IBC2015 Daily D2 Saturday 12 September by Future PLC

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theibcdaily SATURDAY 12.09.2015

THE OFFICIAL NEWSPAPER OF IBC

NHK on target for 2016 8K By Chris Forrester

Japanâ&#x20AC;&#x2122;s public broadcaster NHK will start test broadcasts of its 8K technology in 2016, followed up by significant satellite transmissions in 2018 and widespread deployment by 2020 and in time for the Tokyo Olympic Games. The dates were confirmed by Yasuko Sugito, a research engineer at NHK, at her presentation during IBCâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;HEVC Meets UHDTVâ&#x20AC;&#x2122; session. Sugito is one of a team working hard on NHKâ&#x20AC;&#x2122;s HEVC/H.265 compression systems, and encoding and decoding solutions for 8K transmissions. Sugitoâ&#x20AC;&#x2122;s detailed explanation covered the key problem of reducing an uncompressed 72 Gb/s video stream (including

22.2 channel audio) into the more manageable 100 Mb/s target. Extensive successful test demonstrations took place at NHKâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;Open Houseâ&#x20AC;&#x2122; in Tokyo in May. However, there are still challenges to be overcome, not least developing the new chipsets needed to eliminate todayâ&#x20AC;&#x2122;s bulky racks of specialist equipment. Sugito said further work was needed on reducing time delays on decoder buffering, currently taking some 3.5 seconds to process. Bhavan Gandhi (senior director, Applied Research at Arris) presented a paper on video verification for 4K TV, and pointedly saying that â&#x20AC;&#x153;not all 4K cameras are equal!â&#x20AC;? The end results, especially when images have been downconverted and then up-converted

Technology in Action

Yasuko Sugito at the NHK stand in the IBC Future Zone: Still challenges to be overcome for 8K

can end up with a loss of spatial resolution. He pointed to the challenges of overcoming this spatial loss and warned that variations, depending on subject matter, could be significant. â&#x20AC;&#x153;These artifacts can be noticeable, and thereâ&#x20AC;&#x2122;s no

consistency. A crowd scene will respond differently to an urban shoot, for example. Some of our test content deviated from our statistical expectations. For broadcasters it is essential that content is validated for variations in their frequency signatures.â&#x20AC;?

By Adrian Pennington

Brazilian broadcaster TV Globo is building a 4K over IP mobile unit in preparation for its unilateral coverage of the Rio Olympics 2016. Claimed as the worldâ&#x20AC;&#x2122;s first 4K/IP OB vehicle, the unit will be outfitted with 16 Sony HDC-4300 cameras, IP-connected through the CCU, Sonyâ&#x20AC;&#x2122;s IP Live switcher

and Sony IP-ready monitors.The router will be COTS. It will also feature a new high-speed 4K camera Sony is developing called Python. â&#x20AC;&#x153;It doesnâ&#x20AC;&#x2122;t make any sense to create a brand new truck based on SDI infrastructure any more, so we are taking the chance to work with Sony and developing an IP-based OB truck for sport,â&#x20AC;? explained Raymundo Barros, TV Globo CTO at IBC. â&#x20AC;&#x153;This will

The IBC Content Everywhere Technology in Action Theatre is the place to go for presentations and panel discussions on new and emerging technologies Page 16

Back to the Future zone

The IBC Future Zone is an interactive area where the leading research labs and academic bodies are invited to showcase their prototypes and discuss their thinking Page 20

HDR: From zero to inďŹ nity

Python strikes 4K in Rio Sony

Inside

Todayâ&#x20AC;&#x2122;s conference session looks at HDR for FLQHPD VSHFLĂ° FDOO\ WKH requirements and issues in the capture and post production of HDR images Page 23 Raymundo Barros (left) and Sony Europe deputy VP, Adam Fry: â&#x20AC;&#x153;Working hard to make 4K IP happenâ&#x20AC;?

be our first 4K truck and we are working hard to make 4K over IP happen.â&#x20AC;? Barros said that TV Globo would likely capture the Olympics in 4K but transmit in HD. â&#x20AC;&#x153;We have already produced a 4K primetime drama using F55

and F65 cameras and shooting in S-log to take advantage of HDR,â&#x20AC;? he said. â&#x20AC;&#x153;We can grade in HDR but we canâ&#x20AC;&#x2122;t yet deliver 4K HDR to the screen until the standards battle is resolved.â&#x20AC;?

Read our IBC news stories on the moveâ&#x20AC;Ś Published on behalf of the IBC Partnership by

Hall 12

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@EricssonTV

11-09-15 19:59

The new Blackmagic Micro Cinema Camera is the first Super 16 digital film camera designed for remote use! The Blackmagic Micro Cinema Camera is a miniaturized Super 16mm digital film camera featuring a revolutionary expansion port with PWM and S.Bus inputs. You can operate Micro Cinema Camera remotely and capture the action anywhere by using commonly available model airplane remote controllers and video transmitters! Imagine adjusting focus, iris and zoom wirelessly! Micro Cinema Camera is a true digital film quality with 13 stops of dynamic range, global shutter, an MFT lens mount and built in RAW and ProRes recording!

Remote Camera Management Micro Cinema Camera is the world’s ﬁrst action-cam style digital ﬁlm camera that can be completely controlled using radio remote airplane controls! You even get HDMI and NTSC/PAL video out for remote monitoring using wireless transmitters to see framing, plus overlays for adjusting settings like start/stop, focus, iris, audio and more!

True Digital Film Quality The Super 16 sensor gives you full 1080 HD up to 60fps with an incredible 13 stops of dynamic range and an ISO up to 1600 so you can shoot in both bright and low light. Unlike other action-cams, you get a true digital ﬁlm camera with wide dynamic range for digital ﬁlm quality results!

Built In RAW & ProRes Recorder The built in SD card recorder captures the wide dynamic range from the camera’s sensor into 12-bit RAW files or when you need longer recording times, you can record ProRes files! Unlike regular action-cams, you get cinematic images that are beyond broadcast quality so it’s possible to use the shots in high end feature films!

Blackmagic Micro Cinema Camera

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Micro Cinema Camera is the only digital film camera designed specifically for capturing impossible action shots! Unlike regular cameras, the controls are on the front so you can start recording when the camera is mounted in tight spots plus confirm it’s recording using the front record indicator light. Even your actors can start the camera recording!

