoed at the IBC Future Zone will be essence based damage detection tools for Digital

Betacam dropouts and Field Order errors integrated into the essence quality checking system VidiCert. Novel results for noise suppression and DigiBeta Dropout repair are presented. Cube-Tec will present a highspeed solution to solve interoperability problems with

MXF media files in an automatic way. The MXF Legalizer checks MXF files for standard conformance. In addition MXF format variants that are known to be the reason for interoperability issues in typical file-based broadcast chains are also fixed. 8.F22

Show satellite deal offered Antenna Technology Communications By Ian McMurray IBC visitors looking for both satellite solutions and a bargain are heading to the Antenna Technology Communications (ATCi) stand, where the company is offering a special pricing deal just for the show. The deal is for ATCi’s LiveStreamPac Pro S, a compact video system for live stream TV and web reporting and its flyaway antenna package. ATCi describes LiveStreamPac Pro S as the world’s most advanced pocket sized 3G/4G-LTE video uplink system product line designed for news gathering professionals. It features an extremely small footprint and weighs around 1Kg, and ATCi says that it offers high level HD video resolution, super performance, advanced innovative technology for resilient transmission in all cellular reception areas including poor coverage areas, and exclusive hardware and software devices that enable easy and affordable worldwide roaming. ATCi’s Fly Away System includes antenna, amplifier, encoder and modulator as well as an ATCi spectrum analyser, design, integration and implementation. The flyaway systems are in stock and, says ATCi, are pre-tested for maximum reliability. 4.C65 theibcdaily 117

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Allex multi-axis slider and tripod Libec By David Fox Allex, a new modular, active support system comprising an all-new tripod, head and fiveaxis slider, has been launched by Libec, and is claimed to offer users “extremely accurate and smooth pan, tilt and slide movements.” “The Allex gives users the freedom to create,” said Nick Allen-Miles of European distributor Ianiro International. “The slider can be used on any surface, or fixed between two tripods for maximum stability. By mounting the slider to a single

tripod and using a second head under the camera, the operator can capture fluid images at any angle for truly cinematic results.” It can take a payload of up to 15kg, and should provide smooth movement thanks to eight ball bearings, while a spring-equipped friction control knob precisely regulates the speed of movement along the 800mm track. A brake enables users to hold the camera on the vertical plain, adding more than half a metre in height to the reach of a standard tripod. The two-stage tripod is a new design, weighing just 2.5kg, with increased rigidity thanks to new high performance stoppers. Each leg incorporates footpads

with integrated, extendable spikes for fixing to soft floor surfaces. The new head can carry up to 4kg and be mounted

to a standard 75mm ball or flat base tripod – or the dedicated Allex tripod – making it suited to a range of sliders and skater

On the slide: The new Libec Allex in use near the Golden Gate bridge

dollies. The system has a total weight of 5.8kg and costs around £500 or €600. 11.A53

4K waveform monitor upgraded Leader Instruments By David Fox The LV5490 SD/HD/4K picture and signal monitor from Leader lnstruments has received some significant enhancements, including twosample interleave, focus assist, frequency deviation auto-correction, phase difference detection, CIE 1931 chart with 4K colour space and user-adjustable measurement display sizes. “The LV5490 is a highprecision broadcast test instrument with an unprecedented number of features,” said Richard Heath,

Leader's European regional development manager. “It can be used in a very wide range of roles including precise matching of up to four studio or outside broadcast cameras at a time. It also doubles as a picture monitor for production crews working on location. The LV5490's multi-standard versatility makes this instrument ideal for use in SD, HD and 4K ultra-HD standards, all in one compact housing.” Up to four channels of 3GSDI input signals can be displayed simultaneously. Eight input channels are provided - four on dedicated connection ports with cable length measurement

capability. The other four channels are configurable as inputs or outputs with pattern generation functions. It has a 9-inch 1920x1080 LCD monitor and offers DVI and HD-SDI rasterizing monitor output. Shooting in 4K requires particularly careful focus to ensure, and the unit’s new patent-pending Focus Assist enables it to be used for checking low-contrast content and small image detail. Frequency deviation is now standard, allowing detection, display and automatic correction of any frequency difference that may exist between each of the input signals. It also has phase difference detection, to

Q&A Peter Pörs, chief executive officer, Jünger Audio Has IBC come at a good time for the electronic media industry? Why? I don’t know if there are specific good or bad times for the electronic media industry – it is simply on track for the future. There are always a number of upcoming changes and new challenges to face but so long as we keep the human audience as the target of all our activities, we will continue to do well.

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What do you think are the key developments in, or threats to, your market sector at the current time? I don’t want to accept that the way people listen to audio is changing, but actually I think it is – mainly due to the times we live in and the devices they listen to. What doesn’t change is our philosophy to deliver sophisticated audio control solutions to professionals. We believe that by doing this we can improve the listening

experience for consumers. Why should delegates visit your stand at IBC? If you visit our booth you will meet our team, see our new products and get the chance to talk to us about other products you would like to see from Jünger Audio. We are serving drinks in a relaxed atmosphere and you will be made very welcome. Please don’t miss us in Hall 10. 10.A49

Enhanced leadership: Leader’s LV5490 multiformat video generator with CIE 1931 chart

measure and display any phase discrepancy between input A or an external reference signal and the other input signals. The unit also has a wide

range of test and measurement capabilities, and can do digital audio monitoring and analysis as an option. 11.A38

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An expanded switcher line Datavideo By Carolyn Giardina A 6-channel HD switcher with built-in options is the latest update to Datavideo’s switcher line-up. The 2200 comes in two versions. The first is the standalone SE-2200, which consists of a 2U rack mounted mainframe and an external keypad. The second is the HS-2200, a hand carry version of the SE-2200 with a 17.3-inch built-in monitor and talkback/tally system; it can run on an external battery. The SE-2200’s features include 6x6 SDI genlocked Matrix, Dual PIP and a built-in title overlay system that works with entry level Datavideo CG systems or other graphics programmes. It can accept up to six HD-SDI and two HDMI

signals, six HD-SDI assignable outputs and two HDMI multi-view outputs (one on HS-2200 because the internal screen uses the other one). The 2200 series switchers also have built-in overlay splitters. This means that one of the HDMI inputs can be used with a laptop or PC with entry level Datavideo CG systems, or other graphics programmes. The HS-2200 lists for $7000, ad SE-2200 for $4000. 7.D39 Switch hit: The HS-2200 is a hand carry version

