IBC2014 Daily D4 Monday 15 September

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Monday 15.09.14

The official newspaper of IBC

IBC honours the world of content When an awards ceremony ranges from football to grand opera, and from India to Italy, you know that IBC reaches everywhere that content needs to go. Last night’s awards ceremony was a dazzling occasion enjoyed by a large and enthusiastic audience.

Football’s governing body FIFA took two awards.

IBC’s highest award, the International Honour for Excellence, went to FIFA TV for its long-term commitment to quality and innovation, and the Judges’ Prize went to FIFA and 14 of its

technology partners.

Niclas Ericson, director of FIFA TV, said “This honour and recognition pays a fitting tribute to the dedication of our industryleading service providers who help us deliver the very best coverage of the World Cup to football fans all over the world. We look forward to continuing this pioneering work with the broadcast industry as we offer the unique platform of the FIFA World Cup to help drive technology forward.”

A different sort of score was one of the factors that

saw the Vienna State Opera receive a special award for its staatsoperlive.com online service. This includes a lot of imaginative ways of augmenting the opera experience, including presenting the musical score on a tablet, synchronised to the main broadcast.

The opera house is also experimenting with 4K capture and delivery to Samsung smart televisions.

The audience at last night’s show got to see excerpts from Verdi’s Nabucco – as well as from the FIFA World Cup final – in 4K

FIFA Excellence on the ball Niclas Ericson, director of FIFA TV, had two clear shots at goal last night, taking home not one but two trophies. For the innovations at this year’s World Cup, FIFA took the Judges’ Prize, and for continuing efforts to bring the best possible coverage to the widest possible audience, it won IBC’s highest award, the International Honour for Excellence.

For the Judges’ Prize, the stage became a very crowded place as representatives of 14 partner organisations crowded on. They included FIFA’s host broadcast organisation HBS, along with vendors Sony, NHK, Telegenic, EVS, Deltatre, Eutelsat, TV Globo, Eurovision, Netco Sports, Fraunhofer Heinrich Hertz Institute, Boxframe, Dolby and Fujinon.

Niclas Ericson, FIFA TV (holding Award), with Technology Partners for FIFA 2014 Football World Cup Brazil TM

Receiving this award, Ericson said “The global football audience is always hungry for more – more cameras, more detail, more replays and 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.”

The International Honour for

and surround sound.

The show also saw RAI of Italy receive the prize for best conference paper, and Innovation Awards go to Sky in the UK for its Monday Night Football coverage; to Sky News Arabia; and to Turner Sports.

Prizes were also awarded to the best exhibition stand designs. You can see pictures of the winning stands on page 8 in this issue of The IBC Daily.

Find out more about the IBC Awards at www.ibc.org/awards.

Excellence recognised FIFA’s long-term commitment to coverage that is not just excellent but also consistent – wherever in the world you watch a FIFA event you will see exactly the same high quality pictures.

New services are also added to maintain engagement. This year, for instance, each game was covered with 34 HD cameras, many of which were available as alternative views on tablet apps. 4K, 8K, 360˚ immersive video and high frame rate capture were also on the Brazil menu.

Accepting the International Honour for Excellence, Ericson said “our deepest thanks go to IBC for this honour and recognition. We look forward to continuing this pioneering work with the broadcast industry as we offer the unique platform of the FIFA World Cup to help drive technology forward.”

For more details visit www.ibc.org/awards.

4 Award for mobile future IBC always attracts many more papers for its technical sessions than can be programmed, and the papers committee carefully review each submission for relevance, innovation and clarity. As well as forming the programme, they also choose the best paper in the conference, which receives an award.

This year the award went to a team from Italian national broadcaster RAI. Gino Alberico, Andrea Bertella, Silvio Ripamonti and Mirto Tabone carried out research into DVB-T2 Lite, a new variant of the digital broadcast standard, aimed particularly at allowing live broadcast to portable and mobile devices using the existing infrastructure.

Chair of the technical papers committee Nick Lodge said they were “impressed with the thorough nature of your experimentation and measurements, both in the lab and in the Aosta Valley. The results you achieved provided and excellent validation of the performance of T2-Lite.”

Lodge presented Gino Alberico with the award for best conference paper during the ceremony last night. On behalf of his colleagues, he said “We are proud of the recognition given to the work that RAI R&D is doing which could enable the best possible exploitation of broadcast spectrum and network infrastructures for new services.”

Visit www.ibc.org/awards for more details.

Innovation in partnership The IBC Innovation Awards are highly regarded because they are more than simple technology prizes. They reward collaborations: broadcasters or production companies working together with technology companies to solve a real challenge, whether it is creative, commercial or operational.

This year 10 projects made it to the list of finalists, and any of them could have been winners.

Taking the award for most innovative project in content creation was Sky in the UK with the graphics for its Monday Night Football programme. The project was so big and complicated it needed two competing graphics giants – ChryonHego and Vizrt – to come together to realise the vision. Motion Analysis Corporation was the third technology partner.

The finalists in content creation included another sports application, this time tracking horses racing the Grand National for the UK’s Channel 4. They used

technology from Civolution, Monterosa and TurfTrax.

Also recognised was an ingenious IP-based, iPad controlled radio solution from Cumulus Media, with technology partners Axia Audio, Broadcast Software International and Telos Systems.

Winner of the IBC2014 Innovation Award for Content Management was Sky News Arabia, a finalist two years ago for its original build. Now it has developed an ingenious disaster recovery solution based on its news bureaux around the region and around the world. Project SkyNet was developed with Blackmagic, Haivision, Nevion, Vizrt and Zixi.

Highly commended in this category was the business transformation at Groupe Média TFO in Canada, which boosted its output by 50% while slashing its freelance bill by transforming itself into a new media factory. Technology partners were Adobe, Applied Electronics, EMC Isilon, IPV, Oracle and Signiant. Also

highly commended was the DPP-compliant workflow project at BT Sport, built by Timeline TV in association with Dalet Digital Media.

The third category, content delivery, saw the award go to another sports application.

Turner in the US wanted to provide home and away coverage for every subscriber to its NBA basketball service – as many as 30 simultaneous game feeds or 800 streams published in realtime. The project used technology from Adobe, Akamai, DNF Controls, Elemental, FreeWheel Media and Harmonic.

Turner Sports beat off three other finalists. Snap is Sky Deutschland’s online on demand service. It is popular and simple with subscribers, thanks to a complex project involving collaboration between Accedo, Atos, Capgemini, Coeno, Contone, CreateCtrl, Deloitte, Fincons, HP, ID Media, Namestorm, NTT Data, SHS Viveon, Sky Italia, TDS, Wirecard and Weeks.

The BBC iPlayer is the world’s most popular on

Content Creation Award to Sky Sports: Presenter Caroyln Giardina with (L-R) Rex Jenkins (Vizrt), Mike Ruddell (BSkyB) and Mark Bowden (ChyronHego)

Content Delivery Award: Presenter Vijaya Cherian with Euan McLeod, Vice President of Content Platforms at Turner Broadcasting

demand service. To meet the demand BBC Future Media built a new content processing factory with the help of Amazon Web Services, Atos, Codeshop, Elemental and Omnia. Finally, Airtel Digital TV in India had an idea to present selected tweets – from celebrities and

programme producers – on screen to its subscribers, without the need to make changes to existing set-top boxes. It made the project work through collaboration with Brizz TV Media Labs.

For details on the shortlist visit www.ibc.org/awards.

Opera for all The Wiener Staatsoper – the Vienna State Opera – is one of the world’s greatest opera houses. As you might expect, its performances are virtually all sold out well in advance.

To extend its reach, it launched staatsoperlive.com, an online service that offers much more than simple relays, although it does cover around 45 opera and ballet performances a year.

Subscribers can choose between a live cut and a static view of the stage, both in HD. Additional content including a synchronised score as well as subtitles adds to the viewer’s understanding. Extra video and multimedia content, tailored to specialist audiences,

include a discussion of the opera, live rehearsals and backstage views, and more.

And in May this year they gave their first 4K live relay, of Verdi’s Nabucco, to Samsung UltraHD smart TVs worldwide.

For all this and more, IBC presented Wiener Staatsoper with a Special Award last night.

It was accepted by the company’s director, Dominique Meyer, who said “For us as an opera house with 150 years of tradition, presenting an art form that looks back on 500 years of history, to be rewarded with one of the most renowned awards in this highly innovative industry is a wonderful acknowledgement. It shows how vivid we are, looking

from a glorious past into a promising future.”

In return, Wiener Staatsoper gave the audience a wonderful treat, with 4K clips from three

operas, including Placido Domingo in that pioneering production of Nabucco.

Visit www.ibc.org/awards for more details.

Director Dominique Meyer and head of Digital Development Christopher Widauer in the studio © Wiener Staatsoper/Michael Pöhn

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Monday 15.09.14

Broadcasting choice Conference Analysis

By Kate Bulkley Broadcasting is the “most powerful cultural medium” and broadcasters have a social responsibility to introduce people to new and complex ideas, Professor Brian Cox, physicist and science TV presenter, told a packed Forum audience at IBC. “I don’t want a society where you are a 15-year-old and you can sit in your bedroom and watch the computer games channel 24 hours a day. I want that 15-year-old to be exposed to ideas and obviously the education system does that, but in the past the television system has done that as well,” said Cox. “How do we protect that in an environment where you choose precisely the sort of content you want to watch? This is where I want to see the innovation

working for society. I challenge the idea that the ultimate ideal is choice…it’s really about informed choice. So do we see ourselves (in television) as part of society or as deliverers of things that we know people want or is it some kind of a middle ground?”

Cox’s engaging on-air style has helped popularise TV programmes like Wonders of the

Creation and technology

By Carolyn Giardina Robert Rodriguez drew a huge crowd at Avid’s IBC stand when he appeared to discuss his use of Avid’s tools to make his movies. The filmmaker has been an Avid user since he made 1995’s Desperado, and calls his use of the technology a “way of life” as he maintains an at-home studio.

This includes Avid MediaCentral Platform’s Avid

Artist Suite (including Media Composer and Pro Tools) and Avid Storage Suite (ISIS) applications. He most recently used Avid tools to make 3D feature film Sin City: A Dame To Kill For and the adaptation of his From Dusk Till Dawn for his El Rey network.

“Technology helps you get closer to working at the speed of thought,” Rodriguez said.

“I’m always excited about the latest technology. I started making movies when digital

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Universe and Stargazing Live, moving science more into the mainstream and even increasing interest by young people in pursuing careers in science, technology, engineering and mathematics. Cox urged the industry to fight to keep these kind of programmes on air, saying that this kind of subject is not simply the purview of public

service broadcasters like the BBC but part of a social compact that all broadcasters have with their audiences.

“The cliché is that the big commercial networks don’t do this kind of thing, but Fox in the US backed the new Cosmos,” he said, referring to the re-make of the original series fronted by Carl Sagan in the 1980s, a series that he first saw as a young boy and that inspired him to a career in science.

Cox praised the BBC’s Horizon series strand as a long-standing commitment to science programming and that working over the last six years to produce 19 hours of television has taught him that collaborating with the TV professionals is the best way to produce a good programme, but he thinks about four people is the right number to collaborate on the script. “Making television is a complex thing and when it works and there is a proper exchange of views between the director and the editors and the academic, the result is more than the sum of its parts.”

Robert Rodriguez (right): “Technology helps you get closer to working at the speed of thought”

Inside

Dongles and bandwidth Delegates at the IBC Content Everywhere Hub can attend two panel discussions on dongles and mobile data delivery Page 10

Big Screen, big star Douglas Trumbull talks about his five decades of pioneering work in disrupting the status quo of the film industry Page 10

Keeping your radio content prominent This panel examines whether in-car radio will be relegated to just another source of entertainment Page 14

Exhibitor list and floor plan Plan your way around IBC2014 with the full exhibitor list and floor plans at your fingertips Page 35 Read our IBC news stories on the move… cameras came around.

“It’s good to adopt new technology early and give feedback to manufacturers.

They want to make it as good as possible; you can be part of the creation of that.”

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Published on behalf of the IBC Partnership by

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Democratisation of production Conference Analysis

By Chris Forrester “Virtualisation is forcing some very real changes on us. From my viewpoint at Disney it means many things,” said Todd Livdahl, director of production technology at Walt Disney Studios. “We can be shooting in Hollywood or on location yet sending material to Ireland for a sound mix, or using technology to create a very sophisticated pre-film preview that brings the old storyboard process up to date, and allows the director a much tighter control of his vision, and this is very costeffective. When the production is ready to roll and the expensive

crew and talent get to the set it can be a much more efficient process.

His comments came from IBC’s ‘Movie-making in the matrix’ conference session. For

Sony’s Media Cloud Services division, Naomi Climer said it also meant virtual team-working, allowing greater collaboration from people working around the world and in different

time-zones yet maintaining a genuine creative process.

“We have the additional benefit of being a smaller ‘start-up’ within a much larger organisation, but the cloud means it is quite easy to change processes and without a legacy from the hardwaredependent world.”

Climer added that her facility was seeing productions ranging from Hollywood blockbusters to much smaller, individual users.

“And it is these smaller operators who are faster to adopt the new methodologies. It seems like quite a different pace and hunger from these new players. The big studios are testing and piloting, but I’d say they’re not pushing the boundaries just yet.”

Gearhouse buys 50 Ultra HD cameras Hitachi

By David Fox Gearhouse has bought the entire first production run of Hitachi’s newly announced SK-UHD4000 Ultra HD camera, with plans to offer them for use on the Asian Football Championships in Australia in January.

The 50 cameras will go to equip two UHD OB trucks, in

the US and Australia, with the remaining 20, or so, cameras being held in the UK for use

by OB companies looking to upgrade their HD trucks who want to migrate to UHD, but not yet. “We think this camera is a great way of managing the transition to 4K,” said Adrian Young, commercial director, Gravity Media, parent company of Gearhouse Broadcast.

Gearhouse has been working closely with Hitachi

for two years, and hopes to get the first delivery of the camera by the end of December so it can offer them to Asian broadcasters for the football.

“The beauty of their 4K camera is that it operates, to all intents and purposes, like their HD cameras, so it needs no adaption,” said Young. “As it can be used as an HD or 4K camera, it gives us great flexibility.” Because the camera uses 2/3-inch

Hitachi technical director Richard Harvey (left) with Adrian Young and the new SK-UHD4000 camera

sensors, it can be used with Gearhouse’s existing stock of Canon lenses.

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Christian G Fritsch: “We help operators deliver TV services to places where the infrastructure is non-existent”

Sat DTH ecosystem Telekom Austria Group

By Monica Heck A satellite DTH ecosystem is on show at the Telekom Austria Group (TAG) stand during IBC, focused on helping service providers with limited fixed infrastructure to expand their footprint. Operating companies in eight countries, including Serbia, Croatia and Macedonia, with an addressable market of 41 million inhabitants, TAG is helping companies extend their reach from the provision of mobile and broadband services to the delivery of TV services.

The Direct2home and Direct2home White Label satellitebased TV services, on show at the stand, enable operators, either local or TAG-owned such as A1 and blizoo, to start offering those services.

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Conference Highlights Today at IBC What caught my eye: Blue sky thinking 08:15, E102 IBC Big Screen Keynote: An odyssey of cinematic innovation 09:30, Auditorium, FREE SESSION Advanced content production in an automated world 11:30, Emerald Room

Tanja Hüther, head of business development at Siemens Convergence Creators

Immersive Audio: From the big screen to the small screen 11:30, Auditorium, FREE SESSION

Swipe for OTT and IPTV Siemens

By Monica Heck OTT SWIPE UX as a Service has been launched at IBC, allowing operators to add a customer ‘swipe’ function to their existing OTT and IPTV video platforms.

The cloud-based service offering allows viewers to move content from one device to another.

“Interest has been high and we expect orders soon,” explained Markus Placho, vice president of OTT SWIPE at Siemens Convergence Creators.

“Many of our customers already have video platforms, either IPTV or OTT and are delighted they can now access this functionality. It already exists as part of our own basic OTT platform offering, and it can now be integrated into other systems.”

The new product supports a variety of brands, both on the mobile device and TV front.

“We also have a patented automatic pairing process that automatically identifies what TV you are standing in front of,” added Placho.

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Dynamic edits on the fly: One of the highlights in the IBC Future Zone, BBC R&D’s Object Based Broadcasting Initiative, is the rich result of three years of development work. “OBB is a concept of delivering broadcast programmes as component parts. With those we provide additional metadata that describes the parts and how they can be put together,” said Chris Pike, BBC R&D senior scientist – audio (pictured). “In doing that we are able to adapt things to adjust the experience for the audience, and that has to do with things like personal experience in the sense of taste and need,” he added. “It also allows for a more rich interactive experience.”

This kit without glue requires a rendering process on the audience side. The demos are on computers and tablets delivered through a web browser. The BBC team has more radio than TV examples at the moment because processing audio is simpler in a web browser currently.

“In the future we hope that broadcast systems and standards can support this kind of interactive object-based representation of content,” said Pike. “We have got some more advanced and sophisticated uses of this idea, one being responsive radio.” – George Jarrett

Meet the Dutch – produced in association with the city of Amsterdam 11:30, E102 The outlook for broadcast – IBC2014 wrap-up 11:30, Forum Laser projection Part 1: seeing is believing 16:00, Auditorium, FREE SESSION Laser projection part 2: Is the devil in the details?

16:00, Emerald Room

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4K: “still challenges ahead” Conference Analysis

By Chris Forrester “Ultra-HD is really complex, and it is a new eco-system. 1080p is a good compromise until UHD/50-60fps 10 bit comes to life and including High Dynamic Range,” stated Thierry Fautier, VP/solutions marketing at Harmonic. “Silicon is starting to be available now for set-top boxes, and ready for 2015 deployment. But we still need to look further at standards, and aspects such as content protection need to be addressed before mass deployment can take place. There are still challenges ahead.”

Fautier was speaking at a fascinating IBC session produced in association with standards body ETSI, and SilverBACK family grows: MultiDyne is demonstrating enhancements to its cameramounted fibre transport product family, SilverBACK, which now includes four models.

The versions are: the flagship SilverBACK-II; the SilverBACK-II-L for multicamera production; the SilverBACK-II 4K-L, a feature-rich model that includes Ethernet support and a video option for viewfinder or monitor viewing in the field, enabling camera operators to turn any 4K camera into a true Ultra HD multicamera production; and the SilverBACK II-4K, a low cost model without the viewfinder/monitor viewing option, designed to support traditional film-style productions.

Frank Jachetta, president of MultiDyne, commented: “Other companies came up with this technology and it was great, very innovative, but they made BlackBerry. We have created the iPhone. SilverBACK looks like part of the camera.” Ultra HD support

chaired by ETSI’s Chantal Bonardi and which heard presentations on 4K’s technical demands, and the progress being made by NHK’s engineers on their 8K/Super Hi-Vision plans.

Fautier added that despite some examples of 4K streaming already taking place by the likes of Netflix, there were also good opportunities to ‘push’ 4K content to a consumer’s set-top box hard drive. “We see transmission demands settling at about 20 Mbps, and perhaps 25 Mbps in 120 fps. While this is demanding it is way below the 100 Mbps expected for UHD2/Super Hi-Vision, which is undoubtedly the nirvana and when we can all go home and retire!”

Further challenges were thrown up by Pierre Routhier (VP/Technicolor) and his team,

By Will Strauss

who have been testing, comparing and contrasting the differences in spatial and temporal resolution when capturing content in 4K. “People seem to take for granted that when you go from HD to UHD it is simply a matter of changing cameras. This is not the case.”

Rothier showed a variety of test shots, but admitted that

much of what he had seen suggested that good DoPs were going to be extra-busy on 4K shoots, especially OBs. He further confounded the audience by giving them some quality choices, only for the audience to discover that the best quality material, as far as motion blur was concerned, was achieved on ‘ordinary’ HD.

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Harmonic has teamed up with the open source video company Kaltura to develop and market a cloud-based video infrastructure and OTT TV platform.

Combining a virtual headend with a service delivery platform, the offering will provide telecoms companies or broadcasters with the opportunity to offer over-thetop pay TV linear, VoD, catch-up and nPVR options without the need for up-front capital expenditure. The managed service is made up of Kaltura’s OTT TV, content management and service delivery platform along with Harmonic VOS software-based media processing and Electra’s XVM virtualised media processor and the ProMedia Origin streaming video server.

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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

can be added to any existing SilverBACK system through a simple upgrade, enabling customers to deliver a state of the art 4K television experience cost effectively.

– Heather McLean 10.D46

Expansion to Infinity: Vista V, a new 52-fader digital console has been unveiled at IBC. The Vista V features a built-in meter bridge, high-quality motorised faders, and a built-in Dynamic Automation system with DAW remote control. The console is fully surround-sound capable, with versatile panning and monitoring functionality. At the heart of the Vista V is the Infinity Core, which uses CPU-based processors to deliver over 800 audio channels and more than 5,000 inputs and outputs. It provides 12 high-capacity A-Link ports (1,536 channels per port) for D23m I/O integration or direct connection into routing systems or AoIP networks. Keith Watson, marketing director of Soundcraft Studer Professional (pictured left, with product manager Roger Heiniger), said the console was based on the same Quad Star technology as its predecessor the Vista X, but in a compact footprint that was more ideal for smaller studios, OB trucks and large live productions.

The Vista V uses four processors to achieve high levels of redundancy in the control surface, while the CPU-based DSP makes it viable to provide two independent DSP cores running in parallel with instant changeover, without audio dropout. – Michael Burns 8.D60

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

By Monica Heck The new 2RU ViBE XT1000 Xtream high-density transcoder for live broadcast and multiscreen content has made its debut on the Thomson Video Networks stand. This product allows Thomson Video Networks to step into the world of high-density low-cost transcoding, which is a new market for the company.

“We offer different products to address the different segments of the encoding market and the

Kaltura

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High-density transcode Thomson Video Networks

Harmonic partners for OTTTV platform

Page Design at show Dawn Boultwood, Jat Garcha

new ViBE XT1000 packs the maximum number of channels into the minimum amount of rack-space,” explained Stéphane Cloirec, director of product management at Thomson Video Networks (pictured).

The ViBE XT1000 supports up to 54 HD channels or 180 SD channels with transcoding from any format to any format including MPEG-2 and MPEG-4

AVC and is pitched at linear broadcasts on cable, IPTV, DTH and DTTV services as well as multiscreen delivery.

“This brand new encoder is also a crucial addition to our new ‘Behind Every Screen’ strategy,” continued Cloirec.

“So far, the feedback from key accounts about our new strategy has been tremendous.”

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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.

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DPP 1 October countdown

By George Jarrett Declaring the Digital Production Partnership (DPP) IBC event to be a shareholders’ meeting, chair Mark Harrison first celebrated the successful take up of AS-11 by UK broadcasters, before laying out plans for 2015.

“File-based delivery: 16 days to go and we are going to hit that deadline with the BBC, ITV, C4 and C5,” he said. “We were not ready for what it was going to mean as a change piece.This move is probably the fastest, most highly coordinated change in a broadcast process that has ever happened.”

The AS-11 project will require an effort to join up metadata right from the start of the production process. The compliance program that DPP developed and shares with AMWA, and required the creation of a centralised testing facility, produced its first four pass mark vendors – Cinegy, Dalet, Telestream and root6 – and the DPP launched

Mark Harrison: “16 days to go and we hit that deadline with the BBC, ITV, C4 and C5”

Julien Decaix, general manager, Americas, Dalet, with Carlos Abrahao engineering manager, engineering projects & support division, TV Globo, and Julio Lima, projects director, TV Globo, on the IBC show floor

the cleverly edited booklet ‘10 Things You Need To Know About Digital Storage’ for independent producers.

This is a handy taster for one of the upcoming attractions – an ultimate guide to storage accompanied by specifications, standards and associated policies for cloud. Also in the pipeline are efforts in the areas of international distribution, connectivity as a business opportunity, and UHD file delivery. This will require workflow and process changes, and the DPP is looking hard at new specs for

delivering commercials and music promos. Music clips may match with an interstitials spec.

Harrison admitted that the DPP effort so far – based on producing and delivering in an efficient way, as encompassed in the Producer’s Guide to File Delivery – will have to grow if ambitions like the storage standards are to be set.

“We could do a bit more,” he said. “People want more from us and faster, which means increasing capacity. Thinking on this is advanced and an announcement will come in two months.”

HRT goes HD with XDCAM: Public Croatian broadcaster HRT has bought 44 Sony PMW-400 XDCAM camcorders on which to standardise its news production in HD. Signing the deal at IBC, CTO Dusko Zimonja said: “HRT is committed to moving towards HD content production and this agreement represents the realisation of our plan to move our news production to deliver outstanding HD news-broadcasts to viewers. By combining the high quality needed for HD broadcast within an efficient, established workflow, the PMW-400 gives us a powerful combination of price and performance that will underpin our transition to HD.” The investment also included two channel digital wireless audio with each camera equipped with Sony’s DWX wireless microphone package. Delivery was confirmed at the show through local Sony Partner Audio Video Consulting (AVC). Pictured: Dusko Zimonja and Koki Kato, senior manager, product planning and marketing development, Sony. – Adrian Pennington

openTruck to take cost out of sports coverage

Nigel Spratling: “Consistent production quality at a low cost”

Ross Video

By Heather McLean Ross Video Broadcast Networks has delivered new mobile production unit initiative, openTruck, at IBC2014.

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openTruck is a collaboration between Ross Video and other manufacturers to create a system that makes local sports programming for smaller events more affordable. It is being showcased on the Ross Video stand in the form of a high-spec compact production unit, built

by Broadcast Networks to the openTruck standard.

Nigel Spratling, marketing product manager at Ross Video, commented: “Producers have a mission to get more and more event coverage as there is an increasing demand to get programming from more events.

But to cover sports that are lower down the sporting hierarchy, you can only get a van and crew that are larger than requirement and expensive.

“We created the architecture of the openTruck platform, working with partners to create consistent production quality at a low cost using the DashBoard protocol,” said Spratling. “Dashboard can be used to reduce set-up time before a match from 12 hours down to six by storing previous set ups for a particular stadium. It enables you to operate many controls from a single button, so you can use lower-skilled staff and less of them.”

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TV Globo to put Media Life in production control Dalet

By Michael Burns TV Globo has used IBC to announce it is placing Dalet Media Life at the heart of its entertainment archive.

The Brazilian media giant is deploying an end-to-end archiving and content preparation workflow using Dalet Brio for high-density ingest and Dalet AmberFin transcoding, all under the control of Dalet Galaxy enterprise MAM to enable the manipulation of digital files for archive purposes. The workflow covers all entertainment content, including telenovelas, produced at the network’s Rio de Janeiro and Sao Paulo hubs. The Dalet installation will also enable the distribution of content to internal and external users.