€939*

www.blackmagicdesign.com/nl Lens and accessories shown are not included. *SRP is Exclusive of VAT.

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Avid Everywhere for Jordan: Avid has revealed a multimillion dollar deal with Arab Telemedia Group, a TV production house based in Jordan, to upgrade the facility’s infrastructure to meet requirements including 4K UHD. Discussions began a year ago at IBC, construction begins this month and is expected to be completed in December. Built around the ‘Avid Everywhere’ strategy, the new workflow — which enables the company to easily ingest, edit, and distribute a high volume of 4K rushes — is built around the Avid MediaCentral platform and integrates technology from Avid, SGL, and Spectra Logic. The workflow includes media management tools from the Avid Media Suite and Storage Suite. The system also includes a Spectra Logic T380 tape library, as well as SGL FlashNet content storage management system and SGL’s StorageManager rules engine. “We are the first production house in our region to base our workflow around 4K production and the DNxHR codec, which enables us to quickly adapt to the evolving requirements of high resolution media,” said Talal Awamleh, CEO of Arab Telemedia. “This is a huge investment for a production house in this region, and it ensures we will remain competitive for years to come.” Pictured: Hasan Moh’d Habahbeh (left), Arab Telemedia Group and Tom Cordiner, Avid celebrate the deal at IBC. – Carolyn Giardina 7.J20

It was the wildest of Wild Wests at last night’s IBC Party. Cowboys, cowgirls, squaws and chiefs pow-wowed (but mainly just wowed…) TOP: Aten Infotech NV’s Ines Kefel (second from left, first-timer at IBC) said: “IBC is the best audio and video show in the world! And a great way to promote our Red Dot Design Awards.” MIDDLE: Sisters-in-arms Erika Dobie (Canford Audio, left) and Maria Quintero (transmitter supplier Elettronika USA from Miami) battle it out for beer at the Americana-themed night. “I like the drones,” said Maria. “You know, for looking at my neighbours…!” BOTTOM: Glasgow-based Blind Spot Gear’s Billy Campbell said: “We want to ride the Bronco... all the way to the bank!” For those who want to know what happened: billy@blindspotgear.com

Routing gets steroid injection Ross Video

By Heather McLean

Combining an affordable price point with high-end functionality, Ross Video has launched a new compact routing switcher, Ultrix. It features formerly big-routeronly technology such as audio processing and multi-viewers, while supporting the new SMTPE 12G standard that gets 4K UHD video on a single coaxial cable. simplifies system design. David Ross, CEO, High degree of elasticity: An advanced integration has been developed between the Bridge Technologies monitoring system and Skyline Communications’ DataMiner network management system which makes its debut at IBC2015. The integration allows realtime exchange of status data, with widgets displaying DataMiner alerts and information pages on the Bridge Technologies Remote Data Wall in a user-configurable display alongside other live monitoring display elements. By integrating the two systems in this way, Bridge Technologies and

commented: “In the production switcher world Carbonite revolutionised the price point and feature set. We want to do the same with Ultrix, in what we think is a new class of midrange routers with high-end functionality, for exceptional price. “We are blown away at what our development team has been able to accomplish.The only way to explain this is that Ultrix is a routing system on steroids,” he added. Ultrix handles all of the SDI data rates from 270Mbps to Skyline Communications said they are providing a very high degree of elasticity to operators of digital media services, with the means to collate and customise their own mix of decision-supporting information. When combined with Bridge Technologies’ new virtualised probes, this is said to give customers the ability to implement new monitoring topologies instantly in response to changing conditions. “The world is moving to all-IP interconnectivity and software-defined processing,” said Steven Soenens, product

David Ross: “A new class of mid-range routers”

12Gbps. Designing for 12G support means Ultrix offers superior performance at lower 1.5 and 3 Gbps data rates. This makes Ultrix a good fit for today’s signals, while providing peace of mind for those concerned about supporting 4K in the future. 9.C10

Conference Highlights Today at IBC Keynote: Over the Top Comes of Age 10:00 – 11:00, Forum

marketing director of Skyline Communications. “This opens up new possibilities for furtherreaching monitoring throughout the entire network in a cost-

effective manner.” Pictured: Bridge Technologies and Skyline Communications teams celebrate the integration at IBC2015. – Ian McMurray 1.F68

By Mark Hallinger

PlayBox Technology’s new CloudAir virtual application has been selected by Tata Communications to support its new cloud broadcast playout service. The new broadcast playout service, originally announced at NAB 2015 as part of Tata Communications’

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cloud-based media ecosystem platform, will be available this month and will be accessible under full IP-based connectivity control to customers globally. “Television is a tremendously powerful communications medium, hitherto held back by what were perceived to be high start-up capital costs,” said Don Ash, PlayBox Technology managing partner and director, sales. “Tata Communications’

Future Consumer, Content Everywhere and Always On! 13:30 – 15:00, E102 HDR: From zero to inﬁnity part 3 13:30 – 14:30, Auditorium

OPEX over CAPEX PlayBox Technology

Look BehindYou! 15:30 - 16:15, Forum

ARRI: Complete solutions for breath-taking images 15:30 – 17:15, Auditorium BeyondYouTube:The battle for online video dominance 11:30 – 12:30, Forum Paper Session: Broadcasting to Mobile Devices: A glimpse into the future 08:30 – 10:00, Emerald Room cloud-based broadcast playout service model opens the door to a limitless number of television channels dedicated

to specific themes or supporting business ventures of practically any scale.” 8.B70

Paper Session: Cutting EdgeTechnologies II – Production and streaming of immersive media 13:30 – 15:00, Emerald Room

11-09-15 20:00

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The logical place to be is free Conference Analysis

By Ann-Marie Corvin

It launched its OTT platform this summer and there may be an Apple app in the pipeline, but for global pay-TV giant Discovery launching more free-to-air channels is still key to growing its audience share. During the morning keynote ‘Programming with Global Ambition’, Discovery Networks International President JB Perrette stressed that the company – which has enjoyed double-digit growth in audience share for the last seven years – was “not in the business of warehousing content”. He added: “Pay-TV is not

growing as fast because of capacity and desire and we have a lot of content which in some territories still has no outlet – so the logical place to be is free.” Perrette argued that as long as they used content strategically and collaborated with client distributors on windowing opportunities, it was possible for Discovery to target both pay-TV and free-to-air markets. Discovery’s acquistion of Eurosport and its $1bn ‘smash and grab’ purchase of panEuropean rights to the Olympic Games – outbidding the BBC and EBU – is the strongest sign yet of its desire to become an international player across free-toair, pay and OTT. At the conference Perrette

alluded to a potential licensing deal for the BBC and other freeto-air players. “We have respect for legacy coverage. We are aware that there are national and IOC commitments that need to be available on free-to-air,” he said. While Perrette wouldn’t be drawn on formats for the 2018 Winter Olympics in South Korea, he hinted that it could be the “virtual reality games” adding that it was ”in the DNA of the company to innovate.” Discovery will also be pushing Olympic content across its OTT platform DPlay and Eurosport Player. Perrette told delegates that he is aiming to grow its video on demand services from 200,000 to 1m subscribers over the next two years.