D810 DSLR cleans up Nikon Europe

In the frame: The Nikon D810 offers both full-frame and Super35 formats

By David Fox The new Nikon D810 DSLR offers full HD recording at up to 50/60fps, and is claimed to produce “markedly reduced noise, moiré, and false colour.” The camera offers FX (full frame) and DX (Super35/APS-C) sensor crop formats as well as clean HDMI out, plus simultaneous capture of full-resolution footage in-camera and on an external recorder. Users can set sensitivity from ISO 64 (which is particularly useful at video frame rates when the lens is wide open) all the way up to ISO 51200 equivalent in M mode, and an auto ISO function simplifies limiting the maximum ISO settings you want to work with. Nikon’s 3D noise reduction reduces random noise, distortion, and flicker when filming at high sensitivities. For exposure, the D810 has a zebra mode to indicate where

highlights are blown, and it has improved audio control, with both a stereo microphone input and an audio out. Users can select the sound range (wide/voice), and wind noise can be reduced if recording with the built-in microphone. The completely redesigned D810 has a new 36.3-megapixel FX-format (36x24mm) sensor, and uses the same Expeed 4 image processing engine as the

flagship D4S. It also has improved 9-, 21- and 51-point auto focus, supports wired and wireless connection (Ethernet and optional wireless LAN), has a durable magnesium alloy body with extensive weather and dust sealing, two card slots (one CF card slot for high-speed UDMA 7 cards, and one SD card slot), and a high-capacity rechargeable battery. 11.A69

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Simplifying the future of production Norwia By Heather McLean Norwia is showcasing its range of cost-effective, flexible and future-proofed solutions aimed at simplifying the production process. IBC visitors will be able to see demonstrations of Norwia’s flexible miniHUB optical transport solution for remote production, showing why it is gaining increased traction with broadcasters and production companies. miniHUB has been designed to ensure it meets the three main requirements of broadcasters looking to move to remote production: contribution of pristine video and audio quality; control of cameras and lighting is not affected by the distance between the studio and the OB location; production staff can communicate efficiently so that the programme can be made just as well when the audio engineers, lighting

controllers, technical directors and vision directors are kilometres rather than meters from the cameramen and the live action. Norwia is also showcasing a fully functioning broadcast redundant ring structure at IBC. This flexible optical blade with next generation miniHUB interface is made possible by Norwia’s AutoSFP technology. It is configurable as a multiple fibre solution or a multiplexed backbone structure that provides redundancy in both main and redundant fibre paths ensuring fibre can travel either direction and maintain signal integrity. The Norwia booth has two identical miniHUBs demonstrating the power of AutoSFP functionality, including seeing miniHUB change functionality automatically. The demonstration includes how users can easily change the solution to obtain over 200 combinations. 9.C19

Multiplexing addition to Magic lineup AVT By Michael Burns The Magic Mux DAB multiplexer has been launched for DAB+, based on the Fraunhofer ContentServer Technology The system offers a highly reliable professional DAB Digital Radio platform (Eureka 147 DAB) and supports all content and signalling options DAB offers. For the integration in transmission networks, the system uses the latest IP technology, which allows a simple and cost-efficient integration of all DAB system components such as encoders. Also new is the Magic AE1 DAB+ Go audio encoder. AVT claimed the ½ x 19-inch system offered a cost-efficient solution for smaller service providers, who offer only one programme and do not have to include the systems in a central network management. The new systems join the Magic family, which includes the AE1 DAB+ audio encoders, the EEC EDI/ETI converter, the SDC switch and the AD1 monitoring decoder. 8.E76

Robot crew ups the speed Camerobot By Michael Burns Ultra-fast, high-precision camera movements that were not previously possible with existing technology are promised by a new highspeed robot. The company claimed its new high-speed Camerobot, used in combination with the lightweight but highly stable camera mount, delivers perfect, vibration-free images and sequences in impressive quality. Mounting adapters are available for all the leading high-speed cameras such as Phantom, Weisscam, Arri and Red Epic, enabling them to be used with the system. The high-speed robot can be controlled via a joystick or simply left to run in automatic mode. Programmed settings can be repeated as many times as desired in exactly the same configuration. Control of the robot in high-speed moves can also be accomplished by means of the target tracking option, which enables the camera to automatically follow a subject as it goes

Laws of robotics: The new Camerobot can be used in combination with high-speed cameras

through an extremely fast sequence. In standard configuration, the six-axis robot can reach a height of 2.05m and operate across a range of 1.86m, which can be further extended using linear axes. A special software package for programming camera moves from a laptop, a precise zoom and focus control, a plinth and a transport box also form part of the system. 8.A19

Alleviating the complexities Taking HDMI closer to SDI of corporate communication Atomos

By Heather McLean

Piksel By Ian McMurray Recently launched in Europe, the DS4 digital signage solution from Piksel is designed to alleviate the complexities of corporate communications when fragmented workforces are on the rise. The company says that DS4 empowers global organisations to deliver sophisticated realtime content, including live streaming video to a global network, and manages the delivery of both live and VoD content to a multitude of different media including digital screens, directional signs, and corporate intranets. “The rise in the implementation of digital signage in large organisations signals the power and importance of video as a communication tool,” said Mark Christie, chief technology officer, Piksel. “Being immersed in a company’s corporate culture should not be exclusive to 120 theibcdaily

working in a particular office; DS4 allows targeted messaging to reach staff in various locations controlled by one simple interface. The market is primed for a fully integrated solution which can deliver content to multiple screens, and the launch of our DS4 solution will provide European companies with the ability to make their internal communications resonate with their employee base.” Available as either a Softwareas-a-Service or an on-premise

Sign o’ the times: The DS4 digital signage solution is available either as SaaS or on-premise

video platform, DS4 is described as a flexible solution that can be seamlessly combined with the Piksel Video Platform or integrated into existing infrastructures. Global businesses have already adopted DS4 as part of their corporate communications strategies, including AirBus, Axa, and Kering. 1.C30