TV Globo produces around 2,400 hours of entertainment

annually and reaches 99.5% of the Brazilian population through its network of 122 owned and affiliate TV stations. The organisation’s studio production base is located in Jacarepaguá, Rio de Janerio, and known locally as Projac.

The solution at Projac is systems integrated by Sony Professional Services and architected to extend TV Globo’s file-based workflow from ingest into archive. Sony selected Dalet Media Life, which includes a broadcast-specific Business Process Management workflow engine, advanced production and media preparation tools and a single and centralised content repository for housing multimedia content. The complete solution also includes Dalet Brio for ingest acquisition and QC playback as well as Dalet AmberFin for transcoding.

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Unicast win at Deutsche Glasfaser : German fibre-to-the-home (FttH) network provider Deutsche Glasfaser has selected the ABOX42 M-Series SmartSTB platform, which includes the company’s advanced DVB feature-set, to power its new ‘DGTV’ service. The service is expected to launch in October 2014 and will include around 100 SD channels, 50 HD and 100 radio channels.

It’s understood Deutsche Glasfaser is one of the first major operators to deliver a full live IPTV service using unicast technologies. “This approach enables Deutsche Glasfaser to avoid the set-up and operation of a costly and complex multicast network for its TV service,” explained ABOX42 CEO and MD Matthias Greve. The ABOX42 technology offers Deutsche Glasfaser a modern HTML5 user interface, HLS adaptive bitrate streaming with multiple audio tracks and subtitles, HbbTV (Red Button) services, support for major German VoD services and third-party smart TV applications. Pictured: Martijn van Horssen (24i) and Matthias Greve (ABOX42). – Monica Heck 14.J13

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Stand designs honoured

Watchdog of DTT

By George Jarrett Akin to an implementation arm of the DVB Project, DigiTAG has been the market’s watchdog of DTT as it has moved from DVB-T to T2. Explaining that the latest mission is about minimising the differences between the various launches of DTT, steering group secretary Peter MacAvock said: “This latest phase is about trying to understand the roadmap in each one of the markets as they move to the launch of DVB-T2 HD and perhaps even UHD. “We must understand how individual markets are going to develop, and for our members show it is going to work,” he added. “We will bring all the information together so we can produce a cohesive road map.”

If the DVB operates in a precompetitive phase, DigiTAG is about “when the boys come out to play the game. If the DVB is all about defining what the rules are, we are concerned with getting warmed up, making sure everybody has the same number of players in the team, and that they are going to abide by the rules. We then go out and play the game,” said MacAvock.

“People are aware what is going on elsewhere but one of the unique things about DTT is that it is typically focused on a national regulatory scheme,” he added. “Sometimes they ignore the fact that there are similar problems elsewhere. The issue is getting the timing right.

“If you are a small country like Ireland, there is no point in launching UHD with DVB-T2

After scouring the busy halls, a panel of judges has selected the winners for this year’s IBC2014 Exhibition Design Awards.

The accolades were handed out for: Best use of shell scheme space The winner is Veset (8.A14). The judges liked the brilliant lighting panels with clear messaging.

Highly commended was Trivis Weather Graphix (3.A58), which they felt had clear product promotion.

Peter MacAvock: “We must understand how individual markets are going to develop”

now,” he continued. “The Irish need to latch onto the larger markets around them, probably the UK, and focus on following the UK’s roadmap. But understanding the details of that roadmap are critically important.”

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Fetch offers new PoV GoPro

Smaller free design stands (below 100 square metres) The winner is Tech4home (3.C46). The use of their product in combination with the stand design caught the judges’ eye.

Limelight (3.B15) was highly commended for its simple design and clear messaging.

Also highly commended in this category was Digispot and Single Malt Audio, which share stand 8.D74. It is a good use of the space for two brands – and the company name appealed to a thirsty audience!

Pakowski (and friend) demonstrates the new doggy-cam harness and 3-way mount

By David Fox GoPro has introduced two new accessories at IBC: a versatile three-way mount; and Fetch, a new mount for dogs. The €79 three-way mount can be used as a pistol grip, pole, or to shoot selfies, and “you can unscrew the base and it turns into a [miniature] tripod,” said Isabel Pakowski, manager, media relations, Europe.

The €69 Fetch allows users to mount two cameras on a dog, one on the shoulders and the other between the front legs, to give a canine point-of-view. The adjustable mount is designed to fit small dogs of 7kg to larger breeds of up to 54kg. It happily takes to the mud and water, and is machine-washable. There is also a camera tether so the GoPro stays attached.

GoPro has also released new

Calibre UK launched its Fovea F1 broadcast grade motion estimated and motion compensated standards convertor at IBC, and

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editing software, with templates to offer simple drag-and-drop editing, cut to music, including slow motion and effects. For controlling the camera, it has just updated its mobile app, which now allows users to adjust the ISO setting, image sharpness, colour and white balance.

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signed a global distribution agreement with Imagine Communications. Imagine will offer Fovea-F1, as well as forthcoming

Lang chooses XT3 for rental: Lang, a German specialist in visual presentation technology, has selected the XT3 media server and related tools to power its rental business. The XT3 will ingest multiple camera feeds and play back content on large screens at Lang’s customer events. The equipment is scheduled to ship at the end of this month. “With complete control from ingest to playout, including comprehensive live editing capabilities, the XT3 allows us to offer our clients the functionality and versatility to meet any live event video requirement,” said Lang technical director Hubertus Beckmann. Pictured (from left): Jamie Gordon Mitchell, EVS VP Sales, Central & Northern Europe; Lang technical director Hubertus Beckmann and technical engineer Sascha Kihm; and EVS SVP EMEA Quentin Grutman. – Michael Burns 8.B90

models, through its worldwide sales channels. Calibre’s Fovea — which was used at the FIFA World Cup for frame rate conversion for transmission to viewers in countries with 50Hz TV standards — has been updated to the new Fovea-F1 model with a new web browser interface including realtime status reporting.

Also, the existing ability to select different MEMC levels has been enhanced with presets.

Pictured at IBC: Tim Brooksbank (left) with Imagine product manager Randy Conrod. – Carolyn Giardina 7.G20

Larger free design stands (above 100 square metres) The winner is Sony (12.A10). It makes imaginative use of materials and texture, very clear top-down messaging and good integration between the stand and the building.

Highly commended was Nagra (1.C81), an inviting and welcoming stand: eye-catching and impressive.

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Dongles and bandwidth at the IBC Content Everywhere Hub There is another packed programme for delegates at the IBC Content Everywhere Hub in Hall 14 today. As usual, at the heart of the programme are two independent panel discussions.

At 13:00 there is a look at the impact of HDMI dongles like Google Chromecast, Amazon Fire TV and Roku and their alternative delivery schemes.

How can broadcasters take advantage of this new breed of device, and how can they monetise their programming?

Find out today.

Then at 15:30 the spotlight turns to the ITU 2015 World Radiocommunications

Conference and the likelihood that it will lead to broadcasters relinquishing spectrum in favour of mobile data delivery.

What impact does this have on broadcasters? Is there even a future for terrestrial television?

Come along and join in with this crucial debate.

These two sessions – and all the manufacturer presentations on stage today at the IBC Content Everywhere Hub Theatre – are free to all IBC attendees, not just those registered for IBC Content Everywhere.

For more information please visit www.ibcCE.org/europehub.

SCTE and The Connected Home Conference Today Each year at IBC, the Benelux group of the Society of Cable Television Engineers holds its annual lecture. This year it’s Monday afternoon at 14:00.

This session is free to all visitors, you need neither an IBC Conference Pass nor SCTE membership.

This year’s topic looks at ‘In home architecture issues’.

Consumers now expect a broad range of services in the home, many accessed simultaneously. The SCTE workshop at IBC looks at the technologies underlying the delivery.

The afternoon is split into four sessions, with the first discussing the challenges for service providers in delivering the high speed internet options that consumers expect. From there the panel moves on to the connected home, the new applications becoming available and the opportunities this provides for

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business.

The session looks first at home networking. Quality of experience is a difficult subject to quantify, so how do we balance usability, availability and proactive service management?

Finally, the talk is of the cloud. What is the path from traditional consumer premises equipment to virtualisation and a cloud-based home network? What are the implications for network monitoring?

The SCTE has brought together a powerful international panel, under the chairmanship of Edo Kweldam, director of CAI Harderwijk. The debate is sure to be lively, so if you are involved in content to the home, this is a session not to be missed.

It starts at 14:00 in room E102, and is free to all IBC attendees. To view the full conference programme visit www.ibc.org/conferenceprogr amme.

IBC’s Big Screen big star

By Chris Forrester IBC Keynotes do not come more celebrated than Douglas Trumbull (pictured), a legend in the industry who will present his latest cinematic vision of the future and latest work, UFOTOG. Trumbell has again cranked up the stakes by ‘filming’ in 120 fps, calling for full brightness laser 3D and, of course, Dolby Atmos for its immersive sound.

Trumbull is the Academy Award winner and five-time nominee, whose visual effects credits include 2001: A Space Odyssey, Close Encounters of the Third Kind, Star Trek: The Motion Picture, and Blade Runner. He is also a writer and director (‘Silent Running’, ‘Brainstorm’, ‘Back to the Future - The Ride’ ) and is adept at integrating directorial and storytelling aspects to immersive cinema language.

Forever pushing the technical boundaries of artistic immersion, he developed the Showscan process for 60 fps 70 mm cinematography which delivered imagery onto the cinema screen that was said to

be indistinguishable from reality. Now firmly in the digital era, Trumbull’s current vision is manifested in his new process, MAGI, which explores a new cinematic language that invites the audience to experience a powerful sense of immersion and impact that is simply not possible using conventional 24 fps or 2D cinema technology.

This is a must-attend keynote for those needing to keep an eye and ear on the next generation quality of electronic entertainment — both big screen and small. We will hear from Trumbull’s five decades of pioneering work in disrupting the status quo of the film industry; how advances in technology unlock new artistry; and how commercial realities can be navigated as we consider the future of the medium.

We will also be making full

Today 09.30-11.00 IBC Big Screen

use of the IBC Big Screen’s full brightness 6-primary laser projection system from Christie Digital and 40+ speaker QSC sound system featuring Dolby Atmos by showcasing in 120 fps 14 fL Dolby 3D, Trumbull’s short sci-fi adventure, UFOTOG, which is a fully dramatic story that explores this new medium as a creative palette.

For more information about the key note ‘An Odyssey of Cinematic Innovation visit www.ibc.org/bigscreen

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Opinion

Broadcast switches on to KVM Enno Littmann, MD of IHSE, discusses the importance of KVM extenders and matrix switches within broadcast studio workflow In recent years, the broadcast industry has experienced a major shift toward file-based video strategies for content storage, post production and playout. This has resulted in an inevitable need to serve, manage and distribute files at all stages of the broadcast workflow.

At the same time, server storage capability and the power of video processing equipment have grown radically. In any broadcast environment, whether playout or production, the emphasis has always been on centralised content management and security – which is counter to the computer-industry norm of localised processing and storage.

KVM Matrix Switches provide the central switching capability that enables dynamic communication between remotely-located servers and user workstations.

They permit centralised, secure processing and storage with instant switching between sources and near-zero latency of signals.

Equally as important, the user workstation is divorced from the server: with a KVM switch, all users can have access to all source devices –

subject to administratorassigned rights and access permission. This means that the user can access post production servers, scheduling computers and other sources at their own terminal and can instantly switch between them.

You can think of a KVM switch as a parallel device to the main broadcast video router. It dynamically connects individuals to computing processes through a matrix, in much the same way that a video router connects services to content in the broadcast transmission chain. It facilitates centralised content storage and application processing while allowing ‘local’ access by users.

The user, sitting at their workstation (which is just a video screen, keyboard and mouse) can access and operate a remote computer, associated with a central file storage system. They are unaware of the switch and continue to work as though the computer was located right by their desk.

A KVM Matrix Switch can be easily integrated into the broadcast environment and controlled with the same broadcast system control software as the rest of the studio. So it can be seamlessly integrated into the workflow.

At BT Sport in London, which is probably the largest, most recent broadcast system integration, two interconnected 288-port Draco tera KVM switches connect editors, designers and production staff

to banks of Avid editing machines, Omneon storage devices, EVS servers, Chryon production tools and the host of other essential broadcast components.

They provide the required delay-free switching between sources and workstations to create an end-to-end tapeless workflow; offering immediate access to incoming feeds and stored content throughout 20 edit suites or on any of the 200 producer desktops. Other major users include Germany's ARD group, prestigious Hollywood post facility Sonic Magic Studios, Videohouse in its newest outside broadcast van and at ZDF studios in Germany.

Our philosophy is to create products that perform their tasks reliably and incorporate functionality that is required by users within each specific industry; features that are essential in all applications, none more so that broadcast.

IBC2014 marks the fifth successive year that IHSE has exhibited at IBC. Each year we have moved to a more prominent position, increased the size of the stand and generated greater levels of interest among visitors. We expect that more broadcast professionals will stop at the stand and investigate the opportunities that KVM offers, and the ways that it can be used to streamline their operations and assist them in running today’s broadcast studios and editing facilities.

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Immersive audio: from big screen to smaller screens Conference Today

By Chris Forrester For some of us – of a certain age – it seems like only yesterday that 5.1 Dolby Surround Sound was introduced, but the reality is that it was 40 years ago and the difference it made to

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cinema-going was totally dramatic.

Dolby Labs used the technology on movies such as Superman and Apocalypse Now and over the past 20 years Dolby and DTS have made Digital 5.1 commonplace in multiplexes and in the home.

Today’s cinemas are now embracing Immersive Audio at a significant rate.

With hundreds of cinema auditoriums equipped, well over 100 feature films mixed with an Immersive Audio soundtrack, and with moves already underway in the broadcast, home cinema, and mobile spaces, is immersive audio disrupting the established de facto standard surround format of 5.1?

This panel, chaired by Julian

Pinn, is drawn the leading technology providers such as Auro Technologies, Barco, Dolby, and DTS, and they’ll explain their solutions for cinema, broadcast, home cinema and mobile. We will also discuss the industry endeavour to provide meaningful interoperability and standardisation.

There will also be

breathtaking demonstrations using the IBC2014 Big Screen Experience immersive audio system from Dolby Atmos.

Finally, IBC attendees can expect the Big Screen Monday night movie, Dawn of the Planet of the Apes, to be shown using Immersive Audio for you to completely experience the next generation of sound.

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Keeping your radio content prominent Conference Today

By Chris Forrester In-car radio accounts for a large part of the daily European listening figures. Yet the dashboard is changing, and fast.

Apple's CarPlay, Google and Microsoft’s connected cars of the future, all have the power to disrupt radio's long-held captive audience. In some car-bound markets such as North America, a pay-radio operator Sirius-XM as well as providing hundreds of channels of audio is also betting on the future for auto-based ‘telematics’.

Indeed, savvy auto-makers around the world are significantly beefing up their mobile connectivity and in-car entertainment systems with the intention – it seems – of providing more consumer choice

but potentially at the detriment of ‘normal’ radio listening.

This panel will examine questions such as whether incar radio will be relegated to just another source of entertainment and information, alongside Spotify, iTunes etc? This session will focus on: the importance of broadcast in-car radio – to listeners, broadcasters and vehicle manufacturers the steps that the industry needs to take to ensure that radio maintains its leadership position for in-car entertainment – by addressing issues such as user interfaces, position within a 'connected car' environment, hybrid services and free to air traffic information services.

The session will end with a lively roundtable panel discussion, addressing these important issues for digital multimedia broadcasting.

Today 14.00-15.30 Emerald Room

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Opinion

A study in evolution A special quality of this industry is the symbiotic interplay between user and designer says Ensemble Designs president David G S Wood On the approach path to IBC2014, I was struck by the intersection of the state of our industry, the reach of our technology, and the user needs of our customers. And I see in that intersection, a fascinating study in evolution.

These elements are in constant motion, each intertwined with the others.

Some years it is new technology that empowers opportunities and change. At other times, users demand action from manufacturers to meet the demands of their art.

And when the industry itself fractures, glistening new facets and opportunities are exposed.

As a former user, and now a product designer, I’m eager to discover what this twisting,

turning evolution has in store for us. Sure, predictions can be made. But they are really just educated guesses. When all the players in this drama gather on the stage of IBC, then we will find out where the narrative will take us. It’s the interaction and the exchange of ideas that produce the most interesting, and most lasting developments.

So I greatly appreciate the opportunity to meet and talk and learn from the people who are using the products we have, and will, design. We recognise that the needs of our customers are continually expanding, and our understanding must likewise expand.

This year presents plenty of

food for thought. Higher resolution image capture and display; new techniques in compression coding; broader choices for programme delivery; and the ever expanding applications for sound and video technologies — these are fantastic building blocks. How can each of them best serve the needs of our customers.

A special quality of this industry is the symbiotic interplay between user and designer. It grants to each both a duty and a value toward the other.

I invite you to join us on our stand for a coffee and a chat.

The next big thing may just get its start on a napkin.

8.B91

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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Opinion

Visual monitoring for your application Michel Rudelle, EMEA regional manager, Apantac takes us through the qualities of a comprehensive multiviewer Whether you are working in live applications such as studio, OB van, continuity, headends etc., an efficient infrastructure requires an ergonomic control surface, a visualisation surface tailored your needs, and a good seat. At Apantac, we take care of the display part, a comprehensive multiviewer range to drive your visual monitoring.

It is surprising to see that even in modern facilities control desks are still crowded with multiple small size computer displays along with legacy broadcast multiviewers. A possible reason for that is, despite several multiviewers on the market today having the ability to display computer formats, very few have good

scaling quality.

An ideal visualisation surface would consist of a large display surface with a resolution equal or higher to what the human eye can resolve. On this ultimate visual monitoring surface, signals of any format are displayed as virtual monitors with freely adjustable position, size, and aspect ratio.

In addition the on-screen display of graphic elements should offer a consistent look and feel.

What are the challenges to achieve these goals?

Accept a wide range of signal formats: This includes broadcast formats from Composite to HD and 3G SDI, video over IP or ASI formats, and various computer formats,

such as DVI, HDMI, VGA or YPbPr. The ability to display a mix of formats on the same multiviewer output is also important. Apantac's current offering include broadcast formats multiviewers, computer formats multiviewers, IP/ASI multiviewers, as well as hybrid multiviewers that accept a mix of Broadcast and Computer formats. A new generation of multiviewers supporting a mix of ALL the various formats is coming soon.

High Output Resolution: The ability to choose between a few large monitors or a large number of smaller size monitors is important. With the current display technology, most monitors have a native 1920 x 1080 resolution

regardless of their size. Thin bezels for mounting displays edge to edge create larger display surfaces. Using small monitors and displaying less images per monitor, will by de facto increase the actual visual resolution. Another solution is to drive the newly available 4K/UHD monitors which are now becoming affordable.

Apantac uses the same modular architecture, regardless of the multiviewer model. For example, a sixteen input multiviewer can be configured to display the sixteen inputs on a single monitor (16x1), or drive four monitors displaying four sources each (4x4). At IBC 2014, Apantac is introducing a new four input processor that

Managing live GPS data and VR Trimaran

By Monica Heck French computer graphics studio Trimaran is showcasing its Georacing sporting product. Georacing is a live coverage system for outdoor sport events, which allows the management of GPS data and the production of virtual timing, ghost visualisation, virtual reality and ranking.

The system can be used for rallying, sailing, gliding, rowing, jet ski competitions and the company is continuously developing its reach into other sports.

Georacing is compatible

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with a range of devices including TV sets, large screens, PCs, Macs, tablets and smartphones, with apps for the broadcast (HD-SDI) and digital markets. It was used during the last WRC Rallye de France/Alsace live on Canal+.

Trimaran is also showing its Shoot3D solution to manage live graphics for elections, with a 3D software engine running on standard PCs. During the 2012 presidential and legislatives elections, it was used by France Televisons to produce all graphics for its 36 channels: France 2, France 3, the 25 regional networks as well as the nine overseas territories of France O. 14.G02

accepts four 1080p signals and displays them on an UHD monitor.

Look & Feel: For the sake of consistency, the graphic onscreen display elements associated with the source pictures should be identical regardless of the input format.

Apantac’s family of IP, broadcast, and computer multiviewers all share the same architecture and same configuration interface, which allows the user to have a consistent look and feel regardless of the input format.

Come visit Apantac and see for yourself.

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Plain sailing: Using GPS data to better understand sporting competitions

theibcdaily For the latest show news and updates follow #IBC2014

EPG Module added to ForeTV MSA Focus

By Will Strauss An Enhanced EPG Module and a Windows Presentation Foundation (WPF) Sales System are the key developments within ForeTV, the broadcast management technology being showcased

by MSA Focus at IBC2014.

The Enhanced EPG Module provides centralised programme EPG metadata management for all schedules and non-linear catalogues across a broadcast operation, whether planned, generated or imported as pass-thru.

The ForeTV WPF Sales System is a Sales and Traffic Management application that controls a sales inventory from contract entry to TX and beyond.

MSA Focus operations director Martin Long said: “Both [applications] have been developed using WPF alongside the latest Microsoft data access technologies to

provide a responsive, customisable and graphically rich user focussed interface.”

When using the EPG module, specific EPG data forms can be designed for and applied to particular

applications, channels and languages. EPG details can be managed directly against library items or via schedules or catalogues allowing the use of standard library linked details or event specific

versions.

A web-linked display of a chosen online content database for each channel can also be configured, offering direct access from within ForeTV. The WPF Sales Systems is delivered through a customisable interface with

enhanced graphic presentation and offers commercial airtime booking methods and spot management functionality.

Other highlights include a configurable validation component and automatic clash resolution routines.

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OTT video hits second generation Axinom

By Monica Heck The second generation of Axinom’s cloud OTT solution portfolio is on show at IBC. The solution provides protected, multiscreen, live and on-demand video streaming services for content owners, aggregators and distributors. It features CMS, DRM and white label apps for the web, iOS, Android and Windows mobile devices, smart TVs and game consoles.

Designed for multi-platform video delivery, its OTT portfolio offers the benefits of a cloudbased solution. Axinom’s CMS enables media companies to manage, convert and distribute digital assets and metadata in the cloud while reducing maintenance costs for live and on-demand scenarios.

The company’s set of centrally managed white label apps and DRM solution also support all major platforms. Collaborations with encoding providers like Envivio, Harmonic and iStreamPlanet enable customers to tailor their media workflow.

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Opinion

Ultra HD action with Flare Small form factor cameras for live Ultra HD broadcasts are here and are more accessible, explains Stuart Chaston, European sales manager, IO Industries The goal of live sports broadcasting is to immerse the viewer in the experience so much that they believe they are actually at the event. The advent of UHDTV has provided broadcasters with the frame rates and pixel resolution to make this almost a reality. Even though at the time of writing the specification and delivery of UHDTV is still to be defined by the interested parties, there has been a number of widely reported sporting events including the recent FIFA World Cup that have been trialling and broadcasting in UHD. The latest generation infrastructure including production switchers and wireless transmitters are able to

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work with both HD and UHD sources and mix/convert between to simultaneously provide a multi-format output for the multi-platform and multidevice consumption being targeted to today’s viewer.

However, one of the (many) remaining issues facing broadcasters with the move to UHDTV is that other traditionally available solutions may not yet be available with UHDTV support.

One specific item is the small form factor camera often referred to as the ‘mini-cam’.

These cameras are used in situations where a studio camera is not suitable or practical; examples are goalcam, aerial camera or point-of-

view (POV) as used with increasingly popular reality television shows and second screen applications in live events. To solve this particular issue IO Industries has launched the Flare 4KSDI at IBC2014. The 4KSDI is a single piece highly compact 4K/UHDTV camera.

Multi-angle camera arrangements are one way to increase the viewing experience and can also add to advertising revenues. Multicamera systems in today’s live sports have been introduced by Fox Sports with their Diamond Cam and Hyper Motion and the popular Sky Sports 360.

With this increased call for multi-camera systems, a mini-

cam will be considered so long as it retains the same features and image quality as the studio cameras. Their advantage of a smaller footprint and lower cost makes these multi-camera systems increasingly more accessible.

Historically mini-cams could have been forgiven on image quality or output format due to the specialist view they can create – but these shortcomings are no longer accepted by the broadcaster or the viewer. The Flare 4KSDI uses a global shutter APSC/Super 35mm image sensor

and has full colour processing within the camera for colour matching. It can be controlled by either the same handheld remote as used by the 2KSDI or via RCP (the protocol is freely available).

The Flare 4KSDI marks the start of a new generation of mini-cam performance. With UHD and 4K output via quad 3G-SDI outputs at frame rates of up to 60p, it is built to meet the demands and uncertainty surrounding the technical requirements of the next standards in broadcasting.

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theibcdaily

Opinion

World domination for dummies Michel Beke, product director MediaGeniX, explores the expected and hidden challenges broadcasters face as they make their move towards globalisation The move towards a global broadcast market is well on its way. No longer interested in selling their content to local broadcast companies, today’s companies with tomorrow’s world-famous brands are now offering an entire broadcast channel. Country by country, they stretch their reach around the globe.

Working on a global or at least multicountry scale seems a logical choice, given the fact that already today the same content is broadcast in nearly every country. All over the world the same episodes get ingested, quality controlled, described and promoted for what must be a staggering number of times.

But world domination is harder than portrayed on the big screen, even for a broadcaster. Evidently, you must have the technical infrastructure to get your signal or stream to each country and, obviously, you should be able to generate sales or subscription revenue in every country. But even when you have all that in place, many

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challenges remain.

All of a sudden it dawns on you how diverse a place the

world still is today. Different languages require multiple audio and subtitle versions,

translated titles, categories and press descriptions. Different cultures and local laws spawn

specific age restrictions and compliance rules. Different parts of the world have different frame rates, which requires two versions of the same material.

And, unlike in an online environment, frame rates can never be mixed in a broadcast environment.

And then there’s rights management. Managing rights for multiple territories can become very complex. Defining the rights for every different device, service or business model requires a very flexible and efficient rights management system. It demands an even smarter rights verification tool that checks the legal use of content on each channel, device or service in each country.

Your system must handle the relation between regions, as to release dates or cost distribution for instance, and monitor the actual use of assets for all of these outlets.

Stock management per territory must make sure that the assets in your inventory are exploited in the most efficient way.

Operating a multicountry broadcast company is so complex that very few have tried and even fewer have succeeded. The fact remains that companies want to extend their reach over the borders with their content without multiplying their staff and operational costs. So only by investing in the right systems and joining the right partners can they attain the efficiency that makes this move towards globalisation feasible.

The shift from singlecountry to multicountry broadcast operations reminds us of the move from single to multichannel stations, which seems obvious now but was a big deal at the time. The complexity now is tenfold.