URSA Mini for broadcasters Blackmagic Design

By Carolyn Giardina

Blackmagic Design’s recently launched URSA Mini PL camera now has expanded uses with the introduction of a B4 lens mount modification that lets it use broadcast HD lenses. “The B4 mount allows us to turn the URSA Mini (which was launched as a cinema camera) into a broadcast camera,” said Black Magic’s Bob Caniglia. The camera’s built-in PL lens mount can be changed to the B4 lens mount whenever needed, giving customers the option to use existing HD broadcast lenses, or PL cinema lenses for Ultra HD and 4K. The result of customer

Bob Caniglia: “B4 mount allows us to turn the URSA Mini into a broadcast camera”

feedback, the B4 mount (which can be used with the 4K or 4.6K PL models of the URSA Mini) is scheduled to be available in November for $295. Blackmagic’s IBC lineup also includes the new DeckLink Quad 2, a new capture and playback card designed for developers and OEMs with eight independent 3G-SDI

Drones take to the air: The new IBC Drone Zone, situated in Congress Square (the central courtyard area outside Hall 13), gives visitors the opportunity to get to grips with Unmanned Aerial Vehicles from several different manufacturers in complete safety. The Zone is essentially a large cage, to stop any wayward drones, with the leading manufacturers demonstrating their systems outdoors, subject to real flying conditions. DJI (9.C33), the Drone Zone sponsor has the 12:15-13:15 and 13:3014:30 slots each day, while Amimon (11.C75) will be in the Zone today (Saturday 14:45-15:45) and Monday (11:00-12:00). Intuitive Aerial will also be flying from 11:00-12:00 and 16:00-17:00 today. Shenzen Wingsland Technologies (9.A30) is in the air on Sunday (14:45-15:45). Pictured: Autel Intelligence (8.E30) gets Zone off to a flying start. Find out more at www.ibc.org/dronezone. 0.CS1

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connections, meaning that each of the connections can input or output entirely different video standards and content streams. It’s also showing a MultiView 1.1. update, with new features such as new audio metres, enhanced on-screen labels, RGB output over HDMI and tally lights. 7.H20

JB Perrette: “In the DNA of the company to innovate”

Pixar’s Glynn to close Awards Ceremony At the IBC Awards Ceremony on Sunday evening, Dominic Glynn of Pixar will be giving the audience a sneak preview of hit movie Inside Out. As well as being a runaway hit, it is the first movie to get an HDR release. Glynn is senior scientist at Pixar, and is at IBC to give a keynote address in the conference on Monday morning. On Sunday evening he will give a preview of his presentation, explaining the creative and technical challenges and benefits of the extended colour gamut. And, of course, he will give the audience a taster of the movie itself. The IBC Awards Ceremony is free to all IBC visitors, and starts at 18.30 on Sunday in the Auditorium. Inside Out, in a unique IBC version, will be the Monday night movie screening.

WINNER Yesterday’s Touch & Connect Leaderboard winner was

Richard Cook from SSIMWave Inc. To participate and be in to win an iPod Nano for yourself, download the IBC Connect App now and start networking! Visit www.ibc.org/tcapp to download.

theibcdaily EDITORIAL Editorial Director Fergal Ringrose Managing Editors Michael Burns, Melanie Dayasena-Lowe, Adrian Pennington Catherine Wright Head of Design Jat Garcha Senior Production Executive Alistair Taylor Reporters Ann-Marie Corvin, Chris Forrester, David Fox, Carolyn Giardina, Mark Hallinger, George Jarrett, Heather McLean, Ian McMurray, Anne Morris, Will Strauss Photographers James Cumpsty, Sander Ruijg, Chris Taylor IBC Chief Executive Ofﬁcer Michael Crimp SALES Sales Manager Ben Ewles Tel: +44 (0)20 7354 6000 Email: bewles@nbmedia.com Account Manager Richard Carr Tel: +44 (0)20 7354 6000 Email: rcarr@nbmedia.com Sales Executive Nicola Pett Tel: +44 (0) 207 354 6000 Email: npett@nbmedia.com US Sales Michael Mitchell Tel: +1 (631) 673 0072 Email: mjmitchell@broadcast-media.tv ART & PRODUCTION Page Design Jat Garcha Managing Director Mark Burton Printed by Partnion +31 (0)6 1362 4321 NewBay Media, 1st Floor, Suncourt House 18-26 Essex Road, London, N1 8LN, England © The International Broadcasting Convention 2015. No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners. Published on behalf of the IBC Partnership by

11-09-15 19:01

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Quested backs HDR single proposal By George Jarrett

The term HDR has become public knowledge, but creating a single standard to define image dynamic range to add to what Rec. 2020 gave to UHD, and perhaps offer the longevity of Rec.709, is the immense responsibility of ITU-R RG 24 and its chairman Andy Quested, head of technology at BBC UHD and HD. “All eyes are turned on me. They are, I know it,” he said. “I am not a chairman. I am a referee.” Quested started with four different proposals for HDR TV, submitted through national administrations (like OFCOM and the FCC), which have the power of veto, or sector members who do not. Those four technologies came from Dolby, NHK and Philips (all at the show) and Technicolor. “You cannot have a standard with four options. What we

are trying to do is merge the proposals into a document with a single proposal but with one or two applications,” said Quested. “OETF is essentially how you set a camera up, and EOTF is how you set up a display. We are looking at trying to combine the signal path into something called an OOTF (Opto Optical Transfer Function). If we can get a single definition of an OOTF the camera can be what’s called informative.” How did Quested whistle in the obvious vested interests? “Fundamentally I have to get everybody to agree. It is not about putting one system against another and making a decision,” he said. “It is about putting up a proposal that is not objected to by any admin. Any ITU standard is agreed worldwide, which means it takes a long time to ratify. But it will last a long time and the industry will build to it.” RG 24 is working on a flexible

By Adrian Pennington

Andy Quested: “All eyes are turned on me. They are, I know it”

standard. “I don’t believe we will replace 2020 but it could be an extension to it. The group is within a meeting of having a framework document, but I think there will be objections coming from certain admins,” said Quested. “I hope they are not objections on the grounds of ‘ you didn’t use our technology’, which is always a risk. I think it will just be a change demanded to slow everything up,” he added.