Here at IBC Atomos is discussing its recent move to standardise HDMI for the professional video industry by focusing on ease of use and customer experience. With indepth experience along with its technical know-how, Atomos aims to help define industry standards. SDI has ruled the professional video space for over 25 years, built on a backbone of dependability and control. The prevalence of HDMI in consumer electronics and the DSLR revolution created by Canon's 5D Mark II/III, Nikon's D800 and followed more recently by Sony and Panasonic's revolutionary 4K mirrorless cameras, has made HDMI the default connection for video professionals. Until now, however many of the advantages presented by SDI have been missing from HDMI. One of the big advantages of SDI over HDMI has been auto triggering and timecode

communication between cameras and external devices like monitors and recorders. Atomos has now made HDMI more usable and one step closer to the SDI standard by implementing auto start/stop trigger and timecode over HDMI. With this standard, users can connect using HDMI and automatically trigger functions on external devices from the camera itself, just as they have for years with SDI. "We are very proud to be defining a new standard in such an established marketplace. We love HDMI, but as it gets more popular on the camera side we need to help make it work in the pro world," said Jeromy Young, CEO and founder of Atomos. "Historically this has only been achieved in the tech industry by creating an open standard, which is what we've done." Atomos was the first company to engineer auto HDMI start/stop and timecode communication with cameras, initially with Sony in 2011 for the FS100 followed up with Canon in 2013, for the 5D Mark III, 1DC and C100. 9.D25

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Transmitter launch marks anniversary Nautel By Michael Burns The digital LPTV line has been expanded with the newly launched 250W NT250 transmitter. Nautel is also marking 45 years in business at the show. Operating in the 470 - 810 MHz UHF spectrum, the NT Series range provides a platform for low power TV broadcasting, retransmission or gap-filler applications. As with Nautel’s other low power UHF transmitters, the NT250 combines a softwaredefined modulator, amplifier, remote control, adaptive precorrection and mask filter in a single, compact 4 RU enclosure.

Also available, as an option, is the enhanced adaptive pre-correction technology, Optipower. This allows optimisation of transmitter power efficiency and transmitter MER (Modulation Error Ratio) performance, as well as realtime spectrum analysis. The NT250 supports major digital transmission standards including DVB-T, DVB-T2, ATSC and IDSB-Tb. Other products in the NT Series include the NT150, with digital power output of 2 150W and the NT500, a 5 RU unit with digital power output of 10 - 500W. “We’ve been pleased with the market acceptance of our LPTV transmitters during the past year,” said Nautel's new

Packed and stacked: The NT250 packs a lot into its compact 4RU enclosure

president and CEO Kevin Rodgers. “Our software-rich approach to product design has allowed us to bring a new level of operational capabilities to low power UHF.” Rodgers said new product development is only part of the Nautel story and the company

was focussing on a theme of continuous improvement as part of its anniversary celebrations. “We can’t sit on our laurels with our existing products,” he said. “We are constantly looking at ways to improve the experience for our more than

12,000 customers.” Recently released firmware updates for the NV, NX and VS Series transmitters are also being showcased, as is the recently launched Nautel Phone Home advanced customer support program. 8.C49

InStream Splice makes IBC debut in Hall 1 General Dynamics Mediaware By Ian McMurray For the first time at IBC, Australian company General Dynamics Mediaware is showcasing its nextgeneration ad insertion product InStream Splice with frame accurate HEVC supporting 4K Ultra HD, plus InStream Play, a new built-in automation layer. Also on show is the company’s portfolio of compressed domain products designed for broadcasters, video providers and media companies. InStream Splice is described as a unified endto-end playout and ad insertion solution that demonstrates how splicing in the compressed domain can be delivered at the quality level demanded by successful operators. It is the newest addition to the General Dynamics Mediaware family of broadcast solutions, and is said to provide fully featured, realtime control platforms for operators of local or edge deployments to coordinate time delay, advertisement and logo insertions for local and regional TV channels. According to General Dynamics, InStream Delay — now with InFuze — allows facility operators to delay programming in different time

zones, while simultaneously inserting logos directly in MPEG-2 transport streams. InStream Flux and InStream Edit are General Dynamics Mediaware’s MPEG-2 and H.264 editing solution for

capturing, editing and creating file-based content from digital compressed, live broadcasts. It provides, says the company, a step-up in editing speed while delivering content to audiences faster without transcoding, and at the highest quality possible, requiring significantly less

hardware than traditional capture servers. General Dynamics Mediaware products are said to enable alternate media workflows that provide lower total cost of ownership across multiple platforms for satellite, direct to the home, cable, direct TV, IPTV and OTT.

Designed to easily interface with currently deployed environments, the company says it makes it easy for broadcast and media distribution facilities to make the move from baseband to an all-IP workflow with confidence. 1.A06

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Complete software solution for CCTV Netris By Ian McMurray Described as a complete software solution for CCTV systems with a small number of digital cameras, the recently-released Netris iStream ITX video server is specially designed to provide video services through Internet channels or in private networks. The system provides the ability to create channels for digital camera (as well as for analogue cameras, using additional hardware), to manage users and their roles, to watch realtime video from cameras (including multiple streams simultaneously in mosaic mode) and in archive

mode, as well as to record video with adjustable record depth. Netris iStream ITX management and access is available via the web interface, and IP-video cameras are registered in the system by an administrator. The video format is H.264, and it uses the RTSP data transfer protocol. Netris iStream ITX works on servers under CentOS Operating System, version 6.5 or higher. Netris ITX provides the optional ability to connect local PTZ drivers, which allow remote control of the direction and the zoom of the camera. Three types of Netris iStream ITX licenses are available: for 8, 16 and 32 cameras. 5.C21

Luso Microwave By Ian McMurray

Eye ware: Netris iStream ITX video server can be deployed via internet or private networks

Commentary box makes the call In the mix: The Cub digital mixer offers a USB audio interface for smartphones

Glensound Electronics By Michael Burns A range of USB interface units have been launched, comprising the Cub iPhone/Smartphone interface and two versions of the GS-GC5/USB commentary mixer with USB interface – one for PC and one for tablets. All units offer XLR inputs, compressor/limiters, jack sockets for headphones and a digital USB interface to the PC, notepad or phone. Battery operated, they have on-air buttons, can adjust volume levels, and are in sturdy cases designed for outside broadcast use. The Cub is a two-input, twooutput digital mixer, with a USB audio interface for the iPhone or other smart devices. The iPhone connects to the Cub via a top

panel mounted Atype USB plug. Adaptors for Apple Lightning Connector and 30-pin Apple interface leads are included . There is also a mini USB for connection to other smart phones, notepads, laptops or PCs. The GS-GC5/USB has four inputs (mic/line/48V) and four independent headphone outputs. It is low profile with a flat top, making it a convenient base for laptop computer. All controls sit at the front of the PC, allowing users to access their mic on/off and gain controls. Each user also has their own two input headphone mixer. One input is a mix of the

incoming audio, the other is the return cue audio. Large lithium-ion batteries keep the GS-GC5/USB running for over seven hours of operation. Operationally the GSGC5T/USB is the same as the GS-GC5/USB, apart from in a squarer, taller form factor with an integral stand specifically designed for tablet PCs.