A go at world presence should therefore not be attempted without a proper broadcast management system and a system provider that can partner with you on this awesome journey.

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theibcdaily For the latest show news and updates follow #IBC2014

HD wireless link extended IDX

By David Fox The new CW-7 short-range HD wireless video link is an upgrade of IDX’s popular CW5HD. It has the same form factor and ease of use, but adds many improvements at a lower price, notably an increase

in transmitter power across all four selectable channels.

This power has enabled both a doubling of picture bandwidth and range with reliable line of sight of 100 metres now being achieved.

Reliability of the link has also been greatly improved thanks to the introduction of DFS technology on two of the channels. This technology

scans all the available channels that the CW-7 is allowed to use license exempt and picks the least constrained channel to use in that particular location.

Multicast, where one transmitter can broadcast to a number of receivers, is supported on two of the channels, and the increased link stability permits up to four systems to be used in the same locality.

The unit also costs €1000 less than the CW-5HD. 11.C21

4K and SDI boost for KVM tools Black Box

By Michael Burns

Logging on: Mediaproxy’s LogServer suite of products hits v9 at IBC

Version 9 LogServer increases efficiency Mediaproxy

By Carolyn Giardina

content services and provide a seamless multiscreen subscriber experience regardless of content source.

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The new KVM DisplayPort CATx Extender is being showcased at IBC2014. The KVM extender can transmit either two 1920 x 1200 video streams or one 4K (3840 x 2160) video stream over a single CAT6/7 cable.

The system is uncompressed, sending every pixel of every frame without loss. The receiver supports DisplayPort Dual Mode (DP++), meaning monitors that only support HDMI or DVI can be used, assuming they have the correct adapter cable.

Black Box said the DisplayPort 4K extender could enable users to locate critical computing hardware in a secure

and temperature controlled environment away from their workstations, while maintaining the same user desktop experience.

Black Box has also used IBC to update the broadcast video functionality for the DKM HD video and matrix switch system.

This copper/fibre hybrid solution provides KVM, video routing, and switching and signal conversion in a single, convergent platform.

By using modular SFP (Small Form-Factor pluggable) technology from Embrionix, the DKM matrix switch can now be used with SDI technology. The SFPs will also support and extend HDSDI, 3G-SDI, and HDMI video

connections, as well as state-ofthe-art KVM signals. Realtime signal conversion is also supported between SDI, HDSDI, 3G-SDI, and HDMI through specialised SFP connections.

The DKM FX line features redundant power supplies and a robust, scalable modular architecture.

8.E20 Boxing clever: Modular SFP technology has added SDI capability to the DKM switch

Version 9 of Mediaproxy’s LogServer suite of products, including compliance logging, content monitoring, transport stream analysis and IP multiviewer functionality, is being introduced at IBC. “LogServer allows broadcasters, satellite and cable providers the ability to not only fulfil regulatory compliance mandates, but also enhance revenue opportunities and increase efficiency in-house,” said MediaProxy CEO, Erik Otto.

“With a user-friendly GUI and ability to monitor on mobile devices as well as in-house, LogServer is no longer utilised only by a single technical department but by technical stakeholders, sales and marketing, management and content consumers.”

At IBC, Mediaproxy is also previewing its next generation OTT monitoring option, which gives broadcasters the ability to both monitor and provide those sources. The company believes that with the growth in OTT, service providers need flexibility to support the influx of streaming devices and theibcdaily 21

theibcdaily

Opinion

No substitute for experience What should a modern systems integrator mean to you? Tim Felstead, head of sales and marketing, ATG Danmon, explains the importance of the customer consultation process Business in broadcast is going soft. Not the difficulty of integrating media systems as a task; that remains a challenging proposition requiring skills in project and capital management, technology mastery and team leadership that only a few companies like ATG Danmon can offer at a high quality. Media systems are turning increasingly into software systems that require integration, needing a new set of skills and experiences for successful implementation.

ATG pioneered the introduction both of file-based content management and multi-definition content management with a long series of successful systems projects stretching back over nearly two decades. Over that time we’ve learned to adapt our skill sets to include IP and software based systems necessitated by the kinds of solutions our customers demanded. In order to find a modern integrator who can provide solutions that work today, it is important that customers understand the following factors: 1. There is no substitute for experience in media systems.

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Detailed knowledge of the broadcast business and the bridges necessary to ensure full compatibility between every element of the production chain is essential. In plain language, that means careful product selection and configuration to ensure the compatibility and seamless controllability of products from multiple vendors.

2. Customer consultation right from the start. The senior managers at many broadcast organisations have brand preferences, particularly in their choice of software, based on personal operational experience or the preferences of their production teams. Our task is either to incorporate those preferences or draw attention to alternatives where these have really proved to be superior.

3. Process automation where possible. Whether ingest, post production, MAM systems, single channel or multichannel playout; broadcasting and media-management do not have to be synonymous with a heavy staff workload. The systems we are called upon to design today incorporate a high

level of operational efficiency while retaining the freedom for operators to accommodate creativity or late changes.

4. Configurability within a wide window is important. The

best modern broadcast products, software in particular, can be shaped to match customer practices and authority levels, workflows particular to an organisation or

peculiarities different from other organisations. Deep and very low level configuration, plus a good understanding of APIs, scripts and software architectures, are becoming increasingly important.

IP networking is everywhere; make it your friend. This is now attracting a major proportion of attention in ATG Danmon projects. One cannot forget baseband skills and it remains certain that SDI systems are far from dead, but systems integrators have to put effort into mastering this ubiquitous transport.

Modern systems in media require a rare combination of experience and deep specific domain knowledge. ATG Danmon is dedicated to continuous training, development and skills enhancements. This has helped us in our systems integration projects and led to success for our technology partners. If you wish to know more about how ATG Danmon has undertaken developments in these areas, come and see us on our IBC booth, Hall 8, B51.

8.B51

theibcdaily

Understanding media consumption analytics Agama Technologies

By Ian McMurray In light of the ever-increasing need for insights within the customer experience management domain, Agama Technologies is announcing that it will provide applications aimed at operator marketing, content acquisition and product management processes, leveraging the customer behaviour analysis possibilities of an Agama monitoring deployment. This, according to Agama, further strengthens the company’s position of providing solutions supporting the entire TV operator organisation.

The first targeted application, Operational Analytics for Media Consumption, launches at IBC2014. This, says the company, supports media consumption analytics to give operators insight into how and when services are consumed: with objective data on how channels are actually used, operators can streamline

channel line-ups and content acquisition.

OTT video service monitoring and assurance remains a key area for Agama, the company says, and is reinforcing its commitment at IBC2014 with

version 4.7 of its Analyzer OTT integration in the central Enterprise Server, which the company says has been strengthened with enhanced presentation and management, such as a new dashboard

widget that gives an at-a-glance overview of OTT service quality.

Also available in the Enterprise Server is a new top-level service quality report function for Analyzer OTT, enabling trending and analysis of service quality

and availability on OTT assets, as well as on the individual ABR profiles.

The Analyzer OTT also includes new features including a new add-on that enables services to be monitored in multiple round-robin pools for more fine-grained control.

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The moment you choose the camera you want, not the one your lens requires.

This is the moment we work for.

Cross-media discovery and recommendation ContentWise

By Monica Heck Demonstrations of an all-inone digital media discovery and recommendations platform are taking place at the ContentWise stand. The solution supports high-volume digital media, TV and video.

The ContentWise platform delivers a personalised multiscreen TV experience by making use of semantics and social engagement. It delivers recommendations and discovery experiences to increase demand for movies, music, ringtones and TV. The platform can be deployed on any screen and integrate with live TV, PVRs, IPTV, web TV and cable, and can be paired with the company’s business module for monetisation and ROI measurement.

It also offers pay TV operators a robust, scalable content discovery platform that includes detailed analytics to ease service creation and management while providing higher visibility and control over the user discovery process.

14.K05

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This offers filmmakers greater flexibility in their choice of cameras and allows them to give full expression to their personal creativity. www.zeiss.com/cine/cp2 Visit us at IBC Show 2014 | 12. – 16. September | Amsterdam | Booth 11.F50

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theibcdaily

Breathless drama in matchless quality IBC Big Screen The second of IBC’s special movie screenings is tonight in the Auditorium, at the IBC Big Screen Experience, and once more all of the remarkable technological advances are brought into play. The New York Post called it “two hours of breathless drama” – tonight’s movie is this summer’s blockbuster Dawn of the Planet of the Apes.

Following Saturday’s screening of Life of Pi, you will once again have the chance to be among the first to see a full-length feature film in highbrightness 3D. The IBC Big Screen has been fitted out with a Christie 6P 2D and 3D laser projectors and Dolby Atmos audio.

This really is the state of the

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art in digital cinema, and the first time anywhere that all this technology has been brought together to screen a movie. The IBC Technical team has worked with Christie, Dolby Labs and QSC to bring it all together, and their generous support is warmly acknowledged.

So, too, are the efforts of 20th Century Fox to make this screening available to the IBC audience. Thanks to all these supporters, tonight’s screening is free to all IBC attendees.

Doors open to the IBC Big Screen Monday Night Movie at 18:15. This is sure to be a hugely popular event, so arrive early to be sure of your free

Get a Grip on camera control Zacuto

By David Fox

place in an audience that is making history, as well as enjoying a critically acclaimed movie.

View the full Big Screen Experience schedule at www.ibc.org/bigscreen.

A new Control Grip for shoulder-mounted camera rigs has been introduced

by Zacuto. It brings camera control (stop/start, menu control and more) down to a handgrip position for comfort and accessibility using five custom programmable button functions and a joystick. An optional Z-Motor attaches to your lens to mimic a traditional ENG rocker zoom control, with adjustable speeds, to convert any type of lens into a servo-control lens.

The Control Grip includes Lemo plugs for two motors and camera control, and its firmware will be upgradeable via USB. It is particularly suited for use with compact cameras fitted with heavy lenses, as these will typically be set further back on the shoulder to maintain balance, making the built-in controls harder to reach comfortably.

Proprietary control cables for the system will be available for various cameras including: DSLRs from Canon, Nikon and Panasonic, the Arri Amira/Alexa, Sony’s F5/F55/F65, Red Epic/Scarlet, and Canon’s C100/C300/C500.

11.G64

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In a fast moving environment, it is essential to have the right tools to stay in front. Canon’s extensive range of Field and Portable lenses enables you to capture those unmissable moments.

Outstanding optical performance combined with reliability and durability ensures you can always trust in Canon to be one step ahead.

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theibcdaily

Equipment racks debut Argosy

By Heather McLean A new range of equipment racks is being introduced by

Argosy. The racks are designed to simplify installations and maintenance while minimising rollout costs.

The new racks are already being used in real world situations by broadcasters

and service providers including Gearhouse Broadcast, who has the racks installed in broadcast facilities around the world covering live sporting events, including this summer’s World Cup.

Said Kevin Moorhouse, chief operating officer and managing director at Gearhouse Broadcast UK: “We are always on the look out for new equipment that is both reliable and that will help save on installation time, and the new Argosy racks meet these criteria perfectly. We have had a longstanding relationship

with Argosy which offers proven, high quality products quickly and efficiently, as we need them.”

The new Argosy-designed equipment rack incorporates a plethora of features to support quick and easy installation. Its new open design maximises access to cables making it easy to install. It also provides the flexibility to allow customers to incorporate additional sets of cable trays where intensive cabling is required, and to change the positioning of mounting profiles to allow quick and easy relocation to suit the customers’ individual requirements.

The U designation helps partial loading of equipment without the need for measurement and the internal capacity also benefits from improved air circulation and heat dispersion, ideal for compact environments such as an outside broadcast vehicle.

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Efficient, cost-effective 4K and 8K distribution Net Insight

By Ian McMurray As well as demonstrating what the company says are its unique capabilities in reducing total cost of ownership through simplifying network complexities, Net Insight is also launching a new product that the company claims enables broadcasters and media operators to efficiently and costeffectively distribute live 4K and 8K UHDTV productions.

Among the demonstrations are the Nimbra VA 200 series, which enables high-quality video transport over the internet for live sporting events and expansion of newsgathering. Also on show are audio solutions for TV, radio production and radio transmission, together with the company’s most recent digital terrestrial TV implementations.

Topics of discussion include how the Nimbra Media Switch Router technology can allow broadcasters and content owners to self-provision media services without operator involvement; the continuing trend toward remote production and workflows; the transition from satellite to wired content acquisition; and recent customer deployments.

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Q&A AndreasTweitmann, CEO, RTW Has IBC come at a good time for the electronic media industry? Why? Yes, absolutely. Digital content is at top of mind for all right now and with that there has to be a new way of thinking. How to create, manage and share content with viewers in the best way possible while integrating modern technology is an obstacle we all face every day. Whether it’s a focus on creating in 4K, managing with cloud-computing or sharing on second screen devices, audio and video professionals must continue to work in tandem to solve issues they are facing. For

RTW that means a continued focus on loudness standardisation to provide users with crisp, clear audio, across multiple disciplines, be it TV broadcast, radio, multi-screen multimedia, corporate and education as well. We are all in the business of media and IBC is always a good platform for the exchange of ideas.

What do you think are the key developments in, or threats to, your market sector at the current time?

Budgets continue to be tight, as are personnel among studios. We see customers all trying to do more with

Multi-room ecosystems Vestel

By Monica Heck A ‘whole home’ solution is on show at the Vestel stand in Hall 14, offering a user-friendly

multiroom ecosystem enabling content distribution via a home network.

Regardless of the transmission interface, a Vestel multituner gateway outputs individual broadcasting to second screens in the home,

less. However, to truly do more now with an eye on what will continue to support efforts in the future, it’s imperative to make a sound investment in quality products and solutions. AT RTW, our business is audio and we feel very strongly that quality of audio should not be sacrificed at the sake of challenges. That’s why we have made such a commitment to offer innovative, easy-to-use, affordable metering solutions to customers at all ends of the audio spectrum.

Why should delegates visit your stand at IBC?

RTW has been a leader in audio metering innovation for nearly 50 years, and for many, we have become their industry standard, a trusted company they turn to when new loudness challenges arise. We have had some wonderful, positive changes so far this year and we are eager to share our new introductions with our friends old and new at the IBC show.

Earlier this year we launched the RTW Masterclass PlugIns Loudness Tools software and the TM3-Primus both of which are on display for the first time at IBC. We will also have a few new introductions and updates throughout our

software, smart and premium product categories.

RTW is very much a proponent of loudness standardisation and we always welcome the opportunity to discuss ideas with others who are close to this issue.

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including smartphones and tablets.

A new multiscreen solution with NAS (Network Attached Storage) support is also on show at the Vestel stand.

Multiple client IP devices can record and playback the same content over network storage.

A gateway with multiple front-end inputs provides live streaming to other clients such

as client TVs, STBs, tablets or smartphones, delivering a full multiscreen experience in the home. Well known DRM technologies are supported in the system to secure premium content.

Finally, visitors can also see Vestel’s smart security STB, an all-in-one home monitoring and security system with wireless sensor control which enables

home surveillance, security control and power monitoring.

A dedicated mobile device application is used to control the overall system including air conditioning, switch devices on or off and dim or switch lights on or off.

Notifications can be sent to dedicated mobile devices to inform the end-user.

14.A20

2K/4K field backup device Nexto DI

By David Fox To back up HD or Ultra HD memory cards on location, without a laptop, Nexto DI has launched the Storage Bridge NSB-25, an expandable field backup device with interchangeable memory card modules and removal drives.

The versatile unit comes with two removable USB 3.0 hard drives, plus CF/SD (SDHC/SDXC) memory card slots and a slot for an interchangeable memory card module – of which there will be a choice of seven modules to handle SxS, P2 & ExpressP2, Red, AJA, AXSM, 2.5-inch SSD (or HDD), or CFast cards.

With one touch, NSB-25 can generate up

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to three true back up copies simultaneously (MCopy) on the two removable drives and one external USB 3.0 drive attached to it.

For reviewing backed up footage as thumbnails, or to playback 2K and preview 4K video clips, the NSB-25 has a 5-inch 800x400 touchscreen, where it can show XAVC 2K/4K or other formats, such as MPEG2, AVC-intra, AVCHD, H.264, ProRes, DNxHD and DVCPRO HD. The NSB-25 will also transcode 4K files to H.264 for quick playback - via a future upgrade pack. It has an internal speaker and headphone jack, and users can connect it to a larger monitor through its HDMI

port.

It can also generate a CRCprotected Log file to keep track of usage, and when copying a 4GB or larger file it supports exFAT/FAT/UDF and HFS+ file formats.

A Sync function allows users to quickly offload all backed up files to another drive by touching the screen, and only those files that have changed since the last sync will be copied.

11.G37 Time to DI: The NSB-25 can back up to three drives at once, from many different cards and formats

Flexible three-light LED kit Nanguang Photographic Equipment

By David Fox A compact new portable LED lighting kit has been introduced by Nanguang, containing all most users will need to shoot an interview. The lights can be used individually on camera, on the included stands, or lock together to form a larger panel.

The three 30W dimmable CN5400Pro LED lights come in two versions, a 5600K daylight unit, or a bi-colour model that can switch between 5600K and 3200K. For power the 575g lights

take 7.2-12v DC or 100-240v AC. They can take Sony NPFH, NP-FM or NP-F series batteries and the kit comes with six sets of AA battery packs, plus six Panasonic battery adapters (for CGR-D series batteries). Each light can take two (swappable) batteries for extended usage.

Each light comes with a set of filters (diffuser, extra soft diffuser and orange filter).

There are also three lighting stands, and each light has a flexible handle that can be bent to reposition the light by between 15º and 45º. There is also a soft carrying bag.

11.E10 Adaptable: Nanguang’s new kit can bend to your will with a flexible handle and click-together lights

theibcdaily For the latest show news and updates follow #IBC2014

Q&A Chris Shaw, executive vice president sales & marketing, Cobalt Digital Has IBC come at a good time for the electronic media industry?

Why? The broadcast, electronic media industry is dynamic out of necessity.

Trade shows such as IBC serve to showcase solutions developed by forward thinking manufacturers that address current and future market challenges. Cobalt Digital is exhibiting a significant number of new products this year that provide end-users with solutions across multiple industry applications.

What do you think are the key developments in, or threats to, your market sector at the current time?

At Cobalt we do not view industry changes as threats, but as challenges. US broadcasters have addressed loudness processing (although some regions may argue this), however this is still a major challenge across many international areas. By offering both baseband and multi-channel over IP/ASI (LMNTS) solutions, Cobalt provides a range of

solutions to suit every case. The need for monitoring and logging was the impetus behind our SPOTCHECK, a tool that provides broadcasters with peace of mind and evidence of regulatory compliance. Cobalt also addressed the need for faster bandwidth transmission/receive capabilities with multiple fibre solutions. Standard O to E, E to O, CWDM, DWDM and L-BAND products are now part of our equipment catalogue.

Why should delegates visit your stand at IBC? Cobalt is demonstrating our commitment to the international market by launching more products at IBC than ever before!

Foremost in our line-up is the 9970QS 3G/HD/SD-SDI/CVBS QuintSplit Multi-Image Display Processor for the openGear frame format, that provides an ideal solution for OB vehicles and production control rooms. The cascading of additional cards enables the ability to view multiple

PiDs on a single monitor.

Our reputation for high-quality down-converters grows with the introduction of our 9902-DC-4K Quad 3G-SDI 1080p 50/60Hz (UHDTV) to HD 50/60Hz or SD 50/60Hz card (also available as a standalone BBG1002-DC-4K unit). This card makes copies of the down converted output TO 3G/SDI/ HDMI. A full array of fibre products are

also on display, from simple O to E/E to O, CWDM, L-BAND and the new Blue Box Group throwdown modules Fibre to HDMI and HDMI to Fibre. Visit us at IBC to speak with our engineers, and discuss problems being incurred in today’s broadcast industry. Your problems are our challenges for providing solutions, and new products for the future.

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Transport of delight: DigiLink sends broadcast-quality media across IP networks

Video over IP advances Artel Video Systems

By Will Strauss Reflecting one of the big themes at this year’s IBC, Artel Video Systems is showing off new advances for DigiLink, the media transport platform for sending broadcast-quality media across IP networks, direct fibre and optical backbones.

On display in Hall 2, DigiLink now incorporates the DL4360x, a new chassis that has broadcast video over IP, JPEG 2000 compression and Ethernet switching capabilities.

The JPEG 2000 compression format, which can transport HD-SDI over

networks when bandwidth is limited, is a key subject for Artel this year as is video over IP, for which the company has “a complete set of cost-effective, reliable solutions for transporting HD-SDI, SD-SDI, and DVB-ASI over IP networks.”

Artel is also demoing DigiLink’s builtin signal routing capabilities for realtime video and Ethernet signals. This sees media switched in its original format and is said to “eliminate the need for external video routers and Ethernet switches.”

Another topic of interest is the integration between DigiLink and HARMAN Studer's A-Link, the Dimetis BOSS LINK Manager and Wohler’s MPEG Series monitors.

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Opinion

Broadcast and IT: The next tradition The idea that traditional broadcast manufacturers are being left behind by providers of IT-based solutions is a misinterpretation argues MC Patel, CEO, Emotion Systems There is a lot of talk about broadcasters increasingly moving towards IT-based solutions. The implication is that traditional broadcast manufacturers are being left behind and will be replaced by providers of IT-based solutions and that traditional manufacturers do not have the skills to utilise the potential that IT-based solutions can offer.

My assertion is that this is a serious misinterpretation.

Manufacturers have always used the best and latest technology; the change that has occurred over the years is that generic PC storage and networking technology has advanced significantly in terms of price performance and can therefore be utilised to provide solutions for our industry that no longer have to rely on proprietary hardware-based solutions.

Four years ago we anticipated that as our users were migrating from tape-based to file-based workflows, they would need to solve their

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everyday problems in the filebased domain. We set up the ideals of our company and product philosophy based around building easy-to-use products that were crossplatform and utilised software that was written primarily inhouse.

Having spoken to a number of potential key customers we quickly realised that our expert knowledge of broadcast, relevant technology and work practices were the key valueadd. If we could implement this knowledge so that the transition to file-based operation was easily achievable, we would have satisfied customers and a viable business plan, based on this allegedly difficult IT-based solution.

So we developed a technology platform that allowed us to open a file, examine its content and report on the state of the file, and then based on a user-defined profile, process the file to fix to the relevant specifications. This is the big picture for our business.

Our initial solution was inspired by the very topical and high profile discussions and implementations of audio loudness. So we chose to build our first product, eFF, to open any media file (MXF, GXF, LXF, QuickTime, WAV, Aiff and RF64), measure the audio and report on it, and if it did not meet the specification, correct it. eFF can be used as a manual tool in an edit suite to perform the measurement and correction one file at a time, or used with watch folders or through an API to provide automated, high volume measurement and correction.

We have been shipping this product successfully for the last two years and have won many prestigious customers. It has been an interesting ride – the challenges associated with filebased processing are far higher than the simple algorithm for measuring and correcting loudness.

It has also led us into dialogue with our customers who have asked us to provide

QC line expanded with Pulsar pay-per-use Venera Technologies

By Carolyn Giardina

extended solutions for their audio workflows. Early this year we supplied a major broadcaster with an audio workflow solution to allow them to, under MAM control, loudness correct, track map, replicate and encode MXF files for transmission readiness. The source files came in multiple audio layouts and needed different workflows applied to them to make them transmission ready.

So in summary, all we did was use off-the-shelf, readily available IT components and a bit of software that we wrote to solve what is a very real broadcast technology problem.

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Making its debut at IBC is Venera Technologies’ new Pulsar PPU (pay-per-use) QC software, which the company describes as a secure, cloud-based option with the QC functions of its flagship Pulsar automated file-based QC system.

Venera asserted that with no need to install additional network infrastructure, Pulsar PPU “can perform integrated QC across content types and stages in the workflow, reducing dependency on specialised skills and using existing resources more efficiently.”

The company offers a range of QC options for different budgets and operational scales, including the Pulsar Basic, another edition of Pulsar at IBC with “many of the core audio/video analysis capabilities of the main Pulsar,” but recommended for organisations that work with a limited content volume and budget for QC tools but still prefer to make an upfront investment in a QC tool for their file-based workflows.

Venera is also highlighting three new enhancements to Pulsar. This includes Harding PSE (photosensitive epilepsy) analysis, allowing users to apply the Harding FPA (flash and pattern analyser) implementation to verify that their content is compliant with Ofcom or JAPAN NAB 2006 regulations; the ability to analyse VoD content directly using the HTTP URL of their adaptive bit rate asset; and Digital Production Partnership compliance.

“Pulsar now makes advanced QC available to every organisation, whatever its content volume or budget.

We believe that the product enhancements and new systems will help to eliminate financial barriers to the use of QC tools and, in turn, speed the industry’s adoption of file-based QC,” said Vikas Singhal, co-founder and executive director of business development at Venera.

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Opinion

Getting away from Heavy Iron Once we all get IP enabled we’ll have the method and infrastructure necessary to support 4K and more. It’s a key part of our roadmap, says Ben Wolk, president, sales and marketing, BroadStream Solutions As I looked forward to another IBC show, I found myself thinking about many of the issues that have been weighing recently on our collective minds: what does this latest wave of industry consolidation mean to our businesses and our customers? What are broadcasters and content creators to do with the constant chatter about 4K and UHDTV, when at the same time they are faced with the relentless downward pressure on operating expenses?

I don’t feel that consolidation is necessarily good or bad: it’s just a natural part of business and as the popular saying goes, 'consolidation happens!'

If anything, the broadcasting

business has been spoiled for a long time and has managed to escape not being forced into finding efficiencies until more recently. I agree that if you’ve been working the same old broadcasting tech job for 20 years, these can be unsettling times, but for manufacturers who tailor their solutions to creating these efficiencies, things are looking up.

The traditional broadcasting industry has always done an incredible job with manufacturing reliable systems, but these came with a hefty price tag. With 'heavy iron' doing the work, traditional broadcast infrastructures were very resilient.

However, because of the

high prices of these systems, broadcasters typically had to work with a limited amount of redundancy: if failures occurred, the limited failover path would allow certain functions to work at partial capacity until someone fixed the problem. Today, modern integrated playout systems are built on off-the-shelf hardware.

While some might argue that individual computer systems don’t have the reliability that 'heavy iron' had in the past, it’s important to note that what we have instead are completely redundant systems that allow your failover to match the exact capability you have on your primary system – for far less than the cost of a traditional

playout system of just a few years ago. So when it comes to reducing costs and comparing systems, it’s important to look at the whole picture, not just the initial price tag.

BroadStream Solutions is very involved in transitioning away from baseband towards a completely IP based infrastructure. The industry is very comfortable working with baseband signals, but 4K won't realistically happen by simply multiplying all SDI cables by four (although I’m sure the cable manufacturers would love that!).