Conference Analysis By George Jarrett

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media & entertainment, IBM. His company spends $5 billion on R&D, and it is so convinced by the impact of analytics it has bought $20 billion worth of companies specialising in that area. He said: “The biggest single challenge facing the media industry, one not historically deeply based on data and audience insight, is the ability to capture, manage and get value out of this avalanche of data. It is going to be a key competitive edge.” Tony Emerson, md worldwide, media and cable, Microsoft said: “Typically technologies get adopted in one of two ways – faster than we all think or much

IP Live is market-ready Imagine Communications

Analytics, skills sets and interop top IABM agenda The IABM chose the theme ‘Where’s the Money in Broadcast and Media’ at its annual breakfast briefing, sizing the industry at 3,500 companies striving to turn over $48.5 billion yearly revenue. CEO Peter White juggled cheer and gloom factors from research amongst companies turning over $8 billion/year. Most tellingly, volume is driven by just 25% of the industry. Surprisingly, R&D expenditure is secure despite growth tailing off. The big reason for this is order project deferral: “Broadcasters are sitting on their hands waiting for proof,” said White. “The biggest issue is the lack of staff with the right skill sets.” Some 22,000 end users who were polled identified interoperability as their main demand. And 80% want best of breed technology. The first panel speaker was Steve Canepa, GM, global

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slower like flying cars: never. That’s the sort of curve we are in and the question with the IP changeover is how quickly can it happen?” Emerson used the company Next Generation Sports Network as a warning. “They are 5-10 people who built a streaming business to a new audience in the US but without a studio,” he said. “They are venture capitalists who bought rights, hired us to stream and a commentator, and someone to do collections. That kind of threat is very real because if 10 people can build an entirely new network what does it mean for broadcasters who carry a lot of baggage?”

weight behind SMPTE and the J2K scheme Imagine expects others to follow. “The evolution of standards will accelerate around successful technologies being deployed by the largest global companies. DirecTV, Disney ABC, Fox Networks are all adopting SMPTE-2022 and J2K so you will see smaller companies do the same.” EVS CEO Muriel De Lathouwer commented: “We realised we had the same vision regarding the transition to IP. We both promote interoperability, open standards and a hybrid approach. Broadcasters can be confident 2022 really works.” Vogt added that IBC is a validation of the vision Imagine laid out two years ago. “We were the one company that said everyone needed to move to software defined networks and the cloud. It’s exciting that IP is the single biggest theme at the show,” he said. Amtrium

Imagine has partnered with EVS to forge “a market-ready” package for IP live production. “With EVS we are aggressively going after the live news and sports market,” declared Charlie Vogt, Imagine Communications CEO. “We are taking their best of breed solutions in slowmotion and instant replay and marrying that with our playout automation.” The solution being demonstrated live on the show floor features Imagine’s signal processor Selenio MCP and Magellan SDN Orchestrator software managing multichannel HD video over SDI and IP linked to EVS’ XT3 server and the EVS XiP gateway. “We are using the SMPTE2022 standard and our JPEG2000-based compression to allow broadcasters to work with video over SDI and IP at the same time,” said Vogt. By putting its Charlie Vogt and Muriel De Lathouwer seal partnership deal at IBC2015

A good news story: The Amazon Web Services (AWS) acquisition of Elemental Technologies is, according to Elemental CEO Sam Blackman, positive news all round. “The good news for our customers – who have responded incredibly positively to the announcement – is that nothing changes except that we will be able to invest even more in our development of market-leading products,” he said, noting that Elemental will continue to operate as a standalone entity. “The acquisition brings together Elemental’s solutions with the AWS Cloud platform to provide media and entertainment companies with a range of integrated solutions to scale video infrastructures as the media industry increasingly moves to internet-based delivery.” He noted that Elemental and AWS have been working together for the past four years. Elemental has more than 700 media franchise customers and powers some of the world’s most popular OTT applications, like the BBC’s iPlayer, CNNGo, ESPN ScoreCenter, HBO GO, MSNBC Shift, and Sky Go and Sky Now. Additionally, Elemental is supporting the world’s first 4K Ultra HD services including those that were delivered by the BBC during the 2014 World Cup. Ian McMurray 4.B80

11-09-15 18:48

Fresh New Products for IBC AJA is introducing many new and exciting products at IBC 2015. We’re adding new Mini-Converters to keep pace with the needs of industry professionals as you move to 4K and we’re bringing our expertise to technologies such as HDBaseT to create high-quality solutions for A/V, broadcast, on set and post-production.

HD10MD4

HB-R-SDI/HB-T-SDI

ROI-HDMI

Improved HD-to-SD down-conversion with Mini-Config USB support

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HDMI to SDI with Region of Interest scaling and intuitive on-screen UI for live image selection

openGear® Rack Cards

FS3

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New openGear cards for SDI/Fiber conversions and 3G-SDI Distribution.

The new FS3 combines AJA’s industry-proven frame synchronization with high-quality 4K up-conversion technology to seamlessly integrate SD and HD signals into your 4K workﬂows.

Find out more at www.aja.com or visit us at IBC, Stand #7.F11

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09/09/2015 12:25

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Q&A with IBC CEO Michael Crimp What are your expectations for this year’s IBC? Last year we welcomed 55,092 total attendees, from well over 100 countries around the world. This information is available on www.ibc.org, where you will find demographics of who has attended IBC over the last six years. You will see that our influence is growing stronger. The proportion of visitors who are at board level continues to grow, up to almost a quarter of all attendees last year. We have consciously tailored our offering towards decision makers, through business and strategic conference sessions, through added value events which help put technology into context, and through networking and engagement opportunities like Touch & Connect. Yes, the exhibition is bigger

than ever this year, and yes, we expect the total number of visitors to increase. But that is much less important to me than the relationships which are built here. IBC is about influencing the industry throughout the year, not just six days in Amsterdam.