High-speed Cinebots speed up Mark Roberts Motion Control By David Fox Upgrades to the Bolt highspeed Cinebot make it “the fastest motion control rig of its size in the world,” claimed Mark Roberts Motion Control, which has increased Bolt’s speed by 25%. The two largest axes of 122 theibcdaily

motion (out of the total of six) can now achieve speeds in excess of 250º per second. The third largest axis achieves speeds in excess of 310º per second. Updates also feature newly upgraded interfacing to Phantom and Red cameras to allow for better rig to camera synchronisation.

Debut for new Ka-band antennae

Bolt can follow moving objects at high speed with cameras shooting at rates in excess of 1,000 frames per second, and enables precise and repeatable motions at speeds faster than the eye can see. Once the Go button is pressed, the BOLT can move to full speed almost instantly, taking the camera from standstill to high-speed motion

The USB audio connection on each unit is a 24-bit 48kHz interface to the device, with two input channels and two output channels. All units provide two local XLR outputs. As they are digital mixers, a PC can be connected via USB to change the routing/mixing of the outputs. 8.E72

and back to standstill in fractions of a second and capturing images that would otherwise be unattainable. Despite its speed it is also portable: it can be ready on location in minutes or used for daily live image capture in the studio. MRMC’s rigs and heads come with its FLAIR software control system. “When complex or effects shots are needed they can be programmed in a couple of minutes. The software has a very easy learning curve. But

Making its debut at IBC2014 is a new family of modular C–band to Ka-band antennae from Luso Microwave. Available in a range of reflector sizes from 1.2m to 4.2m, their modular design is said to reduce installation time, cut costs and add flexibility to microwave satellite networks, including making KA-band installations financially viable for costsensitive commercial applications. Ka-band usage is growing due to problems with spectrum overload in other bands, notes Luso. Furthermore, the company says, a 1.8 metre diameter Ka-band dish offers comparable performance to a 4.2 meter Ku-band antenna. Luso says that it will deliver the antennae from stock, with installation and commissioning of a 5-piece motorised system typically completed in one day — about one-third of normal installation time for comparable antennae. Customers can opt for a fixed installation in the first instance, and then upgrade easily to a full tracking one at a later date. The modular design is also said to simplify other changes that may be needed during the life of the installation. The antennae are supplied in four variants: fixed, manually adjustable, motorised and full tracking. A range of ancillary components is also available. 5.C19

the rig can also be used with Pan bars or a joystick,” explained Assaf Rawner, CEO of Mark Roberts Motion Control. Studiobot, a smaller version of Bolt with rail tracks, is used by London Live TV, with Nikon D4s cameras and MRMC’s AFC-100 pan/tilt heads, as a complete broadcast studio system. “Besides being considerably cheaper than a traditional setup it brings the advantage of full automation,” added Rawner. 11.F11

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Fluid heads for the Smart Pro Merger delivers Cartoni By David Fox Smart Pro, a low-cost fluid head for camera payloads from 0-6kg is based on Cartoni’s bestselling HiDV head, and offers ergonomic knobs for ease of use, better control and a more fluid touch on drag and counterbalance. It boasts professional-grade features, such as continuously variable fluid drag and Cartoni’s patented “wing” counterbalance system. The head’s 75mm diameter bowl is compatible with all 75mm tripods as well as most current-generation slider attachments. Cartoni has also updated its popular Focus HD head, for cameras from 0 to 12kg. New features include ergonomic knobs for precise counterbalance and tilt drag control, a complement to the head’s continuously variable fluid damping system and patented variable

counterbalance. Focus HD also comes packaged with new carbon-fibre tripods offering greater compactness, lighter weight and improved stability. An upgraded version of its compact, 8.5kg Master MK II fluid head features a patented counterbalance system that gives perfect balance at any tilt angle from 2kg to 30kg, making it suitable for digital 35mm cameras, stripped or fully equipped with long lenses, follow focus rigs, monitors, batteries and other accessories. It comes with a flat Mitchell base that can be converted to a 150mm bowl via an adapter. It offers a tilt range of +/- 90° and a camera quick-release attachment that interfaces directly with Arri and Red camera plates. 11.E30 Smart fluid: The Smart Pro head fitted to the new Stabilo spreaderless tripod

sound and vision AEQ By Michael Burns Following a merger with Kroma Telecom, two new product lines are being showcased by AEQ at IBC. On display are a range of TFT broadcast video monitors in sizes from four to 46-inches, as well as different series for different settings, such as QuadSplit, HD monitors and 3G. There are also digital intercom systems, starting at 16x16 crosspoints up to systems with over 1000 x 1000 ports, offering a full range of intercom panels for these systems. Hybrid systems, wired and wireless beltpacks and Wi-Fi base stations complete the product range.