The only way it’s really going to happen will be with an all IP infrastructure. We already have a number of systems in the

field that are IP-in and IP-out servers with no baseband at all.

It’s a key part of our roadmap and direction. Once we all get IP enabled, we’ll have the method and infrastructure necessary to support 4K and more. Besides, IP and IT infrastructure fits nicely into the desire to reduce costs, footprint, and complexity going forward.

So if you are ready to start moving away from the 'heavy iron' age, you should really come and chat with us on our booth.

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theibcdaily HDR workshop in 2013 and 2014, respectively, and is also recommended by SMPTE´s TC24TB UHDTV Ecosystem Report. In addition, the ITU BT.2020 standard combines all of these parameters.

UHDTV production interfacing challenges: is it all about SDI?

NHK Super Hi-Vision demonstration at IBC

With all the excitement surrounding UHDTV, the importance of having a strong production infrastructure is often overlooked. Yvonne Thomas, project manager at EBU Technology and Innovation, examines those challenges Since High Definition Television (HDTV) became state-of-the-art in productions and the ‘norm’, Ultra High Definition Television (UHDTV) has gained ground and arguably has become the new favourite future production and distribution format. Although UHDTV is known over the last two decades, it failed to become mainstream. However, when the first so-called ‘4K UHDTV’ or ‘QuadHD’ screens entered the consumer market in 2013 the perception changed – it was a big success!

A study from Futuresource predicts that between 7 to 8 per cent of TV sets will be 4K ready by next year, in 2015 . Thus the immediate demand for native UHDTV content will increase and productions will be under pressure to decide what infrastructure they will use.

Currently, several proposals – as multi-link or single-link – are being discussed and attempts to standardise these approaches are being undertaken in SMPTE and ITU. The harmonisation process of those proposals is essential in order to build cost effective and interoperable equipment and 32 theibcdaily

workflows. However, some solutions will be useful for the short-term and for the early UHDTV productions.

While this article describes new developments of studio interfaces focused on the SDI technology, more long-term alternatives are underway. Felix Poulin, EBU, tells you more about a flexible solution of an IPbased production infrastructure that can also be adapted to UHDTV productions in a separate IBC Daily article, ‘The Network Studio: Here to Stay’.

And, what about High Frame Rate (HFR) or High Dynamic Range (HDR)? UHDTV is mostly seen as an increase in resolution, i.e. four times HDTV resolution (or 4 x 1920x1080 pixel). Early tests from the EBU have shown that this is not enough to achieve a satisfying increase in image quality. At

IBC2012, the EBU already presented the conclusion that UHDTV must also include the following essential characteristics: HFR, HDR, a wider colour gamut and an immersive audio system.

Since this demonstration, more details on the influence of those parameters are known.

For instance, a study from the BBC has shown that in Europe 120 Hz will create flicker issues and 100 Hz is therefore needed.

The higher frame rate can be also a valuable feature for an enhanced HDTV system, 1080p100.

In order to transport those higher frame rates for HDTV and UHDTV, the signal needs to support a 1080p100/120 subimage. To do so, an appropriate method to map those subimages into Serial Digital Interface (SDI) will need to be

defined. Further studies on HFR have been undertaken by the BTF-HFR group (Broadcast Technologies Future group).

The EBU´s Strategic Program Beyond HD has started studies on a new HDR evaluation method together with Dolby and the EPFL in January 2014.

Those studies showed a need to re-consider the evaluation method, based on ITU BT.500, in regard to the environment.

Even though no final conclusion can be yet drawn on the level of HDR from the studies they indicate a preference towards brighter images with more dynamics.

Another important aspect to consider is that more experts agree that only a reasonable combination of all parameters can result in a long term UHDTV format. This was reflected in the joint DVB-EBU UHDTV and

TABLE 1 – PAYLOAD DATA RATE FOR NEW SDI INTERFACES IN GB/S

Up to 60p Up to 120p

10 bit, 4:2:2 12 bit, 4:4:4 10 bit, 4:2:2 12 bit, 4:4:4

1080p 3 6 6 12

2160p 12 24 24 48

4320p 48 96 96 192

Tribute in a higher data rate All UHDTV parameters together demand their tribute in a high data rate. Table 1 shows typical data rates in the Payload of upcoming SDI interfaces under discussion/standardisation. This table clearly shows that only 1080p images, with up to 60 frames/second and 10 bit, fits in the current 3G infrastructure.

Everything beyond this would require a multiple of the data rate.

If you are more interested in more traditional interfaces, the SMPTE is working on standardising a UHDTV interface, described in SMPTE 2036-3 ‘Ultra High Definition Television – Mapping into Single-link or Multi-link 10 Gbps Serial Signal/Data Interface’.

Even though 10 Gbps already sounds a lot for most of the formats on the table you will need to use a multi-link option.

Another interesting group to consider is SMPTE’s 32NF70 group on UHD-SDI. This group is in the process of developing SDI variants as 6Gbps (SMPTE 2081-1), 12Gbps (SMPTE 20821) and 24Gbps (SMPTE 2083-1).

These can either avoid the usage or at least reduce the number of multiple links. For example, if you like to produce in 2160p100 or p120 at 12 bit 4:4:4 (~48 Gbps) you can use two 24 Gbps links instead of having the need for 16 3Gbps links.

Those who will want to work with formats at lower data rates can alternatively use an interim solution of standardised multiple 3G SDI interfaces under SMPTE ST 425-3:2014 and ST 4254:2012 for dual-link, and SMPTE ST 425-5:2014 and ST 4256:2014 for quad-link.

In the end, several short- to long-term solutions for studio interfaces are underway. As seen from above, every broadcaster and production company will need to define their long-term strategy in order to make careful and cost efficient decisions about which interfaces for UHDTV to use.

The requirements for any interface, may it be SDI or fibre, are the same, such as low latency, fast re-synchronisation low jitter, cost efficient, ancillary data and embedded audio.

In the long-term the trend can be seen in single-link interfaces, although multi-link solutions guarantee backwards compatibility to current 3G infrastructures.

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Boxer extends reach Viaccess-Orca

By Ian McMurray Boxer TV, a Swedish pay TV operator owned by the Teracom Group, has selected ViaccessOrca’s end-to-end TV Everywhere solution to extend its DTT and on-demand service offering into the multiscreen environment.

Using a combination of Viaccess-Orca’s Connected Sentinel digital rights management and Prime Sentinel smart card-based conditional access system, alongside the RiGHTv service delivery platform and COMPASS content discovery platform, Boxer TV will be able to deliver more than 60 channels of live TV as well as personalised SVoD and catch-up TV content to a wide range of mobile devices throughout Sweden and Denmark.

Viaccess-Orca’s TV Everywhere solution allows pay TV service providers to shape the ultimate content and user experience for their subscribers

on multiple screens. Through the end-to-end solution, Boxer TV will be able to protect premium content through cross platform security, ensure the smooth delivery of content to users, and

increase viewer engagement leveraging unique content discovery, personalisation, and interactivity capabilities. Video content will be personalised based on subscribers’ individual tastes and preferences across all devices.

Boxer TV’s new multiscreen service will initially support iOS

and Android-based smartphones and tablets.

“Viaccess-Orca has been our trusted technology partner for many years,” said Roland Svensson, vice president product, Teracom Boxer Group.

“By providing us with a unified solution for multiscreen — encompassing content

protection, interactivity and delivery, discovery, and personalisation — ViaccessOrca will allow us to provide a consistent television experience to more than one million subscribers in Sweden and Denmark, anytime, anywhere, and on any screen.”

1.A51

Kaon VoD partnership for digital STBs Inview

By Monica Heck Digital STB provider Kaon (1.B16) is collaborating with Inview to offer a cost-effective, free-to-air STB solution with value-added features such as push-VoD, interactive services, advertising and early warning services alongside live digital channels.

Inview’s client software with its advanced EPG and UI design, ported onto Kaon hardware, provides a solution which reduces initial investment and generates revenue through advertising in the UI, with the added benefit of quick deployment.

“Our innovative broadcast solution combined with Kaon’s cost effective set-top box design provides a compelling user experience and is an ideal solution for regions that are still to undergo analogue switch off and transition to digital TV,” commented Julie Austin, CEO of Inview Solutions.

14.H08 theibcdaily 33

theibcdaily

Pink Media Group specs videowall IHSE

In the pink: A multiviewer feeds 34 screens on the videowall via an IHSE KVM switch

By Carolyn Giardina

Serbian giant goes OTT with Motama Motama

By Monica Heck

Private broadcaster and entertainment group Pink Media Group, Belgrade, recently completed a studio for its 24/7 news programme incorporating an on-set multiview videowall, formed from thirty four 46-inch monitors and capable of displaying up to 192 separate images.

A single multiviewer with a large number of outputs was ruled out on cost grounds.

Instead, consulting firm Kompani digiTV proposed using a 16-output multiviewer system feeding the 34 screens on the videowall via an IHSE Draco tera compact KVM switch. “There is no better multi-display source than a broadcast multiviewer system, so we have combined one with a Draco tera KVM switch. The enormous flexibility of the KVM switch allows any input

34 theibcdaily

to be connected to any display. Each multiviewer output can be connected to one or more monitors, even to every screen at once if desired,” said Miroslav Jankovic, managing director of Kompani digiTV. “Control of the images on the monitors is very simply achieved by means of the switch’s internal GUI, allowing

operators at Pink to instantly change the layout so that different feeds appear in-shot behind the newsreader,” said PINK project manager, Sladjan Pesic. “The system achieves the best of both worlds: full flexibility to show multiviewer images in full HD quality and an economic system that can be further expanded. An 80-port KVM

switch was installed which also transmits multiviewer content to 10 x 55-inch and 16 x 46-inch videowalls in the news control and MCR rooms. Remaining ports will, in the future, supply multiviewer images to other, distant, locations in the building: in offices, recreation and reception areas.”

7.F33

RTV Pink, the leading commercial station in the Serbian TV broadcast market, has selected Motama servers to power its new OTT platform, a live TV internet streaming service called Klikpink.

The service offers a growing number of over 50 TV channels, which can be watched in PC browsers as well as within a dedicated Android app.

Motama, exhibiting in Hall 14 at IBC, provides solutions for the delivery, processing, and presentation of audio and video content in IP networks.

The company’s product portfolio includes DVB gateways, encoder and transcoders, streaming servers and protocols for content distribution. These products drive applications for IPTV, CDN, internet or OTT, telecom, mobile, hospitality and corporate networks.

14.H19

theibcdaily

Exhibitor list and floor plan

Correct as of 28th July 2014

4

Halls 1,2,3,4,5 & 6 floor plan.......................................................Page 36 Exhibitor listing .......................................................................... Page 38 Hall 7 Floor plan ........................................................................ Page 39 Exhibitor listing ............................................................................Page 40 Exhibitor Listing...........................................................................Page 41 Hall 8 Floor Plan ..........................................................................Page 42 Halls 9,10 & 11 Floor Plan...........................................................Page 43 Halls 12 & 13 Floor Plan..............................................................Page 44 Hall 14 & Outside Exhibition Area floor plan..............................Page 45 Exhibitor Listing...........................................................................Page 46

theibcdaily 35

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Halls 1, 2, 3, 4, 5 & 6

36 theibcdaily

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theibcdaily 37

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

38 theibcdaily

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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NEWS

SPORT

at n us 4 o 5a t si 01 J1 Vi 2 7.

C IB and st

TAKE A FRESH LOOK AT YOUR ARCHIVE

PRODUCTION

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MISSION CRITICAL MANAGEMENT www.sglbroadcast.com

theibcdaily 39

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

40 theibcdaily

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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42 theibcdaily

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Halls 9,10 & 11

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Halls 12 & 13

44 theibcdaily

& IBC BIG SCREEN/AWARDS

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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

46 theibcdaily

Stereo Tool / Audisi ..................8.C94 STiNO eyevis GmbH ...............9.B24 Stirlitz Media ............................8.C91 STMicroelectronics ...................1.F40 Stoneroos..................................2.A46 StorageDNA..............................7.B42 STORDIS GmbH.......................7.E10 STP SA System Technology Partner ......................................8.C85 Stream Group..........................14.L15 Stream Labs .............................7.G47 Streambox, Inc. ........................7.D01 STRYME GmbH ........................7.J03 Studer by Harman....................8.D60 Studio Network Solutions.........7.J05 Studiotech.................................8.A28 Stypegrip ................................11.B68 Suitcase TV Ltd.............2.C10/2.C15 Suman Satellite Technology Company ................................5.A41c Sumavision Technologies Co. Ltd ...............1.B10 SumoLight ..............................11.A77 Surface Heating Systems.........1.F59 Suzhou Duozheng Electronics Co. Ltd.................5.C16a SVP Broadcast Microwave......2.C55 SVS Telekom端nikasyon Hizmetleri San. Ve Tic. Ltd........................5.C01 Sweden at IBC..........................5.B22 SWE-DISH by Rockwell Collins1.A11 Swedish Microwave AB ...........1.F71 swissaudec .............................10.F45 SWIT Electronics Co. Ltd.......11.A39 Switchcraft, Inc.........................9.C49 Synapse TV..............................1.B22 Synaptop .................................5.B46f System House Business Partners ..................14.C20 Systembase Ltd........................8.E93 T Tac Systems..............................7.F06 TAG V.S......................................1.F94 TAKTIK SA ............................10.D31e Talia Limited............................4.A61d Tandberg Data GmbH ..............9.A04 Tango Wave ..............................4.C87 Tata Communications...1.B20/MS24 Tata Elxsi Limited......................3.A32 Tatung Technology Inc ...........14.B24 TC Electronic ...........................8.D56 TDF............................................1.B79 Teamcast...................................2.B51 TECH4HOME ...........................3.C46 Techbid Auctions....................10.A05 Technicolor.........................MS5/MS7 Technocrane S.R.O ................11.D36 Techwave, Inc. ........................11.E65 Tecsys Video Networks Ltd. ..3.B20a Tedial .........................................8.B41 Tektronix Inc............................10.D41 TELECAST TECHNOLOGY CO., LTD .................................6.A29b Teleidea.....................................4.C80 Telekom Austria Group ..........14.C16 elemetrics Inc. ......................11.D35 Te Telenor Satellite Broadcasting .1.A59 TelergyHD & Mware solutions14.C30 Telesat.......................................1.C39 Telespazio .................................4.A70 Teleste .......................................4.B61 Telestream.................................7.C12 Television Research Institute ...5.C43 TELIKOU TECHNOLOGIES CO. LTD...................................11.A10 Telmaco S.A. .............................8.E47 Telos ..........................................8.D47 Telos Systems...........................8.D47 Telsat Srl .................................8.D37b Telstra......................................14.B01 TEM ...........................................8.E45 Teracue eyevis GmbH IPTV & IP Video Systems..........................9.B24

Teradek....................................11.E55 Terrasat Communications, Inc. 1.F81 Thales Angenieux ...................11.F34 The Good Life Co. Ltd..............9.B04 The Israel Export & International Cooperation Institute................3.B20 The Pixel Farm Ltd ...................6.C19 The Video Point........................3.B20i The Weather Company.............7.F39 The Wireless Works..................9.A51 TheLight ..................................11.A48 thePlatform .............................14.H15 ThinkAnalytics Ltd ....................1.D92 thinklogical..............................14.B36 Thomson Broadcast................8.C35 Thomson Video Networks .....14.A10 Thum+Mahr GmbH ..................8.A50 Thuraya Telecommunications Company ..................................2.C23 TIANCHANG LIMING ELECTRONICS CO. LTD. ......5.C16d Tieline The Codec Company ...8.E73 Tiffen International Limited ....10.C49 Tiffen MPTV Filters .................11.D21 Tiger Technology ......................7.C10 Tight Video................................4.C78 Tilta Technology Co., LTD ......11.A71 Timecode Systems Ltd..........9.B14b TiVo Inc....................................14.L03 TIXEL .........................................8.A97 TMD Ltd....................................2.C58 TMG.........................................14.F11 Toner Cable Equipment UK Ltd....................4.B91 ToolsOnAir Broadcast Engineering GmbH...................7.G45 Top Format ...............................8.C81 TQ - Systems GmbH................8.E11 TRACT.......................................8.D74 TRANSRADIO SenderSysteme Berlin AG...................................8.D35 Transvideo...............................11.F31 TRedess ....................................8.A11 Triada-TV...................................8.D32 Trilogy Communications Ltd..10.A29 Trimaran Georacing................14.G02 TriVis Weather Graphix .............3.A58 True Lens Services.................11.G65 Truen co. ltd ...........................5.A05g TSF.be SA...............................10.d31f TSL..........................................10.B41 TTI .............................................4.C69 Turbosight (TBS) Technology Co.Ltd ...................4.C81 TV Skyline GmbH...................11.C50 TVC (TELEVIZIJOS IR RYSIO SISTEMOS, UAB) ...................OE109 TVLogic Co. Ltd .....................10.D26 TVStorm ....................................4.A91 TVU Networks ..........................2.B28 TW Electronics (Newbury) Ltd .4.B63 Twist Cluster .........................10.D31h U Ubertweek GmbH ..................8.D16c Ultimatte Corporation...............7.C27 Ultra Electronics GigaSat.........1.C57 Uniclass Technology Co. Ltd. ..2.A24 Unidis co. ltd ..........................5.A05a Unified Streaming ...................14.F33 Unique Broadband Systems Ltd..............................8.A40 UNITRON ................................10.F42 Universal Electronics bv...........1.C41 UPnP Forum ...........................14.L17 Utah Scientific...........................2.B20 Utelisys ...................................14.E09 UXP Systems Inc....................4.A65a V VANGUARD VIDEO .........1.F90/MS4 Varavon...................................11.C11 VariZoom ................................11.G54 VBOX COMMUNICATIONS ..3.B20p

Vcodes ....................................3.B20e VdB Audio ................................8.C93 VDL..........................................8.D90c VDL Deutschland ...................8.D90b Vector 3.....................................7.C01 VECTRACOM.........................8.D82b Venera Technologies ................7.C03 Verimatrix ..................................4.A55 Verizon ....................................14.G08 Versatile ...................................11.F41 Veset..........................................8.A14 Vestel.......................................14.A20 VEYGO..................................11.E41b Viaccess ....................................1.A51 ViaLite Communications ..........1.A21 Vianeos....................................2.A36g Viblast ....................................14.G01 VidCheck...................................8.A30 Videlio - Preview.......................8.C61 Video Clarity..............................2.C57 VIDEO STITCH.....................11.E40c VIDEO-FLOW .........................3.B20d Videolicious.............................14.K16 Videomenthe............................2.A36f Videoplaza ..............................5.B22c VideoPropulsion........................6.A05 Videosolutions Group...............7.A06 Videssence .............................11.B12 VidiGo B.V. ................................7.H30 VidMind LTD. .............3.B20o/14.K20 Viewz ......................................5.A05e Vigiglobe.................................14.G03 Vigintos Elektronika ..................8.E27 Vimmi Communications Ltd. .3.B20h Vimond Media Solutions......................14.H04/MS34 Vimsoft ......................................9.A38 Vinten.......................................11.E55 Vinten Radamec .....................11.E55 Visio Light Inc. ........................11.G45 Vision Research......................11.B42 Vision247 ................................14.H12 Visiware...................................2.B39e VISLINK.....................................1.A69 Visual Research Inc..................7.D05 Visual Unity..............................14.F34 Vitec ..........................................7.G16 Vitec Videocom.......................11.E55 VIXS Systems Inc. ....................3.A12 Vizrt............................................7.A10 VJU iTV Development GmbH ..8.E83 Vocas.......................................11.E34 Vodience .................................3.B20n Voice Technology ...................8.C73a VoiceInteraction....................14.H06a Volicon ......................................7.G23 Vonetize ..................................14.C19 Vortex Communications Ltd..11.G11 VOWOS Ltd..............................3.C30 VRT ............................................8.F02 VSN (VIDEO STREAM NETWORKS, S.L.)....................7.C21 VT3 ...........................................2.B39f VTQ Videotronik GmbH............1.F11 VTX Technology Ltd...............11.G11 VuTV .........................................1.B22 W W.B. Walton Enterprises Inc.....1.A62 Walimex Pro ...........................11.G68 Wallonia Export-Investment Agency (AWEX).......................10.D31 WASP3D ...................................7.K30 Wave Science Technology.......8.A44 WeatherOne..............................7.D11 Well Buying Industrial Co. Ltd..8.A64 WellAV Technologies Ltd..........5.B47 Wellen+Noethen .......................3.B40 West Media Systems ...............2.C32 Wheatstone Corporation..........8.A86 Whisper Power........................OE115 Wide Orbit.................................8.D71 Wildmoka .................................2.B39i WINEGARD COMPANY...........4.A60

WINJAY S.R.L. ........................10.F41 Winmax Industry Co. Ltd.......9.B10g Winmedia................................8.B36d Wisi Communications GmbH & Co. KG.......................4.B50 Wisycom SRL...........................8.D89 Witbe.........................................4.B81 Wiztivi ......................................14.L01 WNM SA...............................10.D31g Wohler Technologies, Inc. ......10.B10 Wonderlamp Industries GmbH .....................................8.D16d Wooden Camera.....................11.E71 Work Microwave GmbH ..........4.C60 World DMB ...............................9.D30 WorldCast Systems..................8.B60 Wowza Media Systems............3.B17 WTS Broadcast Systems.......OE114 wTVision....................................7.A45 Wyberry Technologies............5.B22d Wyplay.......................................5.A11 X XCRYPT, INC. ........................5.A05c x - dream - media .....................8.E83 XenData ....................................7.H47 XeusMedia Technology............4.C59 Xiamen Came Photographic Equipment Co. Ltd. ................9.B10a Xiamen RGBlink Science & Technology Co. Ltd ..................7.K40 Xilinx Inc. ...................................6.A18 X-SQUARE TECHNOLOGY CO. LTD ..................................6.A29d Xstream ...................................14.F15 Xylostream Technology Ltd......2.A48 Xytech Systems........................6.C22 Y Yamaha Commercial Audio .....8.D15 Yangaroo.................................4.A65c Yegrin Liteworks.....................11.G77 Yellowtec ...................................8.A51 Yospace...................................14.E10 Yuan High-Tech Development Co. LTD ..............8.E15 YUYAO LISHUAI FILM & TELEVISION EQUIPMENT CO. LTD. ...............................11.B51e Yuyao Sinor International Trading Co. LTD. .......................9.A34 Z Zacuto.....................................11.G64 Zappware..................................1.A81 Zattoo TV Solutions ................14.J05 Zaxcom Inc.............................8.C73a ZebraOTT..................................5.C35 Zenterio.....................................4.C56 Zentrick....................................10.F42 Zeticon.....................................10.F42 ZHANGZHOU LILLIPUT ELECTRONIC TECHNOLOGY CO. LTD ................................11.B51b ZHANGZHOU SEETEC PHOTOELECTRIC TECHNOLOGY CO.LTD .......9.B10e Zhengzhou Generalink Lighting Equipment Co. Ltd. ................11.A66 Zhengzhou Taiying Video Equipment Co. Ltd ...................9.B49 Zhuhai Jili Development Co. Ltd. .....................................9.B41 Zixi...........................................14.C05 Zlense........................................8.E02 Zoo Digital PLC ......................9.B14d ZukunftsAgentur Brandenburg GmbH ..............8.D16g Zylight......................................11.E38

Correct as of 28th July 2014

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Opinion ‘Thinsizing’: New approach to interaction To combat the growing complexity of television, we want to put users back in control of their IPTV ecosystem, says Ferdinand Maier, chief executive officer, ruwido The media consumption landscape is becoming increasingly complex, and can prove overwhelming and difficult for users who often have to contend with a wide range of devices, cables and plugs. In order to best connect with the diverse range of options on offer, a multiplicity of technologies can be used: infrared, BLE (Bluetooth Low Energy) or Wi-Fi are the preferred methods.

For the user, there are various methods to communicate their intentions – touch and speech are becoming increasingly prevalent, but for many, the primary method of navigation remains manually using buttons.

In terms of searching for information and browsing, there is a variety of screens available to consume content.

Our research shows that several of these connected devices are used most often in parallel to the main TV screen, but not for navigation. When it comes to the big screen the user wants to control this experience without complexity.

To come up with a solution that really supports this basic need, the right combination of technologies is a necessity. But technology is only a means to achieve a goal. It is the set of tools applied that every TV provider or technology producer has to manage and know.

Contrary to today's common

business practice of combining as many technologies, protocols and input modalities as possible to enable users to control their TV experience, ruwido is introducing its ‘thinsizing’ design and development approach.

To combat the growing complexity of TV, the ‘thinsizing’ approach allows ruwido to support its partners and clients in offering uniquely tailored interaction mechanisms that truly put users back in control of their IPTV ecosystem. The method allows us to carefully remove the unnecessary components from the mass of technological options, to focus on the essentials of how users want to naturally interact in and with

Disk Archive Corporation

By Michael Burns

Mission to expand digital cinema possibilities Fraunhofer Digital Cinema Alliance

A new version of easyDCP software is being showcased at IBC, incorporating IMF capabilities.

The software suite, developed by the Fraunhofer IIS Department of Moving Picture Technologies, creates Digital Cinema Package (DCP) files suitable for all playback devices that work reliably on all digital cinema systems.The software was developed in order to ensure that digital film copies comply with the specifications of the DCI standard. It enables not only the largest studios, but also independent producers, individual filmmakers and film

interaction concepts that directly focus on human needs and wants and are being debuted at this year's IBC. 1F.68

Expansion boost for content storage

Screen test: Dr. Siegfried Foessel (left) and Heiko Sparenberg (right) continue to lead the development of easyDCP

By Michael Burns

their TV environment.

By applying the fundamental principles of ‘thinsizing’, we have succeeded in designing and developing a set of

festivals to create their own digital cinema packages.

With the Interoperable Master Format (IMF) in the final steps of standardisation at SMPTE, Fraunhofer has developed full IMF functionality for easyDCP. This enables IMF master package creation, playback and transcoding in the familiar look and feel of easyDCP. The new version of easyDCP software showcased at IBC also comes with hybrid CPU/GPU JPEG 2000 coders and a significant extension to control subtitles.

Dr. Siegfried Foessel and Heiko Sparenberg of Fraunhofer IIS recently received the Joseph von

Fraunhofer award for easyDCP, while the German Broadcast Motion Picture Society (FTKG) recently selected Dr. Foessel as its new president.

“While developing easyDCP, we really concentrated on keeping operation simple and clear,” said Dr. Foessel. “That’s a concept that users found persuasive. In very little time easyDCP became the market leader; more than 1,000 customers already use the software. Meanwhile large companies have started integrating easyDCP software into their products including Quantel, Drastic, and Blackmagic Design.”