Is OTT a hot topic at the moment?

What about mobile video?

As an industry, we are good at accepting change. In part that is because we are a creative industry, which means we relish the challenge of the new. So smart broadcasters look on OTT as an opportunity not a threat, a new chance to engage with audiences. As ever, IBC is the forum where all sides of the industry, and traditional and new media specialists, come together to find common ground. A great example was the opening keynote debate

Everywhere you go around IBC, people are talking variants on TV Everywhere. It is clear that consumers want to determine when, where and how they watch. According to the Ooyala Global Video Index, content on tablets and smartphones grew by a staggering 100% between the first quarter last year and the same quarter this year. One of the challenges in achieving this complete ubiquity for content is the network capacity.

This is an interesting problem, because it is not under the direct control of content providers. We are reliant on networks and ISPs to build out the capacity, and that is happening at different paces in different parts of the world. But a clear indication of how important we see mobile content consumption for the future of the industry is that this year’s International Honour for Excellence

award goes to ARM. The highest accolade IBC bestows, it reflects the huge advances ARM has made in processing technology. Not only are its chips at the heart of virtually every smartphone and tablet, their embedded processing is also driving forward network capabilities. That is absolutely relevant to IBC2015, and why the company is a worthy winner of this award.

desks in that it uses a brand new SoundGrid interface module on Calrec’s Hydra2 network. The module provides direct connection between Hydra2 and the Waves SoundGrid network, providing lower latency and greater reliability. Calrec customers can control Waves software from the integrated touch display in Apollo and Artemis surfaces, allowing direct control of Waves plugins

from the mix position. Also revealed at IBC is a new automation system for Apollo and Artemis consoles. Designed to record the movements of a console’s channel and bus controls in real time, Calrec said its implementation is unique in that it operates entirely in the background during a live broadcast. The system is similar to traditional post production and music automation systems, but is

user-transparent. Calrec also announced further adoption of its Hydra2 interface card by manufacturers of complementary products. Following the launch at the 2015 NAB Show, where it was introduced as part of DiGiCo’s Orange Box development, both Evertz and TSL Products have integrated the technology into products on stand at IBC2015.

New MD and more Calrec Audio

By Mark Hallinger

Calrec Audio has hit IBC with a bit of important personnel news -- Nigel Beaumont has been named MD. Beaumont of

in the conference on Thursday morning. Three broadcasters – BBC from Europe, OSN from the Middle East and Scripps from the USA – were joined by the head of Android TV from Google to talk about the collaborative prospects for the future. Success comes from sharing knowledge.

late has worked at Calrec sister company DiGiCo and before that was with Harman Professional. In product news the company is showcasing an integrated Waves SoundGrid solution for its Hydra2 platform of consoles. Calrec said this integration is unique amongst broadcast

8.C61a

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11-09-15 16:49

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01/09/2015 06:42

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Roger Lynch: Taking back TV Conference Keynote Forum 10:00-11:00 By Chris Forrester

Roger Lynch is the CEO at Sling TV, a new OTT service from Charlie Ergen’s stable of businesses. It was unveiled at January’s CES and launched on 9 February to US consumers. Lynch says the service is designed to target the viewing habits of the 18–35 demographic, which he believes is being ignored by the traditional pay-TV industry (and is also represented by its slogan, ‘Take Back TV’ and which generated significant interest from web-users who appreciated the humour in its TV commercials).

Sling TV doesn’t replicate Ergen’s Dish bouquet, and consequently is priced extremely competitively at a basic $20 a month. Reportedly it has signed up an impressive 250,000 users in barely six months, proving that there’s a demand. Key to the service is that users can take the bundle with them, on their devices. Lynch says, “We always thought we could take a market segmentation approach to pay-TV, and not try to simply replicate pay-TV over the internet. In creating something that’s different it will appeal to a segment of the audience.” He says Sling TV is targeting three groups: the so-called ‘cord nevers’ who are less

likely to take ‘full’ pay-TV; then the ‘cord cutters’; and then the ‘supplementors’ who have pay-TV and want more of it! “They appreciate the flexibility we offer to multiple devices. We think $5 a week is pretty attractively priced for that flexibility to take your service with you. It is the same with the fans of Netflix, who are also likely to have HBO. There are people out there who are happy to buy everything on offer.” Lynch, who many will remember from his time in London at Video Networks, and in the Netherlands as CEO at Chello Broadband, admits that his current focus is very much on the US market. “I would not say we would

Game on with Touch & Connect Touch & Connect is not only a powerful business tool, it is also a way to have fun at IBC, with a number of entertaining and free competitions running throughout the show. ‘Leaderboard’ ranks daily connections on the Touch & Connect system, with a different number of points awarded

10 IBC D2 2015 Issue v1MDL.indd 1

depending on whether the connection is to content or a person. It is reset every morning, every day one lucky IBC attendee can win an iPod Nano. The Golden Touch & Connect Member contest asks attendees to connect with one special Touch & Connect user to be in with the chance of winning an

iPad mini. Are you a Twitter or Instagram user? To enter the draw to win a Nintendo DS or PS Vita Starter Kit, simply post a picture of yourself using Touch & Connect to @IBCShow using the hashtag #IBCConnect. Prizes are also on offer as part of an IBC2015 Scavenger Hunt. Connect with at least

Roger Lynch: OTT comes of age in today’s keynote

never look to overseas, that would be foolish, but right now there’s a lot more we need to do here. The good news is that everything we build here

in the US, and we build it well, then is easy for us to take it to other markets. We don’t have to build cable infrastructure, or launch a new satellite.”

five exhibitors per hall and two posters on every Download Wall and you will go into a prize draw to win €500 of Amazon vouchers. As well as these, you can win a daily prize simply by attending sessions in the IBC Content Everywhere Hub and Technology in Action Theatres. Get your badge scanned by a hostess to be in to win! There are also spot prizes to be given away throughout

the show just for having the IBC Connect App downloaded to your phone – all you have to do is show it installed on your smartphone to one of the hostesses circulating around the show when they ask. To join in the fun, make sure you activate your account by visiting www.ibc.org/portal To find out more about the competitions, visit www.ibc.org/tccompetitions

28/08/2015 15:56

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01/09/2015 06:46

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Open source in broadcasting: Don’t miss EBU meet-up today!