AEQ, a privately owned company, reached the agreement to acquire 100% of the Kroma shares in a deal that also includes acquisition of the rights to the brand name. The manufacturing and technical installations move to AEQ’s headquarters in Madrid, together with the majority of Kroma personnel. AEQ’s reseller network will be reinforced with Kroma’s dealers and distributors and its office in Mexico. AEQ-Kroma said it would dedicate 25 percent of its human resources to R&D and that through this merger, the continuity of the only Spanish manufacturer of TFT monitors and intercom systems for broadcast applications would be assured. 8.C55

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“Ideal choice” for teleports Advantech Wireless By Ian McMurray The SapphireBlu Series of UltraLinear GaN based SSPAs is

claimed by Advantech Wireless to offer the highest linear power available in the market, and the company is using IBC to demonstrate it. “This pioneering technology is the ideal choice for high power,

wide frequency band uplinks,” said Cristi Damian, VP business development at Advantech Wireless. “One single GaNbased SSPA offers higher performance in multi carrier mode than several linearised

TWTs and Klystrons, making them the ideal choice for large teleports and broadcast industry.” Advantech Wireless describes the UltraLinearTM GaN based SSPAS as the ultimate solution for any uplink activity, such as content contribution, distribution and DTH TV, enabling the

saturation of all transponders of the modern satellite with a single 13m antenna and a single amplifier per polarisation. The new architecture is designed for multi-carrier operations, with power expandable from 200W to 6.6 kW in C-band and 3kW in Ku-band by phase combining and a soft fail philosophy. These new systems are said to be redundant-ready with no external controller required, perfect for single carrier, multicarrier and multi-transponder uplinking. 1.A74

Mini Fresnel LED lights released Videssence By David Fox Two new mini LED lights with Fresnel lenses have been introduced by Videssence, along with a new Videssence Vidnel 050 50Watt LED Fresnel. All are rated at 96+ CRI for the tungsten versions – there are also daylight versions. They all provide the single shadow, soft directional beam typical of Fresnel fixtures while using a fraction of the power. The Little VID LV050 (with stationary beam) and the Little VID-Focusable, LV050-F, mini LED lights are housed in lightweight, compact (165mm x 152.4mm) housings, to allow easy handling in tight quarters. The LV050 has a stationary beam and permanent barn doors, while the focusable LV050-F has a manual slide bar. Passive heat dissipation design delivers quiet operation, and power is shut off to the driver and LED when dimmed to zero with DMX so no external relay or power cut off is required. The 5.4kg Vidnel 050 joins the Vidnel VN100 100W fixture introduced last year, and is designed to be used as a key or back light. It has a manual, lockable slide bar at the side to focus the beam, and spot focus delivers more than 1077 lux at 3.6m. Control at the back allows easy programming for DMX control and on-board dimming. It can also take standard 4-inch (101.6mm) Gel Frame and Barn Door accessories. 11.B12

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Bundesliga branding deal done Universal Electronics By Ian McMurray A deal with Sky Deutschland has been announced by Universal Electronics (UEI) in which the latter will supply the broadcaster with football club-branded remote controls. Each remote control will feature the individual branding of one German club through the use of ultra-graphic water

Channel replication for WHATS’On MediaGeniX By Will Strauss Broadcasters looking to centralise their global channel scheduling are the targets for a new software module from Belgium’s MediaGeniX. ‘Replica Channels’ allows multiple versions of a linear channel to be created that include the same programme content, rights depending, but have configurable local audio, promos, advertising, languages, subtitling, frame rates and other variants, from within a single application. Uniquely, each copy of the channel is linked to the original via what the company compares to an ‘umbilical chord’, allowing content changes at the parent level to cascade down to child channels that are linked to it. MediaGeniX product director Michel Beke told The IBC Daily: “The trend we are seeing is that the same channels are being exploited more and more with derived channels broadcast to different countries or time zones. Because it is virtually all the same content, instead of having a channel in every country, broadcasters are now centralising. If they do that [using our system] they can maintain multiple flavours of a channel within one application. It is a further step for stations to economise on their operational costs.” Replica Channels will be made available as a module within MediaGeniX’s multi-user broadcast management software WHATS'On, which also includes tools for content and rights management, analytics and finance, VoD and media management. 3.C59

transfer technology that is said to ensure the precision and premium quality of the materials. Fifteen of the top league’s clubs are participating. UEI says that it has extensive experience in developing personalised remote control units for broadcasters in Europe and the US. “Often the remote control is the only tangible hardware that the end user sees, and uses all the time, which makes it the ideal vehicle for brand activation,” said Menno Koopmans, senior VP subscription broadcasting at UEI. “For a broadcaster like Sky Deutschland that delivers

premium content to audiences in Germany and Austria, with exclusive coverage of all German Bundesliga and UEFA Champions League matches, as well as Premier League games and many more, the addition of these themed remotes brings an added element of passion and emotion to the brand and reinforces the nation’s love of football.”

15 German football clubs support personalised remotes

The branded remotes are being made available through the Sky Deutschland website to coincide with the start of the 2014/2015 football season. 1.C41

ContentAgent gets a new look By Carolyn Giardina ContentAgent, the workflow management and automation tool from Root6 Technology, has new features and enhancements at IBC. Its automated camera card ingest workflow is now augmented with CardAgent, a tool designed for multi-user ingest intensive environments such as news or reality shows. Operators are able to browse, select, and playback media. Avid integration, in both standalone and Interplay environments frees up resources, as ContentAgent automates the transcoding of

ingested clips into Avid compliant MXF files, checking them into the Avid Interplay Production Asset Management database, if required. Root6 is an official member of the Digital Production Partnership’s (DPP) compliance programme and ContentAgent is already used to automate the creation, QC and delivery of AS11 UK DPP files. It now includes a Metadata Update feature enabling production or technical metadata to be updated without the need to re-wrap the entire file, and an Insert Edit function. Also featured at IBC is resolution

Beam up for contribution: The new Teradek Beam is an H.264 broadcast contribution system with a reach of up to 750m (line of sight). It will encode at up to 50Mbps, making it useful for ENG delivery to an OB vehicle. “One of the big requests we got was for a long-range application where the receiver can be in an OB van,” said Michael Gailing, Teradek’s director of marketing (pictured). Many of its broadcast users are already using the Teradek Bond, bonded cellular links, but its tiny Cube encoder didn’t have the high bitrates (it only goes up to about 10Mbps) or range users wanted. Beam’s latency is only two frames, and it has been attracting attention beyond news use. “We’ve had a lot of interest from reality television and live events,” he said. The unit only requires 8W of power (7v-17v), so can be powered off a Lemo connector, and is sized to fit easily on a camera back. It has 3G-SDI I/O, and is scheduled to ship on 22 September for $5,990. 11.E55

independent, motion compensated standards conversion, the result of ContentAgent’s integration with Tachyon from Cinnafilm and the deployment of GPU acceleration. This technology was used widely by BBC Sport for its recent coverage of the FIFA World Cup to convert more than 3,500 separate clips totalling nearly 8 TB of media for use in editing. ContentAgent was also used to convert a further 37TB of media during the event so it could be added directly the BBC Sport Archive in Salford. 7.E21