8.B80

The new EX-60 Storage Expansion for the ALTO Archive and Content Library is being demonstrated for the first time at IBC2014, alongside a new monitoring system.

DAC said the EX-60 meets a growing demand for larger capacity and more densely packed media storage. ALTO is a Cold Storage solution that can accommodate up to 300 TB of storage in each 4RU module, with a low power dissipation of around 1 watt per Terabyte. ALTO users can populate the EX-60 with locally sourced off-the-shelf disks on a buy-as-you-go basis with any mix of disk size and vendor in any slot. The company said such flexibility makes ALTO competitive and future-proofed for large-scale storage of infrequently accessed material in content libraries or archives.

Also released and developed in conjunction with technology partners ASTEC IT Solutions, the iBroadcast monitoring system has the capability to monitor and manage large scale disk-

based storage systems down to individual disk drive level.

With hundreds or thousands of disks in a typical ALTO archive or content Library, DAC said iBroadcast has the power to provide visibility and exception reporting at the most granular level.

“Demand for storage is growing exponentially, driven by new high resolution formats, multiple versioning, the greater number of origination sources, higher shooting ratios, and the desire to keep more of the original pre-edit content,” said DAC managing director Alan Hoggarth. “DAC is changing the storage landscape by offering the enormous benefits of a completely tapeless solution for archive and content library storage.

8.B38F

Expanded storage: ALTO users can populate the EX60 with any mix of off-theshelf disks

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New filters lend Opinion DAB a helping hand Jampro

By Michael Burns New DAB combiners, bandpass filters, and mask filters are being showcased.

Jampro describes its RCCC-DT4-DAB filters and combiners as extremely stable and easy-to-tune units that meet all the requirements of the Eureka 147 specification.

Filters with up to eight sections in constant impedance and reflective configurations have been supplied, with Jampro claiming that units are ideal for combining with existing TV transmitters in an existing VHF antenna.

The RF System Series RCED-XXX-DAB reflective bandpass filters provide high mask performance for low and medium power DAB transmitters. Passband insertion loss is minimised by the use of high-Q aluminium cavities. Temperature stability is maintained through tight manufacturing techniques and Invar tuning rods. These mask filters are designed for input power levels up to 4.5kW. The 6-section cross-coupled filters are shipped fully tested.

The RCBC-D06-DAB

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bandpass filter features Invar tuning rods to create temperature stability and high-Q aluminium cavities which provide low passband insertion loss in a compact package.

The JVD dipole sidemounted antenna is aimed at DAB Band III and TV broadcasting applications where low wind loadings are required. Designed for vertical polarisation, the antenna’s rugged galvanised and stainless steel construction is intended for many years of performance, even in the harshest environments.

Protective lightweight radomes can be added to protect against heavy ice build-up, and custom mounting brackets are optional.

“Jampro has built a reputation on accommodating the exact specifications of every individual broadcaster,” said Jampro president Alex Perchevitch.

“As Digital Audio Broadcasting continues to grow in popularity, especially in Europe, we are responding by bringing filters and combiners to a market which has embraced it right from the start.”

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Control, yourself Overcomplicated and underdeveloped manufacturer control systems are a real problem, says Roddy Pratt, technical director, Rascular It’s probably happened to you and probably more than once: you buy a piece of technology only to find it so overburdened with features that actually using it in anger becomes a nightmare of screens and button clicks. You may well have bought it for one or two specific jobs, jobs that you often need to alternate between, but to move between them is a Herculean task.

This is an issue in our industry and a growing one.

The problem of overcomplicated and/or underdeveloped manufacturer control systems – and the fact that an operator could well be faced with working with several of these control systems to achieve a single task – is real and has clear economic ramifications. It either requires more staff, or takes the same number of staff more time, to achieve results.

This is inefficient.

Another major side effect of these complex control systems, that have been built up over the years, survived various mergers or acquisitions and become bloated, is that they constrain the way engineers and operators think.

At the moment too many users are having to think in straight lines, and as simply as possible, rather than being able to say: I can use all this technology in an easily repeatable way to achieve complex tasks at the touch of a button.

As Stuart Parkinson, director of project engineering with Discovery Networks Europe, has said, “(Rascular’s) Helm allows you – encourages you even – to think in different ways and means that you aren’t locked in to buying equipment from a single manufacturer.”

Using a PC-based, fully user-customisable control

system – the aforementioned Helm – is one answer; more specific PC-based applications like RouteMaster another.

These solutions allow engineers to set up workflows that are as simple or complex as they like, to extend existing product life or to create automated time-of-day events that never need worry an engineer or operator again.

Let’s take just one, realworld customer application. A broadcaster required a costeffective system to create customised router control panels that could be deployed across its international operations. In addition, the broadcaster wanted a robust application to control the routers automatically at key times of the day on a repeat basis.

For example, a channel in Arabia might take programming from a channel in the Far East from midnight to 5am. Helm Clockwork – a Helm application – allows the broadcaster to achieve this without human intervention. Helm’s easyto-use panel designer can be used to create purposebuilt control panels for the applications.

This project allows the broadcaster’s US and Singapore offices to be able to route video signals around the world with the minimum of effort. Using Helm has allowed the creation of customised panels to suit the needs of operators and their specific locations.

Solutions from other manufacturers looked at by the broadcaster were either fixed in the way that they operated or were costprohibitive.

Visit us at IBC and explain your technology control problems to us and we can talk you through the solution. You can also take a look at our new website (www.rascular.com) and explore other applications.

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theibcdaily

Cost-effective audio description Screen Systems

By Ian McMurray Recent research indicates that users would be happy with computer generated speech for audio description if it leads to more provision, according to Screen Systems. Where provision is being increasingly mandated, the economics may

suggest that text to speech is a viable alternative to using voice talents, particularly for nonpremium channels.

As part of its work with spoken subtitles, Screen Systems has extended the technology’s potential to providing what the company says is cost-effective audio description. It has developed an output driver for its Polistream subtitle and caption

transmission system which connects internally in the same way as all other output encoders. This specialist Polistream module receives ‘subtitle texts’ and renders them using SAPI 5 to drive a text to speech engine to produce an audio snippet. If the duration of the rendered audio is too long, it will be re-rendered with a faster spoken rate, up to a maximum configured speed increase. The

Computer speech: A new driver has been developed for Polistream

audio snippet is then presented for output when the ‘subtitle text’ goes ‘on-air’. If an audio snippet is queued for output but behind more than four seconds of existing audio data, then the previous audio snippet will be cut with a fade over 50ms so that the audio does not get progressively late in abnormal conditions.

Screen has also developed a module for its MediaMate offline

Mains distribution product showcased dB Broadcast

By Heather McLean An upgraded version of dB Broadcast’s intelligent mains distribution unit is being showcased. The latest Cardinal iMDU is now capable of handling inrush currents that could rise to 200A at switch on and 60A per

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individually switched output.

Both dual input and single input versions of the Cardinal iMDU now benefit from this improved design.

Modern high efficiency switch mode PSUs can exhibit very high inrush currents even though their steady state load may be just a few amps. dB Broadcast recognised that equipment manufacturers are increasingly making use of

switch mode power supplies and that customers need inrush current protection in their equipment rack mains distribution design. It has responded by incorporating an inrush limiting circuit that restricts the current at switch on to 40A and by fitting high inrush rated relays for the 12 individually switched mains outputs.

In addition to the new

inrush current capabilities, the Cardinal iMDU provides intelligence for mains distribution with features such as an intuitive web-based user interface to remotely configure and control outputs, SNMP traps and email messaging that can send alerts when faults occur, including loss of supply power.

The units have an error log to record events and an optional

processing framework. The spoken subtitles module allows ‘subtitle text’ files to be rendered to 48 khz stereo .wav files, with or without a control track, and behaves in a similar way to the Polistream implementation in terms of timing of audio and use of audio files. The generated audio file may then be attached to the media and played out alongside existing audio.

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external temperature and humidity sensor to monitor environmental conditions in the equipment rack.

“The upgraded specification of the Cardinal iMDU range means it can now cope with a greater range of modern broadcast equipment. It is a great choice for system managers wanting to make sure their installations are ready for the demands made by current and future equipment,” said Tom Swan, sales and marketing director at dB Broadcast.

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theibcdaily For the latest show news and updates follow #IBC2014

Holo-projection Star Wars this is Free Viewpoint TV Project

By Adrian Pennington The moment when Luke Skywalker replays a holographic recording of Princess Leia from the memory banks of R2D2 has become a cultural touchstone for future media.

Lately it has been replaced by the holodeck virtual reality from Star Trek: TNG, but standards body MPEG still clings to the LucasFilm original and at IBC will present advances in it attempt to create an 360degree image for viewing on a portable 3D display.

Free Viewpoint Television (FTV) is seen as revolutionary by MPEG which is coordinating international standardisation efforts. The concept is to enable users to view a 3D world by freely changing their viewpoint as if they were actually present.

“FTV has two major target applications: super mulitiview and free navigation,” explained spokesperson Masayuki Tanimoto. “In the super multiview application, users can enjoy immersive 3D experience, viewing glassesfree 3D displays with very Holo or hollow?: What would Professor Brian Cox make of this Holo-Deck?

wide viewing area. In the free navigation application, users can enjoy walk-through or fly-through experience of natural 3D scenes. These FTV applications will revolutionise the viewing of 3D scenes.”

Demonstrated in the Future Zone is a 360-degree viewable 3D display, a HoloTable and a Holo-Deck.

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Fit for 4K: Fujinon’s new PL-mount ZK12x25 Cabrio lens

4K PL-mount zoom lens Fujifilm Europe

By David Fox The new PL-mount Fujinon ZK12x25 Cabrio lens has the optical performance to support 4K cameras with Super 35mm sensors, and is claimed to offer an industry-leading zoom ratio of 12x to cover the most frequently used 25mm wide angle to 300mm on the telephoto end.

The ZK12x25 uses highprecision large-diameter aspheric elements, and the use of the three moving zoom group system minimises aberration fluctuation during zooming,

controls image distortion across the zoom range, and delivers edge-to-edge sharpness. Its Macro function lets users approach objects as close as 59cm.

Like the rest of the Cabrio range, it will be compatible with a detachable servo drive unit for zooming, focusing and iris.

“The range of the ZK12 makes it ideal for sports and wildlife productions,” said Stefan Czich of Fujinon distributor Pyser-SGI. Although the lens is new at IBC, it has already been used on some high profile events, including the Commonwealth Games.

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Opinion

IP workflow: survival kit for broadcasters End-to-end IP-based workflows can expand content offerings at a faster pace and reduce costs, says Philippe van Walle, general manager, DYVI Live Broadcast is no longer what it used to be since the introduction of radio transmission 90 years ago. In the digital age besides the traditional broadcast companies many new players have entered the arena offering content creation and delivery.

New IT-based channels are serving multiple devices from PCs to tablets and smartphones. Smart TV sets open up to web based services, media archives and pay-per-view or VoD. In addition the success of social networks offers opportunities to share homemade content; everybody can be broadcaster, every content can be broadcast. The challenge for the traditional broadcast industry is crucial and a question of surviving, competing with faster and more cost effective technologies.

Responding to new performance levels and technical progress demands regular change and upgrade of expensive hardware, but this is no option when budgets are getting tighter, so existing hardware is always below the ideal configuration. IT-based

technology where technical progress can be handled by software updates could be the solution, but in the past this technology has been limited by processing power and transmission capacity. This has changed dramatically and the broadcast industry can benefit from the rapid progress. The fully IT-based solution by DYVI is a stunning alternative.

Today such fully IP-based workflows are offering solutions to expand content offerings at a faster pace and reduce costs significantly. At the same time the processing operations in production and post production are getting simpler and offer easy integration of new creative features or smooth adaption of changes in technical parameters.

Major advantages can be seen in high-end live productions as advanced IT technology in combination with fibre connections enable the transmission of uncompressed high resolution video in real time to and from any location.

Specialised software solutions combined with state-of-the art broadcast and IT technology like DYVI allow remote control and access so all operations

can and will be controlled from one studio, the master studio or any other studio in the network.

Vice versa, a production team in the field can have control and access to live feeds from the main broadcast studio. These options have been demonstrated in various locations already and will be soon changing the production environment around the globe.

These advantages of fully ITbased production will be the survival kit for broadcasters: faster and more efficient content production with a much more creative process and significant cost reductions.

Editing hardware can be situated in different studios, different buildings or different locations, but they are networked and scalable, saving investment for redundant hardware tools. Another major cost reduction lies in the software based upgrading or adjustment of studios to new technologies without major investments. Operational costs in the field will also be reduced thanks to the networking components as less hardware and a smaller workforce will be needed.

IT-based distributed live production as presented by DYVI live in future will

strengthen the position of major broadcasters.

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Signal extension for post Thinklogical

By Monica Heck

Acting up: Thinklogical’s ACT-10 provides 10G Ethernet extension across service provider WANs or dark fibre

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Demonstrations of a fullresolution, low-fibre-footprint 4K-ready post production workflow are taking place at the Thinklogical stand during IBC. The demos aim to highlight how the company’s fibrebased video and KVM switching and extension solutions address many the signal management challenges facing today's broadcast and video postproduction professionals.

Thinklogical’s signal management products are optimised for broadcast, mobile production trucks and post production applications where quality, performance and security are paramount.

With Thinklogical’s KVM extenders and matrix switches, broadcast and post production organisations can back rack and centralise critical computing resources in a secure climate-controlled machine room. They can extend video and computer signals up to 80km over multimode or single-mode fibre optics, at 6.25Gbps bandwidth.

Thinklogical KVM extenders fully support DVI (single link and dual-link), SDI, HDMI, VGA, RGB, 4K/2K, USB 2.0, USB 3.0, USB-HID, FireWire, DisplayPort 1.2, PS/2, RS 232/422, keyboard, mouse, audio and 10/100 network extension.

Demonstrations and displays at the Thinklogical stand will include the company’s system management portfolio, Advanced Concentrator Transport 10G (ACT-10) extender module and digital cinema-ready 4K products.

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theibcdaily

Bridging the gap between television and social media Neotion

By Ian McMurray Enabling broadcasters and operators to allow their viewers — via a mobile app — to automatically synchronise their second screen devices with the live content on the main TV screen is the design goal of Neotion’s BlueBridge Synchro!

Technology which the company is demonstrating at IBC. According to Neotion, the system allows the application on any mobile device to automatically recognise the content being viewed on the main TV screen without requiring the user to manually enter or search for websites or apps linked to the programme.

While BlueBridge Synchro! fingerprints TV streams in realtime and enables tablet or smartphone applications to identify automatically and

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Where’s that bridge!: BlueBridge Synchro! can enhance advertising with incentives

quickly which TV channel the viewer is watching on, its stablemate, BlueBridge Synchro! Spot, enables mobile applications to recognise

advertising, a TV programme, a theme tune, music clip video or any short audio content broadcast through the TV channel.

Neotion says that these two automatic recognition solutions enable a wealth of use cases in which mobile application will synchronise with Live TV to activate specific content, enhance advertising through interactivity or incentivised adverts, instant voting, programme recommendations and measurements.

The company claims that BlueBridge Synchro! finally bridges the gap between the main screen TV and the social media world, allowing advertising and many other services to be extended from the main screen to social media.

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Fiberlink SDI Flex Series introduction Communications Specialties Inc (CSI)

By Heather McLean The latest addition to CSI’s Fiberlink line of broadcast quality fibre optic transmission products is being introduced. The SDI Flex series of products combines the transmission of five different bidirectional baseband signals: 3G/HD/SD-SDI, audio, data, contact closure and Ethernet in a compact box using only one fibre.

“IBC is the perfect show to introduce SDI Flex to the market and we are excited to be exhibiting in Amsterdam this year with such a unique and timely product,” said Paul Seiden, CSI’s director of sales.

SDI Flex is available in various versions to support single mode and multimode

fibre, as well as a throwdown box or as a card for the Fiberlink card-cage. It can also be ordered without SDI support for applications needing only Ethernet, data, contact closure and audio functions at a lower cost. It is powered by CSI’s standard Fiberlink power supply or from a customer’s low voltage AC or DC source.

CSI is demonstrating its Fiberlink 3500 Series for the transmission of up to four independent 3G/HD/SD-SDI signals or 4K/60 with no compression or latency.

Variations of the product are available for both oneway and bi-directional transmission of multiple SDI signals over both single mode and multimode fibre.

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theibcdaily

Monitors go under cover Porta-Brace

By David Fox Vermont-based Porta-Brace has introduced a new range of protective field monitor cases for some of the newest monitors and video recorders, such as the Atomos Blade, Convergent Design Odyssey and Sony’s VFM058.

The cases are made using water-resistant materials and are custom-fitted for each monitor. Fold out anti-glare visors improve screen visibility while using the monitor

outdoors.

Also new is the MO-LH1850 carrying case and viewing stand for Panasonic’s BTLH1850 monitor. The body of the case is made of durable Cordura, with soft padding and a semi-rigid frame for extra protection during transport. Interior nylon and Velcro straps secure the monitor within the custom-fit frame. A deep fold out antiglare visor improves visibility in bright light. The visor is covered in a soft nylon material to protect the screen when folded down.

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The Brazilian job: SmartVOD cooperation for Vonetize and TIM Brasil

Bringing Hollywood to Brazil Vonetize

By Monica Heck

It’s a cover up: The Atomos Blade in one of Porta-Brace’s new monitor cases

The SmartVOD platform, on show at the Vonetize stand, was chosen by Brazilian giant TIM to deliver exclusive major Hollywood studio content for the telco’s new Live TIM Blue Box service.

SmartVOD by Vonetize is a customisable turnkey solution for mobile operators and Telcos, manufacturers and

retailers. SmartVOD is preinstalled on all Live TIM Blue Boxes and available to all box users. This collaboration with TIM, the second largest telco company in Brazil, brings SmartVOD's services to over 70 million potential customers.

The service offers hundreds of new releases from major Hollywood studios such as Disney, Warner Brothers, Sony, Fox and more. Additional content comes from indie movie studios and local film producers. All content is offered

in premium full HD quality and available for rental or purchase.

“TIM is a great partner and has demonstrated a unique and inspiring vision for offering an affordable entertainment offering to all Brazilians,” said Noam Josephides, CEO of Vonetize. “Based on Brazil’s high-quality free-to-air channels and on the rich OTT offering in the TIM Blue Box, we are certain that this service is headed towards great success!”

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theibcdaily

Q&A Matt Rhodes, SVP Global Marketing, Entropic Has IBC come at a good time for the electronic media industry? Why? The global pay TV market continues to be a growing opportunity. According to a recent ABI Research report, the total pay TV subscriber base is expected to surpass 936.4 million at the end of 2014, generating $280.4 billion in service revenue and reach 1.1bn subscribers and generate $33bn in 2019. With this expected growth, events like IBC present an opportune location to share and showcase the next big innovations across the pay TV

ecosystem.

What do you think are the key developments in your market sector at the current time?

We see more global pay TV operators deploying gateway/client architectures and transitioning from a traditional set-top box/personal video recorder set-up to a single gateway that handles the heavy lifting of decoding, distributing and storing content and then feeds peripheral clients throughout the home network. Recognising this

trend early, Entropic designed an end-to-end video distribution solution that leverages its Multimedia over Coax Alliance (MoCA) 2.0 solution to offer the highest MAC throughput and most reliable whole-home connectivity backbone from the gateway to each client device in the home.

Why should delegates visit your stand at IBC? Entropic provides advanced silicon and software solutions for the distribution of broadcast and IP streaming video

EVO.Live debuts in Europe Fairlight

By Carolyn.Giardina EVO.Live, Fairlight's new digital audio mixing system designed for on-air and live productions, is making its European debut at IBC. The first console has already been installed at Catholic TV Network in Boston, where it is

broadcasting live TV to more than 14 million homes worldwide.

Based on Fairlight’s audio processing and control surface technologies, the EVO.Live console offers integrated HD video and multitrack audio recording.

Fairlight also reported that it has the ability to easily switch between live and post production modes so that staff

engineers can use the desk for audio sweetening when it isn't needed for on-air applications.

“EVO.Live is truly unique,” said Fairlight’s CTO, Tino Fibaek.

“EVO.Live customers will get a much better return on their investment because they are effectively getting two consoles in one.”

The console — with a modular design and a dualoperator configuration — uses

entertainment into and throughout the home. At IBC, Entropic is highlighting the 'Evolution of the Connected Home,’ showing solutions that (1) deliver content into the home with its secondgeneration digital Channel Stacking Switch and broadband access products; (2) ensure a reliable connection to shared content throughout the home with its MoCA technology; and (3) enable the secure consumption of content across multiple screens with its advanced set-top box system-on-a-chip solutions

that range in small form factor packages to RDKbased offerings.

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Top of the table: The EVO.Live tabletop console makes its European debut

Fairlight's integrated control surface technology featuring Picture Keys that self-label instantly for each task performed. It also incorporates Fairlight’s FPGA-based Crystal Core engine.

Features include surround sound mixing capabilities, offline preparation via laptop, a built-in sound effects cart machine and control extensions to lighting systems, third-party DAWs and sound library

databases.

EVO.Live is available in different stand-alone chassis sizes, as well as surfacemounted and tabletop configurations, from 12 to 60 faders.

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Score of antennae transmit victory Kathrein

By Michael Burns Two sophisticated antenna projects are being showcased at IBC, revealing the technology that helped enable the broadcast of the FIFA World Cup. The Berlin fan mile dominated the 17th June Street between the Brandenburg Gate and the Victory Column during the 2014 championship.

Coverage was guaranteed by 20 antennae for 20 sectors on 10 street lantern sites, all set up in a cell radius of less than 100 metres for the smallest possible cells.

Roughly 700 metres in length, the area accommodated 100,000 fans, who in turn were able to connect with the rest of the world thanks to Kathrein's mobile communications infrastructure.

On the other side of the Atlantic, the digital TV broadcasting equipment on the new Brasília TV tower was even larger. A Kathrein broadcast antenna

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system was installed at the top of the 224 metre tower, also known as the Flor do Cerrado.

The steel concrete construction is located in north-east Brasília on the highest point of the metropolitan area.

The system was delivered in late 2013 and installed in mid-March 2014, to coincide with the Rio Carneval.

Installation and commissioning was carried out by Kathrein engineers on site.

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UHD via satellite is the industry focus Hipasat

By Ian McMurray UHD/4K continues to be a topic of significant interest to the industry, and exhibitor Hipasat is showing its channel designed exclusively for UHD broadcasting, Hipasat 4K. The company says that its aim is to carry out tests and to foster the generation of content using this technology, in order to speed up development and make it available to viewers as soon as possible. Hipasat believes that satellite is the perfect platform for UHD services due to its large bandwidth, which is essential for high-quality transmission of such large amounts of data, and notes that its satellites can transmit this content thanks to a design focusing on DTH services.

Not long before IBC2014 opened its doors, Hipasat announced that it had contracted with SSL to build Hipasat 1F, which will be located at orbital

4K provider: Satellite is the ‘perfect platform’ for UHD

position 30º West. Hipasat 1F will replace Hipasat 1D and will give the company additional Ku band capacity in the Andean region and in Brazil. It will also expand Hipasat’s transatlantic capacity in Europe-America and America-Europe connectivity. Ka band capacity with European coverage will also be incorporated, in order to enable Hipasat to continue expanding its broadband service offer in the region.

The new satellite will be built on the SSL 1300 satellite platform, with 11.5 kW power and a multi-mission payload.

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RTL augmented for news Egripment

By David Fox When RTL Netherlands was planning its new virtual and augmented news studio, it wanted to have flying camera moves, but the ceiling height didn’t allow it to use a crane, so it approached Egripment to install a ceiling-mounted system to keep the studio floor clear.

Egripment already had some of what RTL needed in its Virtual/ Augmented Reality Encoded System, but additional features were needed to ensure: smooth on-air movement of the dolly, head and telescopic column; integration with a Vinten Radamec controller; all axis encoding to integrate with Orad’s HDVG graphics platform; and full automation, so that presets or prerecorded moves could be dropped into Sony's ELC studio automation software.

It meant that Egripment had to enhance its Generic Tracking System to link up with other vendors’ systems. “To accomplish this we have used a fully IPbased platform, and through our custom designed Trackmen software we were able to build a bridge between Egripment, Vinten Radamec and Sony, as well as the graphics engine of Orad,” explained Richard Villhaber, Egripment’s sales director.

As RTL wanted to control the Vinten Radamec pedestals and Egripment’s Tracking System using a single controller, “Trackmen wrote customised

software for this special application so that we could easily integrate within the VRC infrastructure through their EPI unit, making it possible to control all robotic cameras by one single controller. The most important reason for this implementation was to keep the workflow with Sony’s ELC as simple as possible. Sony’s ELC can now easily connect to the network and drag and drop stored presets and moves to a playlist that will be used for RTL’s news broadcasting.”

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The ceiling speaks: Setting up the new Egripment Tracking System in RTL’s new augmented news studio

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theibcdaily Introducing licencefree transcoding

New wireless intercom system

ATX Networks

By Monica Heck

Speak easy: The FreeSpeak II Dectbased duplex wireless intercom system

Clear-Com

By Heather McLean The launch of the FreeSpeak II wireless intercom system, an enhanced DECT-based offering that operates in multiple license-free DECT bands from 1.897-1.933GHz, has been announced by ClearCom. FreeSpeak II delivers improved roaming capability for reliable wireless connections, superior digital sound for intelligibility and audio comfort, and intercom features that make

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it a high performance wireless option.

The system is ideal for deployment across the large scale, multi-zone production areas typically required in live events, broadcast and sports production.

FreeSpeak II allows large numbers of wireless beltpack users to simultaneously roam across an expansive production area without compromising on performance. Similar to its predecessor, FreeSpeak II can be implemented as a standalone base station wireless system or as an integrated wireless solution

within Eclipse HX matrices, known as FreeSpeak II Integra.

When using the base station, up to 20 full-duplex wireless beltpacks can be connected; in an integrated matrix setup, as many as 50 full-duplex wireless beltpacks can be used at the same time by strategically placing 10 or more distributed remote antennas to create an expansive coverage zone.

These beltpack users are then able to directly communicate with any other remote or local matrix panel or other wireless or wired beltpack user who is on the Eclipse HX Matrix

System network.

FreeSpeak II uses the existing base station from its predecessor that has been updated to work with the new beltpacks and new active antennas.

Ergonomically positioned controls, intuitive operation and rugged housing make the beltpack ideal for extended use under harsh conditions.

Beltpacks are IP-65 rated for water and dust resistance for mobile productions and the LiIon battery for the beltpack can last over 18 hours on a full charge.

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A licence-free professional quality transcoding platform, which is described as delivering high quality video at minimal bit rates, is making its IBC debut.