EBU Open Source meet-up takes place today, 16:30 on stand 10.F20

By Mathias Coinchon, EBU

Our annual EBU Open Source meet-up is an informal event where people can meet, network and exchange ideas on open source software. Taking place at the EBU Stand (10.F20) today, 12 September at 16:30, participants will have the opportunity to take part in a series of five-minute lightning talk presentations from speakers focusing on open source projects and specific use cases of open source in the broadcast domain. For several years now, the EBU has actively addressed the relevance of using open source for media applications. Nowadays, open source software is part of our everyday life – in phones, home routers, social media and new platforms (Twitter, Vimeo, Netflix, etc.). As systems get more complex, the open source approach helps media professionals avoid being locked into proprietary systems

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and speeds up development by reusing instead of reinventing processes. The community relies on users and developers to provide de-facto ‘software standards’ and is sometimes an opportunity for companies to decrease costs. Using open source shifts the value from software itself to expertise for integration, customisation, deployment and support. Software code is made available to users, however, with no guarantee and therefore it is up to companies or experts to make it into a product or service with a warranty. The process has also become a way to democratise innovation and attract talent from the community of contributors. In broadcasting, we can now find open source software in playout, contribution, headend, and web platforms (either as components but also sometimes as full platforms). Software projects like FFMPEG and VLC, for example, are becoming widely used and open royalty free formats start to be used

such as Opus audio codec. The license under which software code is distributed also plays an important role. Some licenses are more permissive than others. The GPL license that is very common (used for Linux, for example) is non-permissive and requires anyone who distributes the code or a derivative work to make the source available under the same terms. This is good for sharing developments and keeping the project public, but is sometimes more difficult to accommodate with industry requirements. On the other hand, permissive licenses such as MIT and Apache licenses allow software code to be reused with fewer restrictions. This is often preferred by industry. The world of open source software is vast and not all projects are of high quality or reliable. In fact, the success of a project is often measured by the size of its community of users and contributors.

While a community can quickly grow in the home media domain, it is more difficult in the broadcast domain which is more of a niche and is traditionally more conservative. There are conferences throughout the world that host open source communities such as the annual OSCon Conference in Portland (USA) or FOSDEM in Brussels (Belgium). The EBU also enthusiastically engages in this process with the development of the annual EBU DevCon Conference (https://tech.ebu.ch/events/devcon15). The EBU Technology & Innovation team has also created a platform for software exchange (ebu.io) and a Strategic Programme on Agile Software Collaboration to give broadcasters the opportunity to collaborate and share software developments. At IBC, there are now some manufacturers proposing solutions based on free open source software. We look forward to seeing you this afternoon!

31/08/2015 12:09

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01/09/2015 06:48

For the latest show news and updates follow

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Olympic conservation honoured IBC Awards Ceremony Monday night, Auditorium IBC has selected the International Olympic Committee (IOC) to receive an award for its work on conserving and managing its audio visual archives. Its Patrimonial Assets Management programme covers assets going right back to the first Olympic Games in modern times, in 1896. The conservation and preservation of archives is a huge concern today, with film and analogue material rapidly deteriorating and more recent digital formats becoming obsolete. For an organisation as significant as the IOC, moving the content into a secure file format and asset management database is critical, as the IBC Awards judges have recognised. The IOC programme has

now secured 2000 hours of film, 33,000 hours of video, 8500 hours of audio and more than 500,000 photographs. The unified database also covers 2000 archive documents and 22,000 pictures of Olympic Museum artefacts. The importance of the programme was identified at the start, when the IOCâ&#x20AC;&#x2122;s archivists found that, within just a few years, 50% of the videos would be unplayable, 20% of the faded photographs would be unusable, and there would be no audio players available for much of the collection. On the films, â&#x20AC;&#x153;vinegar syndromeâ&#x20AC;? chemical deterioration was gaining ground, risking complete destruction. â&#x20AC;&#x153;The IOCâ&#x20AC;&#x2122;s Patrimonial Assets Management programme has helped safeguard the IOCâ&#x20AC;&#x2122;s rich legacy by preserving the organisationâ&#x20AC;&#x2122;s historical archives and bringing them into the 21st century,â&#x20AC;? said

Christophe De Kepper, IOC director general. â&#x20AC;&#x153;It was down to us to perpetuate the cultural heritage of more than a century of Olympic history that our forebears had handed down to us. The IOC patrimony can now withstand the test of time.â&#x20AC;? The IBC Awards are given by the international group of editors and commentators. Chair of the group, Michael Lumley, said â&#x20AC;&#x153;Broadcasters, production companies and anyone with an audio visual archive can look to this project to see a model of conservation and access. IBC is pleased to be able to draw attention to the issue of conservation through this award, as well as recognising the excellent work the IOC is undertaking.â&#x20AC;? The IBC Awards Ceremony takes place tomorrow night in the Auditorium, and is free to attend for all IBC visitors. Come along to find out which award IBC will bestow upon the IOC!

A technician examines transparencies from the photographic archive prior to conservation ÂŠ CIO/Jean-Louis Strangis

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01/09/2015 06:49

For the latest show news and updates follow

Fantastic free chance to see Fantastic Four IBC Big Screen Experience running superhero team. The movie will be shown Tonight, Auditorium 18:30

The Saturday night movie has always been a great opportunity to see one of the latest, most dynamic movies on release with the absolute state of the art in projection and sound. Tonight the movie choice is Fantastic Four, the contemporary re-imagining of Marvel’s original and longest-

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using the high brightness Christie 6p laser projector, which on the matte white Harkness screen will provide unrivalled brilliance, colour and clarity. The pictures are matched with Dolby Atmos sound, the next generation immersive audio system. More than 40 QSC speakers have been specially installed and calibrated in the Auditorium for the IBC Big Screen Experience. The cutting-edge technology is ideally suited to this action movie, featuring four young people who teleport to an alternative and dangerous universe. Thanks to the generous support of 20th Century Fox, IBC invites all visitors to attend this screening free of charge. Doors open at 18:15 for an 18:30 start. Arrive early to be sure of your place.