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What future for news? Conference Analysis By Catherine Wright

Demand across devices: Cineplex Entertainment, one of Canada’s leading entertainment companies, has deployed the Content Direct solution by Hall 14 exhibitor CSG International to enhance the user experience of Cineplex’s digital commerce platform, CineplexStore.com. Content Direct enables customers to rent or purchase digital content on-demand across a range of devices, including PC, Mac, Roku, iOS, Android, as well as Samsung and LG smart televisions. “With this change, as well as others made in recent months, we feel we’ve taken CineplexStore.com to the next level of digital entertainment,” explained Pat Marshall, vice president of communications and investor relations at Cineplex. Content Direct is designed to integrate with the SCENE loyalty programme and also with SuperTicket, the first-ever bundled offering with multiple studios that allows guests to purchase a theatre admission ticket and pre-order a digital download of the movie at the same time. 14.H01

Media Factory gets IBC premiere Media Factory is said to go beyond traditional media management

Vice News, BuzzFeed, MailOnline: all internet-based information sites that claim to attract the ‘connected’ generation. Can established news networks like CNN, Sky News, Euronews or the BBC keep pace with these new entrants? Can they evolve to try and seduce a younger audience? Former director of BBC News Richard Sambrook hit the nail on the head during ‘The Future of News’ conference sessions chaired by director of international TV and Media Consulting David Lowen: “These new entrants are posing real challenges to the traditional broadcasters. In the age when the consumer can get what he wants, the constraints of linear broadcasters are

By David Fox

By Ian McMurray Offering broadcasters and content providers a converged workflow to prepare and play out content, Media Factory is being launched by Globecast at IBC. Media Factory is part of Globecast’s ongoing wider media management strategy and, says Globecast, allows the company to more efficiently support broadcasters, enabling better management and localisation of content for multiple delivery platforms and territories. Media Factory is said to go beyond traditional media management, logistics and playout services, replacing multiple, siloed operations, rationalising them to create a single, efficient process that handles everything from VoD preparation and content formatting through to creative services, quality control and compliance. Globecast says that Media Factory allows it to pass on economies of scale to

Richard Sambrook: “The constraints of linear broadcasters are becoming a liability”

The networks are studying new options to attract wider audiences and save costs, for instance airing longer format documentary style news or replacing the night news shift by a VOD service. But will it be enough?

RaceTech buys HDK-55 cameras Ikegami Electronics

Globecast

becoming a liability. ” As the average age of the TV network news viewer in the United States is over 60, the prospect of losing increasing advertising revenue to Vice News or BuzzFeed is one the established networks are struggling to avoid. Greg Beitchman, the VP of content and partnership of CNN International, admitted as much: “The key question is how do you stay relevant to audiences who are on mobile devices?” For Nick Hern, COO of Sky News, the change in audience viewing habits is positive: “It has enabled journalists to create stories and put them in front of people in ways that did not exist before. People can really indulge their appetite for news. The negative side is that there is a time-lag between the introduction of innovative ways of covering news and getting advertisers to follow you.”

customers who also benefit from the greater flexibility and the ability to scale up and down as required. “As the broadcast business becomes more fragmented, with more ways to consume content through more platforms and on more devices, it’s critical to have the most efficient content preparation and publishing, not just to save cost, but also to minimise time to market and stay ahead of the competition,” said Peter Elvidge, head of media management, Globecast. “Our customers need to continue to serve audiences via traditional linear playout, but also reach audiences via VoD and catch-up services on conventional TV platforms and online. As a result the role of a service provider like ourselves has changed. Our business is now more about orchestrating content preparation rather than just playout and delivery. “Media Factory is about bringing tried and tested approaches from the world of industry and applying them to media management.” 1.A29

Specialist horse-racing outside broadcast facility RaceTech has bought Ikegami HDK-55 cameras as part of its continuing HD upgrade. The initial order is for 18 complete HDK-55 camera chains, including triax adapters and base stations, plus OCP300 control panels. “The decision was not only based on Ikegami performance, though this was a key factor, but also on the long-term support and warranties that were offered. Many of our courses are triax equipped so we needed the option of running the cameras over long and often unreliable triax cable. Longer term, the courses will be upgraded to fibre, and these cameras will

allow us to phase this change in as it happens, whilst still easily allowing courses on triax to use the same cameras,” said Nic Christodoulou, RaceTech’s director of engineering and technical operations. RaceTech provides OB facilities for Racing UK, Channel 4 and racecourses throughout the UK, delivering more than 700

broadcasts each year, 60% of which are currently HD. “Six of the 18 cameras have been delivered with SE-H750 system expanders, which convert the portable camera into a full-facility studio camera,” added Mark Capstick, general manager, Ikegami Electronics UK. 11.A31 On course for HD: one of RaceTech's new Ikegami HDK-55 cameras

Scaled up for multiscreen Cisco By Ian McMurray The Videoscape Virtualized Video Processing (V2P) solution to virtualise and orchestrate all functions required to produce and deliver multiscreen video is being expanded by Cisco. Now, says the company, pay-TV operators and media companies

can easily scale their video processing workflows to deliver the dozens of forms of video required for multiscreen TV. Until now, each screen and form of video required a separate video production line, says Cisco, using optimised hardware, hardwired together. Cisco claims that V2P enables media companies and pay-TV operators to simplify operations by consolidating all their separate production lines

into a single pool of hardware and software. V2P then ‘orchestrates’ the common pool of hardware and software to deliver each individual form of video required for each screen. Even better, says the company, creating a new workflow to deliver video in a new format or to a different device is as simple as selecting options in V2P’s orchestration interface. 1.A71 theibcdaily 127

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MBC: “Thousands more MENA channels” possible In Brief Conference Analysis

By Chris Forrester Middle East Broadcasting (MBC) CEO Sam Barnett, speaking at IBC, said that his region is already home to about 1,000 channels, many of them small and serving local audiences, and that it could absorb “several thousands more”. He said 100 were launched last year, about 43 in Kurdish alone. “There are lots more to come,” he added. Barnett said that the normal broadcast expectations of hybrid services, of web-based extras, do not apply in the MENA region, although he explained that Saudi Arabia had

the highest penetration of Twitter accounts, and the most active Twitter users in the world. MBC claims 48% market share for its portfolio of 18 channels. Half of the region’s 57 million TVHHs have access to the internet, in some countries the proportion was very high, and ownership of smart phones was commonplace. “In some countries it is difficult to produce or upload content. Consequently it is much easier to upload that content via social media. “About 92-93% of our huge audience view us on satellite, and viewership is growing. Our current numbers are about 350 million, all speaking more or less the same language. About 55 million homes watch us free-toair. Our youth viewing is up 5%.