The non licence-based VersAtivePro aims to address the challenges associated with switching functionality from HD to SD transcoding or vice-versa, migrating from primary to redundant units or completely reconfiguring transcoders.

VersAtivePro devices can be managed through ATX’s Video Management System (VMS), which provides users with centralised, clusterable control of video services run though VersAtivePro units.

The VMS provides a single UI for managing multiple units and enables the operator to implement multiple redundancy schemas, automated system backups and secure system administration to northbound management systems.

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theibcdaily

Opinion

The Networked Society is coming Connectivity and consumer will dictate evolution of future TV Anywhere experience, says Ove Anebygd, VP and head of TV Solution Area Media, Ericsson As the convergence of media and telecoms drives fundamental change across TV and media, today’s industry players have a unique opportunity to succeed in a new TV landscape. By 2020, the age of the Networked Society will be marked by 50 billion connected devices, of which 15 billion will be videoenabled, plugged into a global IP network.

This exciting era will be defined by consumer demand for content anywhere, any time and on any device. It’s no longer about solely viewing content; consumers are experiencing content instead.

Through our Media Vision 2020 research, an illustration of the future of TV and media over

the next six years, we know there will be 9 billion people, over 8 billion mobile broadband subscriptions and 1.5 billion homes with digital television.

To respond to the challenges these changes will bring, content owners, broadcasters, TV service providers and network operators will need to leverage and execute new monetisation models. We are already seeing a concerted drive towards making all networks video-centric and highly efficient.

The future of TV Anywhere will be pay TV at web speed and this will require the industry to build new and innovative technologies to redefine the viewing experience. These new

platforms will incorporate the inherent benefits of pay TV (quality of service, depth and breadth of content) with the opportunities available from the OTT space (personalisation, interaction and multi-screen experiences).

The global TV market of 2020 is estimated to be worth $750 billion, and if content owners want a share of that prize, they need to find new ways to differentiate themselves and create higher quality media experiences.

Premium, exclusive content is becoming an ever increasingly valuable commodity which consumers are prepared to pay for.

But while content was traditionally the TV industry’s

Taane returns to develop MENA Piksel

By Ian McMurray Just in time to be available for IBC, Ginny Taane has rejoined the Piksel team as senior service delivery manager in the Middle

East and North Africa. The focus of her role is serving MENA customers such as OSN from Piksel’s Dubai office while assisting Piksel’s commercial team to develop new opportunities.

The MENA region presents a unique opportunity in terms of

its current ecosystem and demand for OTT services, Piksel believes. The population is vast and highly advanced when it comes to technology, with smartphone ownership booming and 40% of consumers watching at least one video a day. Free OTT video services are

Live subtitling platform announced Ericsson

By Ian McMurray IBC sees the launch of what Ericsson claims is the industry’s most innovative live subtitling solution. The realtime speech-to-text platform is designed to respond to the needs of major broadcast clients by supporting live subtitling in various languages. Ericsson Broadcast and Media Services

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is showing how it believes this enterprise-level, schedule-driven software platform facilitates a measurable increase in quality through best-in-class speech recognition and stenography applications, enabling broadcasters to find new ways to enhance their services and benefit from previously unavailable real-time metadata feeds.

Ericsson Broadcast and Media Services is also presenting the latest updates from its OTT service strategies, featuring an end-to-end solution scope including pay-as-yougrow commercial modelling, integrated DRM and CDN selection technology. The

company is also showcasing its latest global playout service strategy, featuring hosted and remote technology management and flexible operations modules for global and domestic broadcasters.

“It is ever more important to have the flexibility and necessary level of infrastructure to deliver world-leading managed services that connect the world’s content to audiences everywhere,” said Thorsten Sauer, head of Ericsson Broadcast and Media Services, “and that is what Ericsson Broadcast and Media Services is demonstrating at this year’s IBC.” 1.D61

primary asset, today the curation of content is imperative to the future online viewing experience, as it enables service providers to offer enhanced, personalised methods of discovery and recommendation. Consumers are expecting greater ondemand access to video, and this means that aggregation and the re-use, re-formatting and re-distribution of content will be the TV service provider’s greatest asset in the future.

Ericsson’s commitment to driving this vision has been underlined by our awardwinning technology and service innovation in the TV space and our acquisition of three major industry specialists in the last

already gaining popularity among internet users, and the absence of international giants such as Hulu and Netflix in the region leaves a propitious space for regional players to grow.

“We are so pleased that Ginny has returned to Piksel at such an exciting time,” said Sian Hodgson, SVP Global Infrastructure Services. “She is a seasoned professional who has worked consistently to put the

12 months; Microsoft Mediaroom, Azuki Systems and Red Bee Media. As a result of our continued investment, we have extended our global presence and taken our broadcast and media business to a higher and more strategic level.

This increased scope and capability is enabling us to support an extended and illustrious portfolio of TV and media customers, making them more flexible, responsive and able to adjust to this unprecedented rate of change.

We are looking forward to meeting with our customers and the industry at IBC2014 and sharing our vision for TV and media in 2020.

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customer at the forefront of our service. We have tremendous technological heritage and have delivered a range of firsts in the online video space, including the first commercial OTT platforms in Europe and the Middle East.

The Middle East is an emerging region of great importance to Piksel, and positioning Ginny in Dubai signifies our commitment to providing a great service to customers in the area.” 1.C30

Smooth Cineline Fluid Head Miller Fluid Heads

By David Fox The new Cineline 70 Fluid Head offers “smooth, advanced precision fluid drag control and perfect diagonal drag transition,” claimed Mike Lippmann, European manager, Miller Fluid Heads.

It is constructed from corrosion-resistant alloy and designed for film and digital production cinematographers working on productions that require heavy payload (from 4.5kg to 37.5kg), frequent re-rigging and a diverse range of lenses and cameras.

For easy setup changes, its eight-position counterbalance system uses all-in-one location rear-mounted controls, with illuminated pan/tilt drag, counterbalance controls and bubble level. The fluid head also features an extended sliding range (150mm) for quicker rebalancing after lens or accessory changes.

It features an Arricompatible side-loading camera platform, with an optional, easy-to-fit 1225 Mitchell Base Adaptor to suit traditional Mitchell Flat Base tripods. It also has dual side mounts for monitors and accessories.

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theibcdaily For the latest show news and updates follow #IBC2014

Q&A David Pollack, president & CEO, Spacecom Has IBC come at a good time for the electronic media industry? Why? IBC comes at a good time for Spacecom as we move further in becoming a global satellite operator. In 2015 we are scheduled to launch AMOS-6 to the 4W orbital position where it will provide pan-European coverage by adding Western Europe as well as Africa, CEE and the Middle East. With AMOS-5 offering coverage over Africa, AMOS-4 providing services to Asia, China and Russia and the AMOS 4W 'hotspot' for Eastern/Central Europe and the Middle East, Spacecom

has expanded coverage areas and services to our customers.

IBC is time to meet existing and potential clients and make news.

What do you think are the key developments in, or threats to, your market sector at the current time?

Overall, we see positive market trends for growth in the broadcast, broadband and telecom areas as well emerging hybrid cellular-satellite solutions.

The continuing development and expansion of digital broadcasting technologies are driving forces for the satellite

industry. As we expand the AMOS brand around the globe and work closely with telecom and communications operators to ensure their services are top notch, Spacecom is continuing to capitalise on new trends by expanding our offerings to enhance our clients' values. The emerging hybrid broadband solutions as DTH platforms for pay TV are promising, especially as they increase the number of potential players in the DTH market. We are already seeing success with hybrid solutions and are looking forward to add more of these solutions into our business.

Why should delegates visit your stand at IBC? The biggest news from Spacecom is AMOS-6. This satellite, larger than AMOS-2 and AMOS-3 combined, is scheduled for launch in 2015 to 4W. The satellite’s pan European coverage and High Throughput Satellite (HTS) spot beams will bring multiple times more throughput than traditional satellites to enable broadcasters and service providers to re-think their business opportunities in providing various data services, including mass market broadband services.

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Adding Adobe support Matrox Video

By Carolyn Giardina Matrox Video is demonstrating its support for the latest releases of the Adobe Creative Cloud and Avid Media Composer 8 content creation tools with the Matrox MXO2 I/O devices and the Matrox Mojito MAX I/O card.

“Our customers want the freedom to work easily and efficiently with whatever app is best for each task they encounter,” said Wayne Andrews, product manager at Matrox. “These unified drivers, with support for popular software from

Adobe, Apple and Avid, give them maximum versatility to create and deliver their stories their way.”

Matrox I/O products provide broadcast-quality video and audio input, output and monitoring to enable tape-based workflows. They also let users encode H.264 files for delivery to the web, iPad and iPhone.

MXO2 devices provide cross-platform Mac and Windows support and connect anywhere, Mac and PC, via Thunderbolt, PCIe or ExpressCard/34.

Matrox MXO2 devices start at €382. Matrox Mojito MAX is priced at €799.

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Audio router for BarnOne Barnfind Technologies

By Will Strauss An audio router with embedder that is available as a separate card for the BarnOne range of signal transport frames is among the innovations from Barnfind Technologies.

BarnOne is a multi-functional signal neutral platform that is used for standard SDI conversion, E/O and O/E, routing, embedding, distribution and ASI to IP conversion.

Available in a single rack unit sized chassis, it features 32 ports including a built-in 32 x

32 router and works with data, broadcast video, MADI and 4K60p as well as KVM, HDMI, Ethernet and AES. BarnOne frames are equipped with different combinations of electrical and optical BNC and SFP ports and CWDM multiplexers with every BNC and SFP port being bidirectional (both input and output).

Other innovations at IBC include BarnMini units offering any SFP to HDMI and HDMI to any SFP and a new openGear interface.

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Opinion

The smallest wireless transmitters World’s smallest broadcast quality audio transmitters are among the highlights on its stand, says Paul Vickers, marketing manager, Canford Audio Canford is exhibiting in the familiar location of stand 9.C01 at IBC this year. Highlights include a preview of the upcoming Canford IP MDU’s, boasting some never seen before features and a sleek intuitive user interface. A small selection of Canford’s black boxes, cables, high quality panels, wall boxes and broadcast configured racks will also be on show. Fischer & Senko connectors and the Q5X, which is the world’s smallest wireless transmitters will also feature.

Canford’s all new IP addressable MDU (mains distribution unit) offers a wide range of consumer

configurable features such as; MDU current (Amps) monitoring, MDU power monitoring (volts, amps, power factor & KW/hrs), per socket control (on, off, time delayed and sequential start up), per socket monitoring and environmental sensors (temperature and humidity).

The IP MDU’s will also feature simultaneous XML output; allowing easy integration into third party database/SQL software for automatic logging and data processing, automated alarms with thresholds for High/Low values of each monitored component can be sent via email and SNMP. Web

A watertight case for lenses SKB Cases

By David Fox SKB has expanded its iSeries injectionmoulded waterproof hard cases with a new lens and accessories model.

The 3i-13096LENS case has space for three lenses, a lens hood, and an accessory pocket.

The lens hood compartment has two half-inch

removable rings to fit a variety of lenses. The longest lens slot can fit a 70-200mm or 100400mm lens.

The case is constructed from highstrength polypropylene copolymer resin and uses a gasketed, waterproof, submersible design (IP67) that is resistant to corrosion and impact damage.

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Telsur deploys TITAN Live ATEME

By Ian McMurray Telefonica del Sur (Telsur), a telecommunications company in the south of Chile, has selected ATEME’s TITAN Live to increase its market share by offering a new streaming service for iOS devices and

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enhance video quality for its existing IPTV subscribers.

Founded in 1893 and headquartered in Valdivia, Chile, Telsur is the fourthlargest telecommunications company in Chile and was the country’s first to introduce an IPTV service in 2006. It has more than 300,000 clients and an IPTV subscriber base of 150,000 in

browsing across multiple platforms, including iPads and other tablets is fully supported.

One of the more unique features is the ability to control door locks remotely. This allows off site personnel to grant access to engineers or support teams on site to either server rooms or locked racks and cabinets. A demo model is on our stand to showcase the full range of features, which are crammed into this compact 1U package.

We are also showcasing our exclusive UK distribution deal for Fischer’s new rugged fibre connection range. Available in either two-fibre (FO2) or fourfibre (FO4) configurations;

FiberOptic Series cables are suitable for point-to-point audio, data or cameraconnection use in environments such as studio floors, touring, rental and outside broadcasts. The IP68 rated connectors retain the familiar push-pull connection system found on the Fischer 1051 Triax HD Pro+ product range and offer the innovative feature of being simply cleaned by running under clean water or in a sonic bath.

The world’s smallest but hugely innovative Q5X broadcast quality audio transmitters are on the stand.

The Q5X range are the first transmitters to be unobtrusive

enough to be worn by professional athletes and actors. At roughly the size of two AA batteries they are easy to conceal and comfortable to wear. A fully submersible version is also available, further increasing versatility.

A selection of Canford’s high quality broadcast standard video and audio cable are on show, and our industry leading range of interconnection panels and stage boxes. All are manufactured in the UK and have the option to be supplied populated and screen printed to the customer’s design and specification.

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Enablers for IP-based audio Digigram

By Michael Burns The full release of Codec Fleet Manager has been unveiled at IBC. The web-based application, which can be hosted privately on any virtual machine or operated as SaaS in the cloud, enables structured management of all deployed audio-over-IP contribution codecs.

Accessible from anywhere through the web browser of internet-connected devices, the application automatically synchronises phone books, connection profiles, and

major cities throughout southern Chile.

To support its ambitious business expansion efforts, Telsur has undergone a significant transition from a traditional, fixed, telephony provider to a multi-product telecommunications operator, offering wireless local telephone, internet, IPTV and more.

TITAN Live is ATEME’s carrier-grade software processing solution for next-

The Codec Fleet Manager simplifies management of AOIP contribution codecs

'favourite' groups of codecs to simplify deployment and day-today operation of the full codec fleet.

The release of the Codec Fleet Manager is the first step in Digigram's larger rollout of cloud-based AoIP solutions.

generation TV head-end. It receives IP video sources coming from satellite reception and supports various encapsulation formats to enable the repurposing of content over numerous devices such as TVs, smartphones, tablets, or web players. By deploying TITAN Live, Telsur is now able to offer a new streaming service for iOS devices that rely on MPEG-4 video and adaptive bitrate technology.

Another is the addition of Ravenna/AES67 connectivity to the IQOYA range of AoIP codecs.

Digigram said this would allow users to get audio programmes directly from an in-studio Ravenna network and subsequently encode and stream them over IP to transmitter sites via a WAN, in compliance with EBU ACIP. Users can also decode EBU ACIP streams from a WAN to their in-studio Ravenna network.

The company said these capabilities allow radio stations to easily migrate towards the use of IP audio within their studios.

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Telsur’s installed base of firstgeneration set-top-boxes supports only MPEG-2 decoding. With TITAN Live, Telsur is able to broadcast compatible MPEG-2 video streams for its existing subscriber base, simultaneously with MPEG-4, with what ATEME says is enhanced picture quality compared with the MPEG-2 hardware encoders previously deployed.

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Sports video market has big year, despite grumbles

By Douglas I Sheer By every important metric the sports video equipment market has had a great year in 2014.

Major events like the World Cup and the Winter Olympics have been key drivers.

It was a year that saw massive building projects underway or coming to completion in every region of the world.

Synchronously, sales of sports related video equipment in virtually all categories were up, more professional and educational stadia were getting built, more OB trucks outfitted and more TV sports studios created.

Even where new facilities were not being built, a lot of upgrading was underway, especially where the recession economics had previously held them back. An increasing number of new, more esoteric types of sports are finding their way onto small screens, ranging from TVs to mobile phones, as even the most exotic of sports is finding an audience.

Among newer sport coverages are: more women’s events, more children’s and school-sourced events and more esoteric interests such as fencing, chess boxing, synchronised swimming, dressage and bocce. To all intents and purposes the sports market is filled with overwhelmingly good news.

spending.

Could these mean that there is trouble brewing in paradise? It could if such pressures caused a shrinking of sports budgets.

That could lead to less money to spend on equipment.

The D.I.S. Consulting annual sports video report, published in June, called Sports Video World 2014 captures the dichotomy that is emerging in the marketplace. Overall, from the perspective of the purchasing of sports video products it’s still a generally pretty picture once more. I say once more because the sports market has been a consistent bright spot even though the worst days of the recession that started in 2008.

With the possible exception of the European market, which was hit particularly hard, sports spending and sports video equipment acquisition has continued to outperform virtually any other market application, as we reported in previous studies.

And, even for Europe, it was often the strongest market area amid many weaker ones in the region.

Near demise of 3D Talk about the light that failed.

3DTV channels fared miserably and fizzled. That represented a major setback in an otherwise seemingly boundless growth

spurt among sports cable channels, globally. This caused major sports content players like ESPN and Sky to scale back 3D plans and curtail deployments or cancel services outright.

But, that false start has been amply made up for and is being replaced by Ultra High Definition and mainly by 4K technology.

Sports venues and teams have enthusiastically embraced the move to higher definition and where 3D was intended and thwarted UHD is stepping in to take its place.

Not all sports related products are seeing growth at the same rates, and a few are even in a minor decline or running flat against recent years. Of the 12 sports related equipment categories tracked in the study, the healthiest growth is being seen in cameras, camcorders, D-SLRs, robotic camera systems, lenses, audio consoles and displays. The products covered in the study were: 1) cameras, 2) camcorders, 3) DSLRs, 4) robotic camera systems, 5) lenses, 6) audio consoles, 7) displays, 8) tripods, 9) sports servers & still stores, 10) production switchers, 11) instant replay and 12) creative software.

Of the weaker reported categories were instant replay, where something of a saturation

situation has been reached. Also key is that within categories like cameras, specific subsets like high-speed models represent pricey niche areas of spending.

Sports video budgets are generally looking up. In fact, of the total 1,669 survey respondents, worldwide, 1,176 stated they expected to see increases in the coming year, while only 296 said they expect declines and 197 said they expected that their budgets would remain the same.

In Europe, where there were 412 respondents this year, a healthy majority, 234, expect to see increased sports video budgets in the next year, only 49 expect to see declining sports video budgets and only 13 expect to see their sports video budgets remain the same. There were 116 who didn’t answer.

Year-on-year this indicates a strengthening in buying plans.

That optimistic forecast speaks volumes about the prospects for

The sports video equipment market has had a great year in 2014

improved spending on sports video kit in Europe in the coming year.

Despite the highly optimistic customer predictions, the results of the study also suggest the potential that a glut of facilities and overbuilding in OB vehicles could slow growth in the out years. That combined with ominously building pressures on budgets could also spell a tighter less ebullient sports video market in the next decade. That said, European countries have a bit of catching up to do when compared to other geographic regions in facilities terms, so there may be a bit more headroom here than elsewhere.

Douglas I Sheer is CEO and Chief Analyst of D.I.S. Consulting Corporation and can be reached at dougsheer@gmail.com.

And the grumbles Everything is great, so, why worry? Well, there is a growing concern in the sports market, specifically among respondents, that perhaps stadia are being overbuilt, that schools are devoting too much of their income and assets to sports.

Sports spending in the US, for example, is averaging about 51% of total budgets at colleges, trumping every other category. This while students and their parents have been struggling under mountains of long term loan debt and dubious job prospects.

Public outcry in places like Brazil over rampant profits going out of the country to FIFA while the favelas continue to suffer drove tens of thousands into the streets have been in the news.

US college athletes are beginning to organise unions to enable them to press for a share of bountiful college sports earnings, even at risk of their amateur status, a factor that can start impacting equipment theibcdaily 63

theibcdaily

‘Sleek’ update for OnAir SintecMedia

By Will Strauss

Newly built: RAI’s Milan news studio, installed by Aret

Tight turnaround for RAI studios Aret

By David Fox The Italian systems integrator Aret has just completed two projects for RAI: a news studio in Milan; and a large project in Rome consisting of two production studios, two main graphics rooms, a teleport, a star centre apparatus room, two documentary rooms, 48 editing and post production rooms, and 24 graphics stations.

The installation included some 100 rack cabinets, 168 modular rack frames, about 390 audio and video patch panels and around 280 UTP patches. The whole centre is interconnected using fibre, with more than 160 fibre patch bays.

Aret took care of the design through to the turnkey installation and commissioning, and had to complete the project in very little time, as RAI wanted to go on air six months after the initial meeting.

DAB hand at FM space Alan Dick Broadcast

The company worked with RAI to carry out detailed activity planning, and spent a lot of time working on the design and project management to try to prevent problems once the installation went on air, which both studios did over the summer, without any delays.

Aret was also working on several other projects, including RAI’s news studio in Milan, and several OB vans destined for the Middle East, Switzerland and the Far East.

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A new “sleeker” version of SintecMedia’s broadcast management platform OnAir is making its European debut.

OnAir provides support for managing advertising revenue streams, including ad sales, traffic, programming, scheduling, promotions, and rights management.

Key improvements in version 4 include a “sleeker technology footprint” that promises a reduction in implementation and system maintenance costs, and a new optimisation tool kit for managing promos and ads.

OnAir 4 also features a redesigned screen layout with ‘intelligent interface’ that gives operators an overview of the broadcast business environment, access to critical operations

and makes suggestions for what might be done next.

It works with SintecMedia’s standalone OnRights and OnRequest modules for nonlinear content management and delivery.

SintecMedia CEO, Amotz Yarden, said: “OnAir 4 is designed not only to enhance efficiencies for existing users, but also to help new users master the system quickly and easily.

With the new version, we’ve packaged all of the robust components of OnAir into a single unified user experience that provides a single screen and a single touch-point for accomplishing the most critical management tasks.”

Also featured are the Integrated Broadcast Management System, the MediaPro advertising sales system, CloudOnAir and the OTTilus OTT delivery platform.

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Switch hit: New VB273 functionality supports satellite uplink switching

By Michael Burns A new range of economic and space efficient DAB antennas has been released, sharing an IBC spotlight with the new VHF BIII Mask filter/combiner and a range of UHF and FM units and towers.

Two types of antennas have been specially produced for some of the world’s most renowned broadcasters and broadcast signal providers, in the form of the Shared Aperture FM Crossbow and the FM Spearhead.

DAB antenna elements have been designed to be fitted onto the existing FM antennas without disturbing installation or performance.

“Environmental considerations coupled with zoning and planning restrictions forced the BBC to seek an antenna that could be fitted into the space occupied by existing FM units,” explained ADBL president, Alex Perchevitch. “ADBL embarked on a development project to provide a solution that didn’t impact negatively on the FM antenna and met the specification for DAB.”

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L-Band and IF now available Squarial: ADBL’s shared aperture FM Crossbow antenna was designed for square structures

Perchevitch claimed the FM Crossbow antenna would provide an excellent omnidirectional horizontal radiation pattern from an array of four panels mounted around a square structure. The FM Spearhead meanwhile provides an omnidirectional radiation pattern from an array of three panels mounted around a triangular structure.

ADBL said the systems were range tested to optimise the RF performance of the combined DAB/FM antennas.

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Bridge Technologies

By Ian McMurray Newly available in both L-band or IF versions, the VB273 Intelligent Satellite Redundancy Switch module from Bridge Technologies is designed for the company’s new carrier-grade intelligent redundancy switching solution for satellite uplinks.

The VB273 works in a redundant chassis to monitor two signals from dual production chains and switch to the backup chain if the main chain fails.

Bridge Technologies is also showcasing Version 5.1 of the system software for its systems, introducing what it says are important advances in graphics capability, a free VBC Elements Manager for easy management and updating of probe networks, and new graphical status overviews of RF data, among many other new features.

Visio drawings can be imported into the optional VBC graphics editor and users can tag specific objects or areas in the drawing with markers that show realtime status on any selected monitoring entity.

This capability allows users to create entirely customised ways of displaying monitoring data on maps or network diagrams. Status can be displayed on objects such as individual probes in a network diagram, or by geographical designation such as individual headends on a map, or individual services or groups of services on a block diagram to show each channel’s status. Extremely easy to use, this capability can be exploited by any engineer, without requiring specialist skills.

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theibcdaily For the latest show news and updates follow #IBC2014

EKT joins DTVKit DTVKit, the not-forprofit organisation whose aim is to provide the core building blocks of a broadcast DVB stack, has announced that EKT has joined as a member. EKT, an STB developer and manufacturer, is said to have been one of the first companies to deliver set-top box solutions in the field of IPTV/OTT and hybrid.

Early on, EKT and its solidTV group identified the need for a panEuropean and global DVB solution that is maintained and updated to the latest standard: DTVKit says that membership provides this and will enable EKT to further accelerate the time-to-market for its customers.

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Plug-in powerup ensures compliance Eyeheight

By Michael Burns A major update to the BroadcastSafe compliance plug-ins for Avid's Media Composer and Adobe's Premiere Pro post production software has been released.

The BroadcastSafe plug-in offers a complete legaliser, safe-area generator and graphic measurement toolset.

Version 1.5 of BroadcastSafeMC (for Media Composer) and BroadcastSafePP (for Premiere Pro) both incorporate a new Broadcast Evaluate display indicating which parts of a video image require adjustment in order to be fully broadcast compliant.

Non-compliant areas of content are displayed in a user-definable colour with the option of manual or automatic correction, giving editors greater choice in the way they work. Previously, this was an auto-only function.

BroadcastEvaluate supports all common compliance standards. Users can alternatively define their own

RBB plans filebased transition Wellen+Noethen

By Will Strauss Rundfunk Berlin-Brandenburg (RBB) will move to a completely file-based TV production set-up in 2015 after signing a deal with Cologne-based systems integrator Wellen+Noethen.

Following a EU-wide tender, the German multi-platform broadcaster has commissioned a 14-month long project that will see Wellen+Noethen take responsibility for planning, realisation of the overall technical concept, installation and integration, launch and monitoring of the initial operational phase.

RBB chief engineer and head of systems planning, Wolfram Klemmer said: “The installation of an entirely file-based TV production [set-up] is one of the biggest technology projects in the history of RBB. We defined a

compliance standard as an XML file.

Also new for BroadcastSafeMC and BroadcastSafePP is BroadcastSafeArea. This allows a wide range of safearea markers to be superimposed over the video monitor display.

BroadcastSafeArea supports a multitude of standards including SMPTE, EBU and DPP, in 525/625 standard definition, 720/1080 high definition and 2K line formats.

Also included is a centre marker plus a measurement utility to ensure minimum text height conformance in commercials. Any marker colour can be assigned by the operator.

BroadcastSafe allows users to verify and conform content prior to submission to any filebased quality control system.

It can perform composite, RGB, RGB-plus-Y and simultaneous composite-plusRGB legalising, all with useradjustable soft clipping at high and low thresholds.

Editors can select from an extensive range of presets, or work in custom mode which gives full access to 15 configurable parameters.