#IBCShow

Technology in Action The IBC Content Everywhere Technology in Action Theatre in Hall 3 is a new offering at IBC2015. The stage is host to a series of presentations and panel discussions on new and emerging technologies. Many of the presentations are based on case studies, with both vendors and users coming together to talk about how the technology has been applied, what the results were, and what lessons were learned. The sessions are kept to just 30 minutes to give you the biggest benefit for your time. As well as hearing the presentations, you will have the chance to talk to the panellists and dig into the real

Forscene holds a clinic in the Theatre

issues that are affecting you. Today’s programme includes sessions on virtual reality and augmented graphics; how the cloud is changing post; long-term content archiving; and the often forgotten challenge of migrating technologies while keeping the programmes on air. Presenting companies

include Brainstorm, Forscene, Studer by Harman and the LTO Programme. Full details of everything in the Technology in Action Theatre can be found at www.ibcCE.org/techinaction, or listed at the theatre itself, which you will find in Hall 3. Reservations are not required: just drop in and learn.

Debating OTT at the Hub Over-the-top video is the subject of the two panel discussions today at the IBC Content Everywhere Hub. OTT is such an important topic that these are sure to be lively, informative and interactive sessions.

The Hub is one of the IBC Content Everywhere stages, in Hall 14. Every day until Monday it hosts two key debates, at 13:00 and 15:30. Take your lunch today and get involved in the debate on OTT business models. Netflix

is seen as a great success, of course, but what about all the other OTT providers. How are they making money? What revenue models are viable? The afternoon session tackles another tricky commercial issue which depends upon technology. Broadcasters have to abide by tightly defined geographical rights – you get to show the programme in your country or region only. OTT offers the potential — or possibly the risk — of showing the content further afield. What are the commercial, cultural and legal considerations? Around these two highlights is a comprehensive programme of short presentations, led by exhibitors who have real knowledge and practical experience of the issues. The full programme can be found online and it is posted at the Hub. All these sessions are free to all IBC visitors. To find out more information visit www.ibcCE.org/hub

28/08/2015 15:58

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01/09/2015 06:50

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OPINION

Beyond OTT: The next frontier Connection solutions for content everywhere are more powerful than ever while ad stitching gains traction, says Matt Smith, chief evangelist, Anvato Call it what you want – OTT, TV Everywhere, but hopefully not just ‘streaming’ – access to premium programming has grown exponentially since last year’s IBC show. Programmers and operators in Europe, North America and Asia are rapidly deploying or planning to bring to market IP-driven, over-the-top offerings through which viewers anywhere can consume their content. From Sky to NBCUniversal, iTV to HGTV, programmers and their brands are taking measures to ensure they are front and centre in today’s crowded content universe. In years past, it has been a

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challenge to connect the various components and assemble the workflow necessary to deliver these channels and content to the viewer. Often, the resulting infrastructure would end up with gaps and compromises on features and functionality, a less than ideal consequence. Fortunately, this is not the case anymore. Whether a channel is broadcast live and needs to reach every smartphone or tablet, or an operator has a VoD asset needing separate subtitles or an additional language track added, the solutions available today are more powerful than ever. In fact, moving from a live event to a VoD asset can now

happen within seconds. Imagine that: instant availability of a World Cup football match on any screen, moments after the final whistle. Anvato recently helped deliver this for the FIFA Women’s World Cup. We call this capability our Live To VOD Bridge, and it is available today.

Stitching: next step in advertising If you’re not already acquainted with the term ‘stitching’, it’s time to get accustomed to using it. As dynamic ad replacement (DAI) has come to market, the idea of ad stitching has gained traction, but beyond ad replacement, the term also refers to splicing

content together when needed on a per-user basis. This is becoming more and more relevant as broadcast and streaming rights diverge slightly in the near future. When rights are in place to broadcast a show but streaming rights aren’t secured, technology can enable programme replacement on the fly, specific to each user. As programmers deliver their content to a growing list of distributors, many are faced with disjointed workflows where separate components are required to prepare and place their content within both new and traditional destinations. This complexity can be removed with one-stop syndication: a solution where one platform prepares this content for delivery to all screens and all platforms. There has never been a better time to bring your programming to viewers on screens of all shapes, sizes and locations. Meanwhile time to market and infrastructure cost have never been lower – it’s

a win win. IBC continues to be a fantastic venue through which we learn about these new trends and capabilities, and where we all can get a glimpse into the future to better understand where technology and requirements meet. Please stop by the Anvato stand to discuss these exciting trends and tools. More information is also available at www.anvato.com. We look forward to seeing you at the show. 14.L20

28/08/2015 15:59

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01/09/2015 06:52

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Back to the Future zone Most of the IBC Exhibition is given over to the latest products and services, with the vendors urging visitors to consider them right away. But what comes beyond this yearâ&#x20AC;&#x2122;s new star products? Working with the Conference Technical Papers team, IBC has always had a showcase of cutting edge projects and prototypes. This is the place to spot the headline makers in future years. The IBC Future Zone can be found in the Park Foyer, outside Hall 8. By invitation, some of the leading research labs and academic bodies are invited to showcase their prototypes, and discuss their thinking. This is a really interactive area. The people manning the stands and running the demonstrations are the scientists and engineers who are working on the projects. They welcome your feedback and thoughts â&#x20AC;&#x201C; it could be the insight that takes the work in a

20 IBC D2 2015 Issue v1MDL.indd 1

NHK is back in the Zone showing 8K HDR

new and more exciting direction. To emphasise the interactivity, this is also where the posters from the Technical Conference can be found. If the peer review committee sees a paper covering valuable and interesting work which is not yet ready to present in the conference, it will invite the authors to present

it as a poster. The authors are regularly found alongside their posters, happy to discuss the detail of the work. This year, the organisations chosen to participate in the IBC Future Zone span the whole spectrum, from new names to some of the most famous in the business. There

are broadcasters, academic institutions and start-up businesses; companies big and small. Japanese broadcaster NHK and BBC from the UK are both regular IBC Future Zone participants, thanks to their long history of industry-leading R&D. This year they are joined by the

Swiss labs of The Walt Disney Company. Major companies represented include NTT Network Innovation Labs and Thomson Video Networks. Specialist research bodies include the Academy of Broadcasting Science of SARFT and ICoSOLE from Austria. Also showing their cutting edge ideas are 3Flex and AutoPost Projects; Jaunt VR; LiveLike; Swissaudec; Two Big Ears and Vision III Imaging. All the exhibitors in the IBC Future Zone have important things to say about the future direction of the technology in our industry. Make sure you get involved in the debate. You can find these future-looking companies in the Park Foyer, near Hall 8, and the IBC Future Zone is open throughout the exhibition hours and is free to all visitors. Visit www.ibc.org/futurezone to find out more information.