iWedia integration for Android platform

Sam Barnett: “About 55 million homes watch us free-to-air”

“Under Saddam Hussein, satellite TV in Iraq was completely banned. Iraq now has better than 90% access to satellite TV. “However, the downside of this somewhat anarchic distribution model is that it is extremely difficult to bring in on-

Faster backups with wireless editing Nexto DI By David Fox The new Nexto Video Storage Air NVS2825 SSD now backs up video faster, more securely and from a wider variety of camera card formats than its previous hard drive model and can also be accessed via Wi-Fi for remote editing. The solid-state drive offers users speeds of up to

No more hard copy: Easy and fast backups on Nexto’s Video Storage Air NVS2825 SSD

170MBps from an SxS Pro+ card and has been designed for location backup from a

wide variety of cameras, such as Sony’s PMW-F5/55 or PXW-Z100, Canon’s C300/500 and Blackmagic Design’s new cameras, or external recorders, such as AJA Video System’s Ki Pro. It can copy from Sony’s SxS Pro+, SxS Pro and SxS-1 cards, Panasonic’s P2 and P2E cards, external 2.5-inch SSD, and CF or SD/SDHC/SDXC UHS-I memory cards. It also accepts XQD cards (via a Sony QDA-EX1 adapter) and

line and other on-demand services on the hundreds of different set-top box versions. In other words, free-to-air still dominates viewing. When a Palestinian contestant won last year’s Arab Idol show, we had an audience of 92 million.”

CFast for the Amira (via a new upgrade pack). It backs up a 64GB SxS Pro+ card in under seven minutes, then performs verification, comparing the file on the card to the file on the SSD to make sure the data is copied accurately, which takes a further six minutes. Users can plug in a second USB3.0 hard drive to simultaneously write onto both internal and external drives at the same speed, to generate two identical true copies without needing a laptop. 11.G37

Connected TV software components provider iWedia today announced that it has integrated its Teatro-3.5 software solution for Android TV STB with Accedo Application Sphere, the TV app store management platform provided by hall 14 exhibitor Accedo. The joint solution enables TV service providers to tap into the Android ecosystem by delivering an end-to-end solution for TV apps. “With the end-to-end interoperability between our Teatro-3.5 and Accedo’s TV app store management platform, we can quickly assist a STB manufacturer to put on the market an Android TV STB compatible with Accedo Application Sphere,” said SungHoon Kim, VP Sales at iWedia. “With this integration, we take into account the ever growing interest of the TV ecosystem in apps and services stores.” “Providing access to a software solution for Android TV STBs interoperable with our TV app store management platform brings endless opportunities to TV service providers willing to tap into the Android ecosystem”, said Michael Lantz, CEO at Accedo.

14.E14

Advancing live automation Vidigo Loudness Pilot aims to deliver mono and stereo loudness control to broadcasters

Pilot set for multiplatform loudness control TC Electronic By Michael Burns Loudness Pilot, a new loudness controller and truepeak limiter, is making its debut at IBC. TC Electronic said the dual stereo track Loudness Pilot had been specifically designed for TV and radio stations, which often need to transmit two signals simultaneously in different languages. Also, when transmitting simultaneously to TV and to a mobile

platform, Loudness Pilot delivers a signal fully compliant with TV standards – optimising the signal to the mobile platform at the same time. TC Electronic has equipped Loudness Pilot with multiple dual redundancy features. For example, the unit automatically switches over to another audio-stream, should a secondary language not be available. Other fail-safe features include dual power, dual fuses and dual fans. The unit is fully compliant with all major loudness and broadcast standards, including ITU BS.1770-3, ATSC A/85, EBU R128, ARIB TR-B32, OP-59 and more. It launches in five versions, SDI 1, 2 or 3 streams and AES balanced. 8.D56

By Carolyn Giardina Three workflows for news, visual radio and sports arenas are based on VidiGo’s multi-camera live production suite VidiGo Live. On top of VidiGo Live, it has built three separate automation layers tailored for specific markets. The latest development of VidiGo, Arena Solutions, is a complete workflow for stadium screen broadcasting that could be operated by one person. All events such as announcements, interactive audience games, goals, commercials, substitutes and reruns are configurable elements in the application, which VidiGo said means that events can effectively be ‘scripted’ in preproduction. Based on templates the creative staff could create graphics, add commercials, audio, photos and other elements. The Studio Automation workflow is an all-in-one live

production and automation environment that allows broadcasters to automate their live news production. The automation tool, Live Assist, lets broadcasters create rundowns for their show, consisting of camera input, videos, graphics, audio, transitions, DVE effects, keying and presets. Integration with newsroom systems ensures Live Assist is automatically filled with items such as video, titles and camera positions from the newsroom system. VidiGo reported that Visual Radio was developed to allow radio stations to create TV shows from their radio studio. “The audio director analyses the radio show and automatically switches cameras, like a real director would do. Due to integration with the radio automation system, video clips, video commercials, video jingles, social media and realtime data from RSS and XML are automatically played,” the company explained. 7.H30

Advanced security for smart television Display and digital home solutions semiconductor provider MStar has licensed the Cryptography Research CryptoFirewall security core for integration into its connected TV solution chips. The CryptoFirewall is a selfcontained ASIC security core that provides a secure hardware foundation for signal security applications, enabling a uniformly high level of security across STBs and connected TVs for secure digital distribution. CryptoFirewall will provide operators and OTT distributors making use of the MStar-based connected TVs with hardware security to protect content and services against piracy. This approach means MStar is integrating a provider-agnostic security block that resides within the SoC, available for all service providers.