Precise chroma-space conversion and accurate limiting ensure compliance while keeping the full gamut available for creative use.

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range of criteria that are particularly important for the infrastructure, such as uniformity and speed of workflows and production processes, high accessibility of the overall system and a coherent redundancy concept.

Wellen+Noethen combined these and also other aspects in a technically compelling and at the same time economically viable concept.”

Implementation of the new AVC-Intra based infrastructure will take place at RBB’s current building in Potsdam while broadcasting duties continue.

The project will be divided into the areas of ingest, media asset management (MAM), production, “outgest”, editorial and network technology. A central MAM will be installed to aid collaborative workflows and production processes.

A second stage of the contract will see centralised ingest and outgest, central

Klemmer: file-based move is one of the biggest technology projects in RBB’s history

archiving and video and audio post merged into a single filebased infrastructure. A six-year service agreement is also included.

Wellen+Noethen general manager Daniel Url added: “It will be our job to optimise the workflows to be implemented

for the bandwidth of AVC-Intra and integrate the interfaces in close collaboration with the involved vendors and manufacturers.”

Installation should be completed by the second half of 2015.

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ZX 14: Cinedeck ZX comes in three models and with a range of options.

Camera to post workflow Cinedeck

By Carolyn.Giardina The new Cinedeck ZX, a modular 4K/UHDTV-1/HD/SD platform for camera to post workflows, is debuting at IBC. This latest addition to the Cinedeck family of record, ingest and transcode systems has three hardware options to which a range of Cinedeck-developed plug-in workflow packages can be added, enabling the custom-building of pipeline capabilities. The idea is to avoid “forklift” upgrades and the financial outlay on unused functions, but to have the advantage of being able to add extra

capabilities when workflows change.

Starting at $21,995, the base level Cinedeck ZX20 provides two channels of 2K, HD or SD, with optional 4K playback. The mid-level Cinedeck ZX40 supports four channels of 2K, HD or SD, and, when fully-loaded with plug-in packages, is equivalent to the 4K-capable Cinedeck MX, according to the company. The Cinedeck ZX45 adds even greater processing power to support 4K and UHDTV-1 at 60P and four channels of 2K, HD or SD at 60P, including visually lossless JPEG2000, Cinedeck reported.

Workflow packages can be added to each of the three models; and additional plug-in

packages cover options including formats, networking and connectivity, codecs and wrappers, deck and telecine control. Pricing on these options have not yet been announced.

For networking and connectivity, Cinedeck ZX systems can be fitted with either 10Gb Ethernet or 8Gb Fibre networking, or custom adapters for high-bandwidth local storage. Customers can also choose a package to support many media environments, including editorial platforms from Avid, Apple and Adobe.

Cinedeck ZX systems, scheduled to ship in Q4, will feature Cinedeck’s v5 64-bit native software.

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Opinion

Smoothing the path to OTT For media and broadcasters OTT entertainment is not the future, it is a challenge today says Satoshi Kosugi, CEO, Nextscape Nextscape is a leading OTT business solution provider in Japan. We have helped mobile telcos, animation distributors and TV stations exploit internet entertainment and education businesses by providing a onestop shop solution from ingestion to content delivery

through CDN. Our solution, Media Delivery Suite (MDS), smoothes the painful path to deploying an OTT platform with low cost and ready-to-use PaaS modules.

How do you stream HD and 4K videos on reasonable cost of bandwidth consumption?

The answer is HEVC. HEVC drives bandwidth efficiency gains by as much as 50% compared to its predecessor, H.264, by introducing high computing complexity.

Nextscape's cloud based HEVC transcoder can provide a pay-as-you-go, unlimited

capacity high-quality HEVC video stream for smart TV and mobile devices.

Content protection is another key to success for OTT, VoD and live services. Nextscape’s PlayReady Solution and client DRM Agent SDK provide a flexible, efficient certificated

Loudness and V-Chip enhancements boost 3G range Plura Broadcast

By Michael Burns An updated range of 3G monitors, enhanced with integrated audio loudness logging and V-Chip decoding features, are being showcased at IBC. Plura Broadcast said the new software-defined features for its SFP-3G and PRM-3G monitors would aid quality control across broadcast and production workflows without adding complexity or increasing form

Monitoring the situation: Plura’s 3G monitor family has gained new quality control features

factor.

The company currently offers standard live monitoring of digital audio loudness LFKS levels, but will introduce new timeline-centric features that

allow broadcasters to quickly review and troubleshoot fluctuations in audio loudness over a given time period. The monitors log all LKFS activity on a continuous basis, and provide

New raft of production utilities set sail BroadStream Solutions

By Michael Burns News production system Current, the Harbor master control automation system, and Armada, designed to help broadcasters handle specialised tasks such as time delay and localisation of feeds, have all been unveiled at IBC. BroadStream Current allows news teams to begin working with incoming content directly from their desktops the moment it arrives and play immediately to air without transcoding delays. By offering content viewing and clip trimming inside the News Room Computer System (NRCS), Current adds certainty to content selection and rundown accuracy.

Harbor Master Control enables precision switching of live events while allowing

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Port in a storm: Harbor is intended to help broadcasters deliver more compelling live content

broadcasters to make use of their existing investment in master control switchers and graphics systems. It offers integrated automation with closely coupled media management, and central storage with ingest and playout.

Harbor is built on the same computer platform as BroadStream's OASYS integrated playout system, so it can easily be reconfigured as an OASYS system without swapping out any components when broadcasters wish to migrate.

“Successful broadcasters know the future revolves around live shows and events to drive viewership and generate revenue,” said BroadStream president of sales and marketing Ben Wolk. “Broadcasters delivering live content depend on their master control solution to deliver dynamic schedule control, accelerated content workflows and highend event-driven graphics.”

Also released, Armada is a fleet of apps that can be combined and configured to handle specialised tasks, such as time delay applications that can be used for live event production and time zone delays. It also offers localisation apps that can be used to create solutions for the regionalisation and localisation of feeds, as well as media ingest solutions to manage the recording of live video feeds.

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graphical representations on screen via a built-in HDMI output. The company said this will enable broadcasters to better understand when and where fluctuations take place, and troubleshoot issues to prevent further occurrences.

The integration of V-Chip technology is of special interest to North American broadcast stations and networks, which must transmit ratings data for content that specifies suitable viewing audiences. Plura said the integration of this technology into its monitors would deliver this sensitive data on screen

solution for protecting premium content and HEVC assets. We also help DRM porting to branded connected devices.

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without hiccups, as well as save broadcasters from purchasing separate units and integrating them within existing workflows.

“Plura has blazed the trail for all-in-one monitors, eliminating the confusion and complexity of mix-and-match modules and options that many vendors still require of their customers today,” said Plura president Ray Kalo. “Our vision for broadcast and production monitoring remains integrated functionality of rich feature sets within sleek, easy-to-manage platforms. This ultimately minimises costs for our customers while increasing the reach and power of their monitoring environments.”

8.B73

EVF gets anamorphic de-squeeze treatment Alphatron

By David Fox Alphatron’s EVF has been upgraded with new firmware (V0.66) that allows it to do an anamorphic de-squeeze so that it can be used with anamorphic lenses.

The new setting desqueezes the anamorphic image, to make the image appear normal in the electronic viewfinder, and allows the operator to select

three de-squeeze modes: 1.3x, 1.5x and 2x.

Also new is the option to view images pixel-to-pixel just by hitting a function key rather than having to scroll through all the options.

The EVF has both HDMI and HD-SDI input, with loop through, and such functions as waveform and vectorscope.

To complement the EVF, there is the new Alphatron Electronic View Finder ENG Bracket, which mounts the EVF to ENG style shouldermount cameras. The lightweight aluminium bracket includes a detachable universal shock mount microphone holder, and has an adjustable friction head.

11.C36 Alphatron’s EVF mounted on the recently-introduced EVF-ENG Bracket

theibcdaily For the latest show news and updates follow #IBC2014

Analytics for big data Genius Digital and GfK

By Monica Heck A shared vision around the ‘big data dilemma’ in the broadcast world is at the heart of the Genius Digital and Gfk demonstrations taking place in Hall 14 this year.

In May this year, GfK became the majority shareholder in Genius Digital, a move which brings to the fore the synergies between GfK’s market research business and Genius Digital’s

realtime data analysis technology.

At IBC, both companies are

addressing the difficulties linked to handling the vast quantities of data generated in today’s broadcast world. This data is an invaluable source of capital for operators, enabling them to analyse audiences, monitor churn rates and optimise their services, yet collecting and managing it

often requires the use of disparate analytics tools.

Together, Genius Digital’s Insight Platform and Gfk’s market research business enable pay TV operators to make sense of relevant data.

Using realtime data collection technology, the Insight Platform integrates

multiple data sets for a single view of the customer across all platforms. It delivers a tailored solution around content and subscriber insights, personalised targeting and retention, ad optimisation, UX insights and realtime QoE monitoring.

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Gateways for live TV capture Exterity

By Monica Heck A new range of AvediaStream TVgateways, designed to simplify the delivery of DVB television content over enterprise IPTV networks, is on show for the first time at the Exterity stand.

The gateways enable organisations to receive and securely distribute multiple video streams simultaneously. The newly launched TVgateways can ingest DVB-C/C2/T/T2/ S/S2 broadcast streams from eight multiplexers via eight tuners in one blade, saving rack space in server rooms, reducing power consumption and making them the highest performing and compelling, professional live broadcast acquisition product available.

The TVgateways are primarily aimed at businesses that want to provide live TV as part of their enterprise IPTV offering, including corporate, hospitality and governmental organisations.

Other on-stand demonstrations will show how broadcasters presently use Exterity solutions to distribute video around television studios and production galleries, enabling peer review of content via individual or shared screens.

Commercial and marketing teams can monitor competitor output and track live and breaking news at their desktops with tailored Artio Portal and Multiview screens.

Exterity systems are currently used by broadcasters, content producers and operators including the BBC, Canal+, Endemol, ESPN, Etisalat, ITV, NPR and Warner Bros.

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Opinion

Leveraging the promise of IP IP newsgathering has come of age. TVU Networks CEO Paul Shen gives his view on the future of IP in broadcasting and what to expect at IBC2014 Much like the move from analogue to digital, the transition from SDI to IP is another landmark change for broadcasters. A large number of TVU customers are fully embracing the change, and for good reason. IP opens up opportunities for broadcasters to improve the efficiency of their workflows, consolidate redundant legacy equipment, and expand operations in a cost effective manner.

At TVU, our focus is on enabling our customers to leverage the promise of IP on both the acquisition and the distribution end. Since our earliest days, TVU has been focused on how to deliver high

quality video over IP connections. We have continued to innovate and introduce new solutions that help our customers embrace IP. For example, at the acquisition end, we offer the TVUPack family of IP newsgathering transmitters that are capable of transmitting HD video over multiple cellular, microwave, satellite, Ethernet or WiFi connections at subsecond latency. On the distribution side we have developed TVU Grid, our innovative IP switching, routing and distribution solution. Since its introduction one year ago, many of the biggest broadcast organisations in the world have

begun deploying TVU Grid to accelerate their move to IP. It’s clear that cellular ENG has become an essential tool for broadcasters. We work with hundreds of broadcast customers around the world on a daily basis to help ensure that they can deliver successful, high quality transmissions. That said, TVU has moved our focus beyond just transmitting over cellular networks. Broadcasters demand flexibility and resiliency, and as a result it is vital to not only optimise video traffic over cellular networks, but to also facilitate transmission over other IP links to ensure maximum bandwidth for each transmission.

Web technology for editorial planning CreateCtrl

By Adrian Pennington “Today's market requirements indicate that broadcast organisations work more and

more inter-divisional on topics, which are distributed only at the end of the production process through the various media channels like TV, radio, and the internet,” explains Dr. Klaus Rolshausen, founder and CEO of CreateCtrl. “Our software

solutions support journalists from the initial idea through to broadcast."

The company focuses on the new, HTML5-based Editorial Planning System (EPS), which is being used today with great success at Deutschlandradio. It

TV broadcasters with reliable multichannel synchronous audio PC connectivity.

Digigram said it was intended for high-density audio production and automation applications.

Equipped with an optical MADI interface, the card supports a 64/64 I/O channel count with low roundtrip latency down to 3 milliseconds. Embedded 64 x 64 routing gives users direct

monitoring capabilities, along with record and play functions.

The company claimed that because the LX-MADI card is a hardware solution, it offers high stability. This is regardless of the computational load presented by other applications, such as editing, processing, ingest and playout, being supported by the host system.

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New look for CanalPlay app

secured interface dedicated to children.

Since April, the CanalPlay application developed by Hubee for Android smartphones, phablets and tablets supports ChromeCast technology, making it possible to remotely view videos using Wi-Fi from the CanalPlay applications. Subscribers can now start playing a programme on smartphone or tablet to finish on the TV screen.

14.H17

MADI card stable under pressure Digigram

By Michael Burns The new LX-MADI PCIe sound card has been released, designed to provide radio and

Hubee

By Monica Heck Canal+ group has chosen Hubee to redesign the latest version of the CanalPlay application on Freebox and Android both visually and technically.

Offering internet users a “simpler, more fluid and more practical access” to 68 theibcdaily

the Freebox platform, new functionalities will be available. These include personalised recommendations, a streaming system for the continuous watching of series episodes, a system that allows viewers to pick up viewing where they left off, more comprehensive descriptive programme sheets and Canal Play Kids, a

To that end, our TVUPack transmitters can aggregate multiple cellular, satellite and microwave connections simultaneously – and can add or drop any type of connection without disrupting the transmission. Broadcasters demand that every transmission be successful, and we are working closely with our customers to meet that goal. We have also developed strategic partnerships with a number of satellite and microwave providers, such as Vislink, that enable us to deliver a complete solution to customers. In the future, broadcasters should expect to see more of these

is designed for cross-media productions.

“From concept to completed planning process, the entire editorial staff can access the production process anytime – independently of location and device,” says Rolshausen.

“Thanks to the HTML5 technology, the workflow-based

type of robust solutions.

At IBC2014 TVU is displaying a number of new solutions that help broadcasters embrace IP newsgathering. We are introducing a number of updates to our TVUPack family of solutions that will dramatically improve the TVUPack’s flexibility and the resiliency of each transmission.

We are showcasing our TVU Grid solution and demonstrate how broadcasters can utilise it to speed their transition to IP. And we are introducing solutions developed in conjunction with strategic partners.

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EPS permits flexible editorial collaboration.”

The EPS has been used at Deutschlandradio since the beginning of this year. Platform independence in particular was a crucial factor for the management of the public radio station.

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Prompter displays arrive on Cue CueScript

By David Fox Prompter startup CueScript is showing two ranges of monitors aimed at high-end and no-frills buyers. Built from a blank canvas, its CSM line of LED High Brightness HD-SDI Prompter Monitors is claimed to offer “all of the features that are necessary for modern broadcast productions, resulting in a major leap forward in prompting technology and displays.”

There are three models: the 15-inch CSM15, 17-inch CSM17 and 19-inch CSM19. Each boasts low energy consumption and a low power start up, two of broadcaster’s top requirements.

Their three-mode adjustable power input includes low (26W), medium (30W) and high (38W) (dropping to 17W, 19W or 24W for the CSM15).

The models also feature: a built-in mounting system

(including integrated On-Air Talent Monitor mounting rails – CueScript also offers the 19-inch CSTM19 Prompter Talent Monitor); low profile design; and an increased viewing angle (170x16 – or 160x140 for the CSM15) for easier screen readability.

Built-in LED cue lights come as standard (something that is often an option in this product category), and feature LED adjustable brightness and 180º viewing.

CueScript is also launching its Education, Media and Corporate (EMC) line of prompter displays, which are aimed at productions that don’t need the high level features of the CSM range.

The EMC15-inch and EMC17-inch displays will be offered with lightweight mounting options for all fluid heads.

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New features for Vantage 6.3 Telestream

Vantage point: Vantage 6.3 includes more transcoding and format support

By Carolyn Giardina Telestream is demoing the latest features of its Vantage version 6.3 platform for transcoding and file-based workflow automation. It is also showing how it aims to simplify the integration of the platform alongside systems from vendors such as Avid, Adobe and Apple.

Using Telestream’s Post Producer — a product that was introduced in 2013 and runs on the Vantage platform — Vantage 6.3 editors can design automated production templates in various editing systems, and then Post Producer will mass produce hundreds of customised outputs automatically.

In another development, Vantage 6.3 includes more transcoding format support.

Full 4K support and HEVC encoding are now available in Vantage Transcode Multiscreen and Vantage

Trancode IPTV VoD. In addition, XAVC decoding and ProRes 4444 encoding have been added to Vantage Transcode Pro. Vantage is now able to read CSV files to automate submission of multiple jobs. It also includes a new proxy viewer for the web workflow portal, improving frame accuracy and adding features such as title safe guides,

captioning, and hot key control (JKL-style).

Commented Paul Turner, VP of enterprise product management: “What you see from Telestream is a platform that represents several decades of investment and development, combined with a willingness to work with other leading technology vendors in the industry.”

7.C12

MultiChoice signs up Intelsat

By Ian McMurray African pay TV provider MultiChoice has signed a 15year service agreement with Intelsat on a new satellite to be added to the Intelsat network.

The new satellite, Intelsat 36, is expected to launch in late 2016 and will be co-located with Intelsat 20 at 68.5˚E, Intelsat’s direct-to-home (DTH) neighbourhood in Africa.

MultiChoice has been the anchor customer at the 68.5˚E location since 1995.

“Our agreement with MultiChoice is a clear demonstration of our mission to partner closely with the leading media and enterprise customers in each region, to understand their network requirements and then create the infrastructure that will support their growth goals,” said Intelsat’s SVP of global sales, Kurt Riegelman (pictured). “Since 1965, Intelsat has committed to and invested in Africa’s communications and

‘Intelsat has invested in Africa’

broadcast infrastructure. This has resulted in robust satellite coverage and Intelsat’s position as the leading provider of satellite services in the region.”

The Intelsat 36 design will feature Ku- and C-band services. The MultiChoice DTH services will use the Ku-band payload. The C-band payload will provide services to other customers using the Intelsat 68.5˚E video neighbourhood, which also distributes content to South Asian cable communities.

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Opinion

Measuring light with nano-precision Not all LED luminaires are created equal which is where Quantum Dot technology and the TLCI standard come in, explains Jim Collias, engineering director, Zylight Lighting for film and television has a long-standing history of traditional equipment and process that have only recently been so transformed by the emergence of LED lighting.

Bringing their obvious benefits of energy savings, long bulb life, and heat reduction, LED lighting fixtures are now an established part of the illumination arsenal for film and television.

However, not all LED luminaires are created equal.

Measuring and quantifying light quality has become as much of an art form as the creation of content itself. New

measurement standards and technological breakthroughs have allowed for solid state lights to advance quality and measurement to be on par with their traditional brethren. Two areas of note are quantum dot technology and the TLCI standard.

Quantum dots are silicon nano-particles layered over LED chips to help them generate light of a more complete spectrum. These nano-particles vary in size and are tuned to create specific colours of light when excited by their ‘host’ LED; one specific size silicon nano-

particle represents red (650nm), while another can represent green (532nm).

The nano-particles are then gathered in proprietary ratios and mixed in with the standard phosphor that is layered over LEDs to produce white light.

Why do we do this? Because typical white LEDs without Quantum Dots can be deficient in areas of the visible spectrum that can be critical to the accurate representation of skin tones when capturing images for film and video.

In the development of the Quantum Tuned F8, our extensive head to head testing

with competitive fixtures confirmed noticeable improvements in skin tones and the red portion of the spectrum, usually found to be deficient even when using high CRI LEDs. The subjective Color Rendering Index (CRI) has been proven unreliable even when used for its original intended purpose, industrial and architectural situations. An emerging standard, TLCI (Television Lighting Consistency Index), is specific to the film and video industry and provides a more accurate measurement of the spectral power distribution and performance of a fixture as it

relates to television production.

Operating on a scale of 0 to 100, the results tend to portray a more accurate scale of lighting as it relates to production.

We have many installations throughout Europe and the Americas utilising Quantum Dot technology and IBC allows our customers to see first hand the advantages of quantum tuned fixtures and their ability to accurately replicate traditional lighting sources from a light quality perspective.

11.E38

Four-channel 4K coaxial connectors Virtual camera demonstration Canare

By David Fox Canare has launched what it claims is the first four-channel coaxial connector for linking 4K-related equipment. The new connector will enable the transmission of four 3G-SDI 4K signals with a single connector and one cable.

The connector plug is composed of four 75-ohm connector units, which can be plugged in simultaneously with an easy push, pull and

lock system.

The connectors are compact, solid and lightweight, and are suitable for outdoor use. The receptacle connector units are compatible with IEC’s DIN 1.0/2.3 connector plugs. At 3GHz, the return loss is 20dB or greater.

The

connector should be available shortly after IBC in three models: one connector plug, one connector jack, and one receptacle.

11.A50

4x4: Canare’s new MDM-V4C25HW plug and MDF-V4C25HW jack for 4K use

Nvidia

By Carolyn Giardina A virtual camera technology demonstration showcases the potential of Nvidia’s upcoming line of Quadro GPUs. The position of the “camera”—a Google Project Tango tablet with tracking capabilities that uses the Tegra chip—is streamed to a 3D renderer or content creation application (in this case, Autodesk’s Maya) where CG elements are

rendered using Nvidia Quadro GPUs, video-encoded by Nvidia GRID technologies, and streamed back to the tablet combining live action and CG with low latency.

“It allows filmmakers and content creators to interactively visualise CGI assets composited into a liveaction set, enabling effective shot placement. This new technology enables the virtual framing of a shot, composited with realtime CGI, on a liveaction set,” said Wil Braithwaite, senior applied engineer, VFX, Nvidia.

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Towards making HDMI a professional video standard Atomos

By David Fox SDI has ruled the professional video space for more than 25 years, built on a backbone of dependability and control, but HDMI, the main consumer connection, is increasingly important for professional use, particularly for DSLRs. However, many of SDI’s advantages have been missing from HDMI, such as auto triggering and timecode 70 theibcdaily

communication between cameras and external devices like monitors and recorders.

Atomos has implemented these functions in conjunction with camera manufacturers, and now wants to make it an open, free and available standard.

“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 initially developed auto HDMI start/stop and timecode communication with Sony’s FS100 in 2011, then Canon’s 5D Mark III, 1DC and C100 last year. Currently, almost all professional Sony and Canon HDMI cameras employ this protocol. Now it is open to all camera manufacturers.

Another SDI advantage has been a firmer connection, as HDMI is easily pulled out. To counter this, Atomos developed its own HDMI cables with tight fitting connections and coiled

cable to lessen clutter and reduce pulling at the HDMI connection.

“Initially we developed these cables purely to support the Ninja Star, our lightweight, pocket-size ProRes recorder,” said Young, “but after consulting with our user base we soon discovered no one had yet developed a complete range of HDMI cables purely for ProVideo users in our space.”

Its cables include a rightangled HDMI micro-tomicro/mini and fully coiled cables in lengths of 30cm (45cm

Shogun wedding: The Atomos Shogun achieves auto HDMI start/stop and timecode with Sony’s A7S

extended). HDMI mini-to-full and full HDMI-to-full HDMI connections in lengths of 3050cm (65cm extended), priced $19.95- $29.95.

9.D25

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SemanticTV comes home Full HD LinkedTV

By Adrian Pennington The big brains at the Fraunhofer Institute have turned their attention to imagining how a converged web search and TV content might be experienced in the living room of the 2020's.

Visitors to the IBC Future Zone can make themselves comfortable in a living room simulation and, while watching a TV programme, explore more information and content about concepts and topics via a companion app. The technology, which makes this programme enhancement possible, is targeted at broadcasters and OTT content providers and runs under the name LinkedTV. “We will show this for two genres where further information exploration is a typical interest of viewers: a newscast by Rundfunk

Berlin-Brandenburg and a documentary series of the Dutch TV station AVRO,” explained Lyndon Nixon of the Institute's Intelligent Analysis and Information Systems (IAIS) department.

“We think that viewer interest is sometimes lost or frustrated because it is not possible to easily find everything we see on TV: how do I Google for the painting I just saw on the wall behind the presenter when I don't know the name of the artwork nor the artist?”

The institute is working with 11 partners from seven countries on the project.

Software scans the contents of a show prior to its broadcast via speech analysis and image processing for topic-related content from the web. Since the software provides a great number of unfiltered hits and semantic links, the researchers have developed methods to narrow down the

results according to certain criteria.

“For example, content will be displayed only if it complies with laws for the protection of minors and for which the copyright is no problem,” said project manager, Heike Horstmann.

The editorial team adds the final touches, checking suggested content for relevance and eliminating any duplications from the hit list.

“Unlike one-size-fits-all second screen enhancements, LinkedTV incorporates viewer profiling to enable personalised enhancements, highlighting concepts they are interested in and adapting the additional information and content to them,” said Nixon.

The automated LinkedTV workflow permits a lower cost scaling up of TV programme enhancement for broadcasters and OTT providers.”

8.F42

cameramount monitor Marshall Electronics

By David Fox The new V-LCD71-MD 7-inch monitor from Marshall Electronics is claimed to be the first camera-mount monitor to offer full HD resolution. It uses a high-brightness 700-nit, backlit 1920x1080 LCD panel, and input/output modules that can be easily swapped to give the specific I/O combination users require.

The base model, known as the V-LCD71 MD comes with HDMI input and pass through, while the V-LCD71MD-O** comes with a preinstalled MDO3G module providing dual 3GSDI outputs converted from the HDMI input. The V-LCD71MD-

3G includes the base unit with a preinstalled MD-3GE module providing a 3G/HD/SD-SDI input with loop-through.

Features include: a wide variety of formats and markers; waveform display; dual audio bars; front panel headphone output; variable pixel-to-pixel function; and a peaking filter in four colours for easier focus assist. Also new are: multiple DSLR presets; six User presets; adjustable IRE clip guide; and backlight control.

All the new MD series monitors come with an HDCP compliant HDMI input with pass-through, a selection of 10 battery adapters, and a choice of one input or output module.

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Live+ updates Core for cloud Dejero

By David Fox Dejero is demonstrating version 3.0 of its Live+ Core

Software, which powers its mobile transmission systems, with multiple new features. It has also launched a Mac version of its Live+ NewsBook software.

The update to the Core

Software includes: enhanced modem connection information showing carrier transmission mode and signal strength; a wider range of options for configuring and managing how live video feeds

are sent to Live+ servers; monitoring of available bandwidth with automatic adjustment to the optimal transport resolution to provide the best possible video quality for the current network conditions while keeping output resolution constant; and tools for users in the field

to import edited video clips via Ethernet or Wi-Fi into the transmitter for transfer to a server.