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In Brief Monitoring over 20 million devices Strong market growth for software-defined monitoring (SDM) for IP video is a key IBC message for Hall 14 exhibitor Mariner. The company recently announced that its Mariner xVu SDM solution was now monitoring over 20 million devices. Mariner explained that TV and entertainment companies are using xVu to manage complexity and realtime quality of service while driving down operational costs, as they add new content and bundles for TV, broadband internet and mobile devices Many tier 1 operators are boosting in-house systems with the Mariner software, that uses standardised virtualisation and blade server technologies to scale to more devices and deliver service agility while driving down TCO costs related to legacy hardware-based systems. “The system helps teams become more proactive in the face of network degradation and silent failures common in large IP networks,” explained Shaun MacDonald, VP of business development and marketing at Mariner. “Teams spend their time fixing problems rather than searching for issues across an expanding network. We are monitoring over six billion events per month and identifying hundreds of millions of service-impacting IP video issues.”

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PrimeCircle offers cinema character The new PrimeCircle XM (manual focus and manual aperture) cinema lenses from LockCircle have started shipping, and offer smooth focus action with calibrated (one to one) focus scales for precise follow-focus work. The lightweight Italianmade prime lenses use Carl Zeiss optics, and are priced from €1,399 to €3,499. They are designed to meet the requirements of 4K cameras, and are available in nine different focal lengths. Each lens has individually calibrated focus scales (metric or imperial), and the aperture is geared for dynamic exposure control.

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Sky targets ads across World boom in digital radio multiple platforms WorldDMB

By Heather McLean

Conference Analysis By Kate Bulkley Firing a shot across the bow of advertising supremo Martin Sorrell and underlining the ability of the broadcasting industry to compete more effectively for advertising monies, Sky will greatly ramp up its ability to target ads across multiple platforms starting this autumn. The moves were revealed in the ‘New Advertising, New Money’ session and are part of Sky’s $100 million investment to date in advertising technology that allows it to offer advertisers much more precise information about audiences. From November, Sky will take a further step allowing advertisers to deliver ads to Sky homes based on the first two letters of their postcode, much more precise than a national or even a regional buy. Jamie West, director of AdSmart and commercial development at Sky Media, believes that the

advertising market in the UK needs to be shaken up. “We can compete on a level footing with the digital media that claim to be the only market that can offer addressability, targeting, reporting and understanding return on investment.” When asked by session chairman Nigel Walley, MD of Decipher, if Sky would be happy to have Martin Sorrell’s WPP, which has developed its own programmatic advertising technology, plug its system into the back of Sky boxes, he received an adamant, “No” from West. “What Martin Sorrell would do is to arbitrage all the ad inventory and sell it off at a yield margin, but what he would take away from the broadcaster is all control over the customer experience. We would have no control over regulatory [issues] even though we would be libel. We would have no control over the customer experience… and we will have no control over the growth of the market, which is commercial suicide.”

Hapi and Horus face music at NHK Merging Technologies By Michael Burns NHK’s music recording studios division has placed an order for three Hapi and two Horus networked audio converters. Horus is Merging’s comprehensive audio router and format converter, which also offers a microphone preamplifier and an input and output connection node to Ravenna IP audio networks. With the same Ravenna/AES67 connectivity, Hapi is Merging’s primary interface for smaller systems, which also acts as an accessory for systems using Horus where control room I/O is required.

Merging’s Horus and Hapi are set for NHK’s music recording studios

Merging said the Hapi and Horus units for the Japanese national broadcaster will be fitted with nine AD8DP input boards and nine DA8P digital to analogue converters. These will be used with Pro Tools to record high sampling rate PCM audio in the NHK music studios. 8.E96

Digital radio network coverage has continued to expand throughout Europe over the past year, according to a new report launched at IBC by WorldDMB, a global industry forum for digital radio promoting DAB, DAB+ and DMB. Many countries are already experiencing almost complete penetration of digital radio; it is now at 99% in Switzerland, 98% in Denmark, 95% in Netherlands, 94% in the UK and 91% in Germany. Although in pre-launch phase, Italy has already reached 65% population coverage. In mature digital radio markets, household penetration is close to half of the population, with the UK at 46%, Norway at 43%, Switzerland at 39%, and Denmark at 37%, the study showed. These figures are expected to jump as the ongoing planning towards a digital switchover progresses in these and other key markets, said WorldDMB. In the second quarter of 2014, 47% of listeners in Norway were using a digital device, up from 40% in the fourth quarter 2013, and the market appears to be on track to achieve the switchover target of 50% by the end of 2014. The

Norwegian Media Authority has announced this month that all other switchover criteria have been met. In the UK, digital radio reach was at 52.1% at the fourth quarter of 2013. Sales of DAB/DAB+ receivers continue to grow, the study showed, with worldwide cumulative sales of consumer and automotive radios now exceeding 26.5 million. Growth in several markets has been very strong. In 2013, sales in Germany were up 50% year on year and in Switzerland they were up 35%. In Norway, as the market gears up for DSO, growth has been even more spectacular at 139%. WorldDMB’s study also showed that coverage is pushing the take up of digital radio in cars. Approximately 30,000km of highways in mainland Europe and the Nordic region are covered by a digital radio signal, with 63% of new vehicles in Norway, 55% in the UK and 29% in Switzerland linefitted with DAB digital radio. Additionally, WorldDMB stated there is a clear roadmap for growth of DAB/DAB+ digital radio in all European markets, as well as in the Asia Pacific, South Africa and other territories. WorldDMB is hosting an industry insight session at the RAI in the Emerald Room on Monday 15 September. 9.D30

Elevation for studio robotics Vinten Radamec By David Fox Vinten Radamec has introduced two new height drives, or elevation units, for on-air use. The Fusion FE-165 will take heavier heads (like Vinten Radamec’s Fusion FHR-145) for large studio cameras and payloads (up to 75kg), while the FE-55 can take up to 25kg, and suits the FHR-35 head. The high-rising FE-165 goes up to 2m (plus head), while the FE-55 rises to 1.8m. “A lot of the applications for this are in small studios, where presenters often stand,” said Karen Walker, Vinten Radamec’s product director. They are designed for movement on air, to offer very dynamic shots. Although they can change height very quickly, “for on air use they can be very slow, synchronised with the camera head”, and will ramp up and down, she explained.

Walker: Taking cameras to a higher level with the FE-55 and FE-165

They use standard IP for control via Ethernet, and are virtual reality ready, outputting full tracking data (pan, tilt, zoom, focus and elevation). The pedestals will both easily fit through standard doorways, and will be available in October costing about £9,000 for the FE55 and £18,000 for the FE-165. 11.E55