Live+ Core Software 3.0 also includes enhancements to the Dejero Live+ Portal cloudbased transmission management tool to enable configuration of different distribution routes for videos and files.

Also updated is its Live+ NewsBook software, which now enables Mac and PC users to transmit live HD video feeds or recorded and edited files, making it suitable for foreign correspondents or solo video journalists that need to travel and transmit with as little gear as possible.

It bonds multiple cellular, WiFi, and Ethernet connections to enable the transmission of high-quality, high-reliability, and low-latency video.

11.C21

HEVC video encoder for Ultra-HD BBright

By Will Strauss Realtime HEVC encoding of UHD content can be seen in the French Pavilion during IBC. BBright's SLED-4K encoder has been designed specifically for UHD, is based on a scalable hybrid hardware architecture and is said to have “a flexible software design.”

It supports various license options for 4K/UHD, full HD with high frame rate, such as 60p, 100p or 120p, and multiple channel HEVC encoding.

BBright chief executive, Guillaume Arthuis, said: “UltraHD promises to be the next big challenge for the broadcast industry. This flexible and scalable product is designed to help our customers to quickly move to Ultra-HD workflows and satisfy both technical and budget requirements.”

BBright is also showing a test 4K-UHD playout server that can be connected to any 4K-UHD realtime encoder.

Called the UHD-Play it is capable of ingesting various file and container combinations and then natively playing back the best possible Ultra-HD picture quality, in 10-bits – 4:2:2 – 60fps, via quad 3D-SDI outputs.

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DVB pushes forward with DVB-S2 DVB

By George Jarrett As with DVB-T2, the enabling power of HEVC is working technical wonders for DVB-S2X, to the extent that four UHD channels are being transmitted over a 36MHz channel at a data rate of 102.67 Mbit/s.

Modulation is 16 APSK. “This content-to-screen achievement took three months to plan, and features a number of pieces in the chain that are quite new and not stable yet,” said DVB executive director Peter Siebert. “The satellite people

have the advantage of a very big range of capacity, wider than terrestrial TV, and I am sure that there are pay TV operators that will start UHD services soon.”

This one-off demo set-up features content from Hispasat, SES Astra, Rai and the EBU, encoding by Thomson and multiplexing by Rohde & Schwarz, modulators from Newtec and Work Microwave and receivers from Creonic and Ericsson. What was the trickiest bit?

“The UHD set-top box from Pace. These have only just been developed, so we are at the beginning of that technology,” said Siebert. “And in this case the STB gets an IP stream.”

“First European 4K channels in 2016” Conference Analysis

By Chris Forrester Ferdinand Kayser, CCO at Luxembourg-based satellite operator SES, said he firmly

expects some key European broadcasters to have 4K channels on air during 2016. “The catalyst will undoubtedly be the UEFA soccer and that year’s Olympics from Brazil.”

Kayser also announced that

OBPod lighter and more flexible

Peter Siebert: “Will UHD TV become a commercial success?”

The advances from DVB-S2 come in Direct to Home (DTH).

VSAT and DSNG. “Everything you see is technically proven, but the

SES would be showcasing the world’s first fully endto-end 4K live encrypted transmissions on its stand (1.B51) in conjunction with Samsung (1.D35) and Conditional Access specialists Kudelski’s SmarDTV module (1.C81). He added that while there would be plenty of 4K technical trials and demonstrations meanwhile, the core ecosystem for 4K was now in place. “Everything is more or less ready. We still need set-top boxes and their key 4K chipsets to be available, but this will happen well ahead of time.”

Kayser said that SES expected that by 2020 there would be some 200 UHD channels on air around the world, and being viewed on about 100 million screens. “By 2025 that will grow to 1,000 UHD channels, and more than 500 million displays in use.

And congestion-free viewing of Ultra HD is a ‘sweet spot’ for satellite.”

Varicam bigger and faster Panasonic

By David Fox The modular new Panasonic Varicam, which can shoot either 4K/Ultra HD or high-speed HD, ships next month. “We had a lot of people who loved the previous Varicam, and we have been out of that market for too long,” said Rob Tarrant, European product manager.

“We are in an industry of creating beautiful images, and we want to get back to that. But that’s not enough. The practicalities are you have to

handle this huge amount of data. The recorder is about the practicalities and the workflow – Its ability to do multiple formats simultaneously. It’s a big advantage, as [the recorder, developed with Codex] can do up to four at once”: Raw, up to 120 frames per second, 4K compressed using AVC Ultra onto Express P2 cards, and 2K and 1K proxies on to the same microP2 card. Similarly, for a broadcast workflow, it will do uncompressed Ultra HD, compressed UHD, HD and 960x540 proxies at once.

The Varicam 35 (Super 35mm) head costs €24,000, while the

In Brief

Flexible filmmaking: Tarrant with the modular Varicam 35 camcorder

recorder module is €15,000 and the new OLED viewfinder (which doesn’t suffer colour shifts as you move viewing angle) is €6,200. It will also release an umbilical cord, so that users can

question is will UHD TV become a commercial success? HEVC is the enabler for bringing UHD across the whole broadcast world,” said Siebert.

Fast portable storage and backup: The new Nexto Media Storage ND2901 is an affordable way to quickly and safely backup video and other files from Compact Flash and SD/SDHC/SDXC memory cards, on location. It is ideal for use with a wide range of cameras, from the GoPro, through to DSLRs or digital cinematography cameras like the Sony NEX-FS700. It can also be used with microP2 cards, and with microSD (using an adapter). It takes 14 minutes to both copy and do a full verification of data from a 32GB CF card. Users can also check video information or view the still images on the built-in LCD screen. Pictured: Nexto CEO Larry Seong demonstrates the new ND2901.

– David Fox 11.G37

separate the head from the recorder by up to 30m, useful for crane or jib use. The 240 frames per second Varicam HS head (costing €16,000) is targeted primarily at natural history.

“The beauty of being able to change the camera head and use very long lenses, with 2/3inch chips, with the same incamera grading,” will, he hopes make it very appealing to users and rental companies.

One of the first testers, Light Iron CEO Michael Cioni said: “Images are not just about the pictures, but about the workflow. We want products that match both high quality images and efficient workflow,” and he believes the Varicam 35 does both.

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Gearhouse has launched its new lightweight, expandable OBPod portable production solution. Building on the concept of the flyaway pod that Gearhouse Broadcast has supplied to Sky Sports for the past three F1 seasons, the new OBPod has been designed with weight and expandability in mind.

Working closely with UK coachbuilding partner, A Smith Great Bentley, and using the standard air freight AMP rectangular container footprint, Gearhouse has replaced the previous honeycomb casing with lighter aluminium. The new facility makes extensive use of the fibre infrastructure, removing the need for traditional heavy copper cables. A compact Grass Valley NVISION 8500 Hybrid router has been installed, with HD and SDI I/O on both copper and fibre.

“This is the first time anyone’s ever made an expanding pod with a very small footprint; everything that has gone into OBPod has got to be able to cope with the demands of it being transported around the world multiple times, so we had to be mindful with the infrastructure and workflow that we’ve designed,” said Kevin Moorhouse, COO at Gearhouse Broadcast.”

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Five fold increase for multiscreen STB 2014 is proving to be a big year for Comigo with a doubling of its customer base and five times more set-top boxes having been sold than in 2013, the company has said. The Israeli multiscreen pay TV platform company has also announced that it is expanding into Asia, the US and Latin America and that it has launched an Androidbased set-top box. “Pay TV operators today are keen on delivering an engaging TV experience on every screen, and are looking for innovative ways to generate additional revenue streams from their TV service,” said Comigo chief executive Dov Moran. “To meet this demand, we are partnering with a variety of system integrators globally, we’ve opened our backend capabilities to solution partners, and we offer our Android-based STB middleware to several STB vendors.” 3.B61

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New Kahuna is “going to nail the competition” Snell

By Michael Burns An all new Kahuna switcher lineup has been introduced, with added flexibility and 4K capabilities across the range.

Snell said the Kahuna 4800, Kahuna 6400 and Kahuna 9600 offer more firepower and flexibility than ever before.

Combined with Snell’s new flexible switcher control surface, Kahuna Maverik, the bolstered feature set of the new Kahuna switchers includes providing more power for Mix Effects (M/E) functionality and enhanced DVE resize engines.

This enables chroma key capabilities on all keyers and 2.5D DVE on all models in the range. The Kahuna 4800 offers up to four M/Es and 16 keyers, the Kahuna 6400 offers up to 12 M/Es, 24 keyers while the Kahuna 9600 has up to 24 M/Es, 48 keyers.

“We’re going to nail the competition,” claimed Robert Rowe, Snell’s managing director of Live TV. “These production switchers will be available at the beginning of October and are ready to buy at the show. There have been big jumps in processing technology, such that we can get much more power into a much smaller space, for a more affordable price point.”

Further enhancements to production workflows for social media are also now supported, allowing user-generated content to be directly uploaded to the switcher’s internal store and made ready for air.

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‘Explosive growth’ in IoE and M2M In Brief Conference Analysis

By Chris Forrester Ken Morse, Cisco’s CTO, along with his colleague Guillaume de Saint Marc, senior director, new initiatives, updated IBC delegates on the huge growth in connected devices – not least the ‘Internet of Everything’ and Machine to Machine – in terms of bandwidth demands.

“It’s explosive growth,” said Morse. “As we extrapolate what’s happening now, we can see a future with 50 billion connected devices by 2020.

That’s about eight for every person on the planet. Combine this with the growth we are seeing in video delivered to mobile devices, where we see two-thirds of the world’s data traffic expected to be video –

By Heather McLean Manufacturers must stay on top of codec standard development in order to make the advent of new technologies an evolution for customers, not a revolution.

Tektronix CTO for video product line, Paul Robinson, told The IBC Daily that although there is the perception that all the underlying technology changes for 4K are new, there was in fact

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Ken Morse: “We can see a future with 50 billion connected devices by 2020”

value chain. Even last year it has been estimated that $500 billion had been left on the table in terms of lost opportunity in this space.”

Atresmedia receives robotic refurb Shotoku Broadcast Systems

The TG-18 robotic pan and tilt heads in Atresmedia’s revamped studio

By David Fox Madrid-based broadcaster Atresmedia has bought a robotically-controlled camera system from Shotoku comprising seven TG-18 robotic pan and tilt heads and two 16-camera TR-T control systems, which will be used in Atresmedia’s re-launched and refurbished studio.

“Since the first test, we were satisfied with the overall capability of Shotoku's system, both operationally and technically,” said Fernando García del Rey, head of studio operations, Atresmedia. “The system works well, operators find it easy to use, and the

No excuse for 4K confusion Tektronix

and that’s by 2015.”

Morse cut through much of the jargon associated with the technology, and helped translate the forecasts into what delivers “ease and convenience for us as consumers, and how service providers will manage the demand and monetise what’s available.

“We are also seeing the impact of the Cloud, and what we are now calling the ‘InterCloud’, and how operators can tap into analytics to really benefit from the assembled data and manage the exponential growth that we expect.”

Morse delivered a list of the likely impacts, both in terms of growth opportunities but also potential cost savings that could be achieved in operating processes and improved yields “and ultimately making things better for everyone down the

a lot of advanced warning that these changes were imminent, with UHDTV first demonstrated at NAB back in 2006.

Robinson commented: “Obviously the availability of 4K sensors and display panels has accelerated the drive towards 4K implementation, but we had prior warning of the development of higher resolution than HD video.

Indeed, when developing the Tektronix WFM and WVR8000 series waveform monitors the internal architecture was implemented to handle 4K data

iSAT Africa chooses partners for free-to-air delivery iSAT Africa has selected Eutelsat Communications to partner on free-to-air delivery of African and international digital channels in Kenya and across East Africa in order to accelerate the move towards a fully digital broadcasting environment. iSAT and Eutelsat will use the African service area of the EUTELSAT 70B satellite to broadcast a platform of channels to digital headends and on a DTH basis to homes beyond range of terrestrial reception.

The first channels were launched by iSAT on 1 September . They include Family TV and K24 which are multiplexed on a DVB-S2 platform and uplinked from iSAT’s teleport in Nairobi to Ku-band capacity on EUTELSAT 70B. iSAT Africa has also agreed terms with Eutelsat for use of C-band capacity on the EUTELSAT 3B satellite for contributing channels to the Nairobi teleport where they can be aggregated into the platform. The C-band footprint on EUTELSAT 3B embraces Africa, the Middle East, Europe and South America, covering a vast catchment area of broadcasters.

1.D59 support we get from Shotoku, with Datos Media [Shotoku’s newly-appointed regional reseller], has been excellent.”

The Datos team worked very closely with the Atresmedia crew during installation and provided full training on-site once the system was integrated.

The TG-18 takes a 56kg payload, ideal for any ENG camera/lens combinations in

rates, which has allowed us to implement 4K/UHD support as an existing product upgrade, rather than requiring a completely new product.”

He added that the biggest challenge of making 4K a reality for customers was not 4K itself, but staying on top of the everchanging IP-based workflow standards.

Robinson explained: “There are quite a few different standards being developed, so it’s about monitoring those developments and making sure we deliver the right products at the right time.”

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typical studio configurations including the usual accessories such as viewfinder, hand controls and teleprompter/preview monitor.

It offers complete freedom for on-air adjustments from the control systems.

The completely configurable screen layouts of the TR-T system supports 16 cameras, controlled by a single operator.

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Paul Robinson, Tektronix CTO, says manufacturers have no excuse not to be ready with 4K

Sound check on flyTC Electronic In a move that the company describes as a new approach to loudness adjustment, the aNorm algorithm has been launched at IBC. TC Electronic said the normalisation technology learns the incoming programme on the fly and adapts to hit user-defined targets for Program Loudness and Loudness Range (LRA).

At the same time, it delivers uncompromised audio that has not been dynamically processed unless requested. aNorm applies dynamic loudness processing only if normalisation by itself is not enough to hit the Targets for Program Loudness and Loudness Range.

TC Electronic has also debuted a new Loudness Processing Meter as part of aNorm. The Butterfly Meter displays content pre and post loudness normalisation using a graph that instantly provides an overview of how and why incoming audio is adjusted.

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theibcdaily For the latest show news and updates follow #IBC2014

Is DRM anti-consumer? Gearing up for the Conference Analysis

By Kate Bulkley “I worry about the European broadcasting community not moving fast enough to embrace the digital world for the new generation of consumers,” Erik Huggers told the 2020 TV session. Huggers, who spearheaded the launch of the BBC iPlayer, has spent the last several years in California working for Intel and most recently for Verizon, creating connected TV devices and services in response to a world that isn’t about purely linear TV anymore.

“There is an opportunity for a pure OTT, IP-only, live, linear catch up and any flavour of VoD

Erik Huggers: “DRM is an evil technology that has held the industry back. It is anti-consumer”

all combined nicely into one experience,” said Huggers. “At that point the broadcasters will have a chance to compete with the coming onslaught of global digital companies like Google,

Amazon and Apple who think globally and can bring to bear innovations faster.”

In terms of what 2020 TV will look like, Huggers thinks there will still be room for “aggregator brands to present a curated playlist of linear programming for people who just want to sit down and relax,” but he thinks that by 2020 the number of channels will fall. “All these channels make less and less sense.”

Huggers also had some choice words for DRM, the standard for protecting content.

“DRM is an evil technology that has held the industry back. It is anti-consumer in every way imaginable and it has held back use cases and portability. I would like to see DRM go the way of the dinosaur.”

Bringing TV to ship crews Vision247

By Monica Heck KVH Industries and Vision247 have partnered to deliver up-todate TV content to mariners at sea. Running on the Vision247 Perception multiscreen delivery platform, which was adapted to KVH’s requirements, the service delivers multiscreen entertainment to crews on ships.

It provides access to themed TV channels including movies, news and sports, refreshed regularly over KVH’s IPMobileCast service. Mariners can watch programmes on TVs, PCs, laptops, tablets and smartphones through Perception’s interactive app.

Content is transferred to ships via KVH’s multicasting satellite technology, that can deliver large amounts of video to many ships at once without impacting on-board data speeds or critical communications channels.

Programmes can be changed on a daily basis, providing upto-date television and VoD for crews on long journeys.

Content is downloaded over the IP-MobileCast service to Perception servers on-board vessels. The content is then auto-scheduled based on its metadata and presented to users as ‘live’ linear channels, complete with EPG and time-shift functionality. The service also provides a traditional VoD library.

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YouTube generation Vitec Videocom

By David Fox Although best known for its camera support brands, Vitec Videocom is now “expanding our focus on a complete ecosystem around the camera, not just things that simply attach to it, but a broader vision of how we help content creators connect and distribute their visual media,” said its CEO, Matt Danilowicz.

This was the thinking behind its recent acquisition of Teradek, which is the core of Vitec’s stand at IBC. Indeed, it now goes from acquisition, with its Camera Corps miniature cameras, to distribution with Teradek’s new Beam, as it adapts to the new ways people are working.

“For example, our new Anton/Bauer batteries have a new focus on safety and affordable price points, recognising that more production is being outsourced and taken up by

Right on Q: Danilowicz is broadening the appeal of Vitec’s product lines

new content creators – the YouTube generation. We’re offering products at lower price points to appeal to these,” he said.

“Also, we can’t afford the risk of producing anything that isn’t completely safe, which is why the batteries have crumple zones, so that if it’s dropped or damaged, it doesn’t explode.”

It is also adding accessory lines for its tripod brands (Vinten, Sachtler and OConnor) “to help make the most of our equipment,” and adding lowerend prompters (Autoscript).

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Spanish OTT deal: François Moreau de Saint-Martin, CEO of Viaccess-Orca (front left), and Tom Mohler, CEO of Olympusat (front right), signed a deal at IBC that will see Viaccess-Orca provide a turnkey end-to-end OTT IPTV solution for Olympusat’s Spanish language offering. It will include VoD and linear channels.

“We placed huge importance on Viaccess-Orca’s stability and the maturity of their proven solutions,” said Mohler.

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SCTE Benelux Lecture on in-home architecture The Benelux Group of the SCTE (the Society for Broadband Professionals) will hold its next Benelux lecture during IBC at 14.00 today in Room E102.

Entitled ‘In-Home Architecture Issues’, and sponsored by ARRIS, this free event (open to all) will be moderated by Thomas Nogues, executive advisor for CableLabs, and will feature speakers from key players in the industry.

Various topics such as 4K, Wi-Fi, the cloud and the Connected Home will be considered, as well as CPE virtualisation. The Benelux Group is one of a number of regional groups that are part of the worldwide SCTE organisation, the global nonprofit body that aims to raise the standard of broadband engineering in the telecommunications industry.

Presentations and speakers at the event include: • ‘Extending Service Assurance in the 4K Wi-Fi Home’ by Cornel Ciocirlan, chief technology officer, EMEA, ARRIS. • ‘Getting to the Edge’ by Thomas Nogues, executive advisor, CableLabs.

• ‘The Connected Home’ by Hans van Elsen, CTO, Alcadis ISP Solutions.

• ‘Making it all Work’ by Peter Simpson, VP Product Marketing, Pace.

• ‘CPE Virtualisation – the New Way of Home Network Management and Services Enablement’ by Arkadiusz Kaliwoda, consulting systems engineer, Cisco Systems.

Meet the SCTE on the Partnership Village, booth 8.F51e, outside Hall 8 during the IBC exhibition.

MPEG TS release: Wohler has launched its MPEG TS Monitoring and Analysis solution at IBC. The MPEG TS Monitoring and Analysis monitor gives the user the ability to monitor dual ASI, 3G/HD/SD-SDI, single IP and HDMI sources; decode MPEG-2 TS and H.264/MPEG-4 TS video, audio and metadata; analyse ATSC and DVB MPEG tablets PAT, PMT, PID and more. Carl Dempsey (pictured), CEO at Wohler, commented: “MPEG TS Monitoring and Analysis is another world first for us at this year’s IBC. This will decode and analyse MPEG data, and it is operator-friendly. We also have a handheld portable version as well, so technicians out in the field can decode MPEG data and see exactly what’s going on.” Dempsey added that the MPEG TS Monitoring and Analysis costs $8,000, compared to a traditional set of equipment that would be required to do the same job at around $50,000. – Heather McLean

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Live UFC delivery Zixi

By Monica Heck Live video specialist Zixi LLC has announced a partnership with live events producer All Mobile Video Digital Media (AMVDM), formerly AEG Live. The partnership aims to offer enhanced services for customers using Zixi to deliver live productions over IP. Zixi and All Mobile Video have been delivering Ultimate Fighting

Championship fights, with closed captioning and slate insertion added by All Mobile video to the Zixi stream from the event.

In this workflow, the content gets delivered live to All Mobile Video for processing and is delivered back to a Zixi cloud broadcaster platform, where the files are transmuxed and transcoded into different formats, protocols and bit rates for delivery to multiple end points.

Zixi says this partnership was a key piece that was missing from its delivery.

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theibcdaily

Cracking the Emigma code Cryptography Research

By Monica Heck One of the world’s earliest cryptographic machines, the Enigma, is on show at the Cryptography Research stand.

Owned by the company’s president and chief scientist Paul Kocher, this original naval machine from World War II was used by Germans to encrypt communications with boats in the earlier part of the war.

“The breaking of the Enigma by first Polish, then French, then British – and the US also likes to take credit – certainly

The original WW2 Engima naval machine makes an appearance at IBC

played a huge role in the course of World War II,” explained Kocher.

“The rich history of both the successes and failure of these

historical security systems are certainly analogues to the failures of current security systems,” he added. “I’ve owned two Enigma machines

as well as other old cypher machines. They’re very rare, as anyone who was operating an Enigma machine was supposed to have destroyed it.”

Kocher explains the presence of the Enigma on his company’s stand as a bit of interesting history, combined with an approachable way to see security being done. “The things we do security-wise are hidden nowadays. The mathematics have changed dramatically, of course but this is more relatable, in a way.”

Cryptography Research, a division of Rambus, specialises in semiconductor security R&D. 14.C17

Quint-Split display

Sky monitors 4K SGO post

Cobalt Digital

By Heather McLean

Canon

By David Fox Sky has ordered Canon's DP-V3010 4K professional reference displays for three high-end SGO Mistika post production suites. The DP-V3010 uses Canon’s own customdeveloped image processor, to ensure consistent brightness and colour, making it easier to achieve a higher level of uniformity across the entire screen during post production editing. The monitor automatically corrects any changing colour and luminosity over the course of time, to guarantee stable display performance and high levels of reliability.

“Our Mistika systems sit at the centre of our workflow and the exceptionally advanced colour grading functions demand monitors that enable us to edit footage accurately. Having tested many 4K screens currently in the market, the Canon DP-V3010 performed the best for our production needs,” said Cara Cheeseman, Sky’s senior operations manager for entertainment and creative.

The DP-V3010’s 4096x2560 resolution means that its IPS LCD panel can display native DCI 4K video (4096x2160) without any scaling. The 30-inch reference screen also offers a wide 178° viewing angle.

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Sweden in Netherlands: The Swedish Pavilion at IBC was officially opened at IBC by Håkan Emsgåard, the Swedish ambassador to the Netherlands, here shown with Amanda Hallberg of Business Sweden. Six Swedish companies are participating in the Swedish Pavilion: Flowcine, Nexeven, Sprinkle, Videoplaza, Vidispine and Wyberry Technologies, offering broadcasting solutions ranging from products and services within online video, wireless transmission of data solutions and accessories for professional photographers. – Ian McMurray 5.B22

Fischer distribution: Canford has announced that it has been chosen as the sole UK broadcast distributor of the new Fischer FiberOptic Series, a high performance product of Fischer Connectors. Fischer Connectors’ premium fibre solutions offer best in class optical performance and reliability needed for a stable optical link, combined with easy mating and easy field cleaning.

Fischer stated that the products perform well in harsh environments and have a high ingress protection (IP68) when mated, and IP67 in unmated conditions.

This rugged push-pull connector is suitable for both indoor and outdoor applications, claimed Fischer Fibre Connectors, and comes pre-cabled for maximum performance and time saving. Pictured: Fischer Fibre Connectors Dan Saxton and Canford’s Chas Luchford. – Heather McLean 9.C01

Cobalt Digital has revealed a record-breaking number of product launches here at IBC, with 13 in total, including its new Quint-Split Multi-Image Display Processor. The show sees the debut of the 9970-QS 3G/HD/SDSDI/CVBS Quint-Split Multi-Image Display Processor, which is capable of auto-detecting and displaying up to five independent 3G/HD/SD/Composite inputs on one card with the ability to cascade additional cards.

An Ethernet-based GUI control enables intuitive set up of video windows and advanced onscreen graphics, and a simultaneous display output over SDI and HDMI supports flexible system design and easy integration. The 9970-QS is ideal for outside broadcast vehicles and production control rooms, claimed Colbalt.

Additionally the Quint-Split Multi-Image Display Processor is also available as part of Colbalt’s Blue Box Group, which offers peak performance from compact conversion modules at low cost.

Commented Chris Shaw, EVP sales and marketing at Cobalt Digital: “We’re excited to bring over 13 new and enhanced products to IBC. Our customers play a critical role in our development process and we’re thrilled to respond with reasonably priced solutions that target exactly what they need to keep them technically advanced and financially sound.”

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In Brief MELite versatility for XT2k switcher A new video production switcher capable of transforming a traditional AUX bus into a functional M/E with cut, mix, wipe and key control has been launched by FOR-A at IBC2014. The HVS-XT2000 (XT2k) 2 M/E switcher allows up to 40 SDI inputs and 22 outputs and is said to provide “powerful features unavailable in other switchers in its class.”

Among those features is MELite which offers the AUX bus transformation function and provides the XT2k with the capabilities of a 6 M/E switcher plus the building blocks for upstream and downstream transition effects. Operating on what FOR-A calls a V6 XT2K engine, the new switcher is capable of coping with SD, HD, Full HD (3G) and 4K. “The XT2000 switcher was designed based on significant customer feedback,” said Hiro Tanoue, president of FOR-A Corporation of America.

Operators can deploy a MELite as a third M/E, transforming the switcher to a 3 M/E switcher with a 3 M/E panel. The XT2k was developed for OB trucks, live events, television studios, houses of worship and educational settings. It will start shipping in Q1 2015.

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Targeted ads for live television The new AdCaster product has been introduced at the Motama stand, enabling regional and targeted adverts for live TV services, either as full replacement or for augmenting the original content. AdCaster supports IPTV multicast as well as Internet or OTT streaming.

Motama is also showcasing HEVC support for its product line of transcoders CodecCaster. A demonstration of live transcoding will show the differences in quality and bitrate of AVC/H.264 vs. the new HEVC/H.265 codec. This follows the news that Motama transcoders are now Dolby certified, which allows for converting high-quality live streams with Dolby Digital or Dolby Digital Plus audio to AAC format.

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