28/08/2015 16:00

Published on behalf of the IBC Partnership by

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Once more IBC is proud to support the IBC Rising Stars programme. This is a free initiative to help the newest entrants into the industry to discover the information and the contacts that matter to them. The programme, which starts today, has a set of tailored and exclusive conference sessions tackling topics that really matter to young professionals. Speakers at these sessions include some top influencers from around the industry: today the Rising Stars will hear from senior executives at VICE, YouTube and Divimove. The dayâ&#x20AC;&#x2122;s business ends with a panel discussion on the future of broadcasting. Panellists range from the CTO of Sony Pictures Entertainment to the executive producer of The Voice UK. The programme also includes sessions designed to develop key skills and understanding of the structure of the industry. Some of the IBC2015 Conference Keynote sessions are also included for the Rising Stars. Together with free entry to the IBC Exhibition, delegates in the scheme have the chance to network with entrepreneurs and leaders in the industry, and of course, they will network with each other. IBC is the leading forum at which all sides of the electronic media industry come together. Hosting IBC Rising Stars is an important part of ensuring that the industry remains vibrant, dynamic and the place where the best of the new generation of talent want to be. To find out more details on IBC Rising Stars, including the programme visit www.ibc.org/risingstars

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28/08/2015 16:00

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Ultra HD: Where are we going? Conference Tomorrow Emerald Theatre, 4pm

By Matthew Goldman, SMPTE executive VP and senior VP technology for TV compression, Ericsson

Ultra high definition (UHD) for broadcast is evolving at a rapid pace — particularly for a new technology without an established, end-to-end ecosystem. We hear about UHD in the over-the-top (OTT)/streaming community, with players such as Netflix launching 4K services. We also hear quite a bit about the display technology making its way into the retail market. It is still very rare though to hear of a major broadcaster embracing the technology. UHD adoption in the broadcast realm has been slow not because of lack of interest, but because it requires changes across the entire ecosystem. The emerging and stillevolving UHD ecosystem will be the topic of an IBC2015 session presented by the Society of Motion Picture and Television Engineers (SMPTE). Scheduled for 16:00 on Sunday 13 September, in the Emerald Theatre as part of the Advances in Technology stream, the session is titled ‘UHD: Where Do We Stand, and Where Are We Going?’ In exploring the full ecosystem, the session will address the impact of UHD implementation on both broadcasting and theatrical releases. As session moderator, I will be joined by panelists including Hans Hoffmann,

22 IBC D2 2015 Issue v1MDL.indd 1

Matthew Goldman: In the UHD world, everything is new

“It is always exciting to work on new technology, especially one that enhances the viewing experience” head of media production technology at the EBU and former SMPTE standards vice president; and SMPTE executive member Spencer Stephens, executive vice president and chief technology officer at Sony Pictures Entertainment. We will examinine the new compression methods and standards being used to deliver content to customers and in discussing the relative contributions of spatial resolution, high dynamic range (HDR), and wider colour gamut (WCG) to delivering an

immersive viewing experience. In the UHD world, everything is new, from equipment such as capable cameras, switchers and servers to infrastructure and the bandwidth it can provide. On the production side, companies are dealing with new equipment, and also with new interfaces and protocols engineered specifically for UHD.

A precious commodity With respect to delivery over the air (OTA), or even over wires, as with IPTV services,

bandwidth to the consumer is very restrictive: Bandwidth is a precious commodity, and UHD’s demand for it is driving new compression methods, as well as standards, for delivering that content to customers. Although all of these complex elements and considerations are coming together, the transition to UHD will take some time. That said, the pace of UHD implementation and adoption may seem quite fast when compared with earlier milestones in the history of television — the invention of analogue TV in the 1930s and its adoption over the following 20 years, the introduction of colour television in the 1960s and adoption over the next decade, and the transition to digital and then HD with flat-panel displays. While a relatively slow pace is good news in some ways, it does raise the concern that if the UHD ecosystem is still in play, then early pioneers run the risk of investing time and resources in technology that could soon be eclipsed by another target. This concern affects how companies move forward into UHD, and being nimble as the industry moves forward will be among the many critical topics we examine during the session. Standards work is one key to solidifying the end-to-end UHD ecosystem, and so we will discuss the standards currently in development and the work that SMPTE and other organisations are doing in this area. These UHD standards will take into account a host of different factors and the role they play in creating a more immersive and realistic viewing

experience, which is the ultimate goal of most studios and broadcasters.

Pathﬁnder case studies A major highlight of the session — I consider most exciting — will be the presentation of case studies by top figures at leading broadcast networks and motion picture studios. These case studies will examine the strategy and success of the ‘pathfinders’ that have rolled out the first UHD implementations. Representing one of these companies will be Stephens. Together, these case studies will provide session delegates a unique perspective on the state of UHD. They will offer the latest details on which companies are entering the fray and the reasons why, the challenges and opportunities they have found, and how they have overcome unexpected obstacles in this new environment. Presenters will talk about the unique ecosystems that they have developed, the factors they had to consider in creating them, and the keys to putting it all together for a successful launch of UHD services or in broadcast as well as cinema. It is always exciting to work on new technology, especially one that enhances the viewing experience, and UHD has tremendous promise as a means of bringing media consumers the full glory of premium content, whether it be movies in the cinema or live sports and other popular events in the home. At the IBC2015 show, the SMPTE session on UHD will offer a great deal of insight into how the industry is beginning to realise that potential.

28/08/2015 16:01

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HDR: From zero to inﬁnity IBC Big Screen Experience Today By Adrian Pennington

High Dynamic Range (HDR) technology — which effectively expands the range between the darkest and brightest images a projector, TV or other display can produce — is generating growing attention among the production community. It “may well be an important feature of Ultra HDTV in future years, though the jury is still out, and will take some months to reach a verdict,” according to David Wood, chairman of the International Telecommunication Union group responsible for a recommended global blueprint for Ultra HD. It’s the subject of not one but two further sessions on the IBC Big Screen today. IBC will present the most in-depth and

23 IBC D2 2015 Issue v2MDL.indd 1

wide ranging analysis of this crucial image enhancement which delivers new storytelling options for filmmakers and technical challenges along the post to delivery pipe. HDR: From zero to infinity – 2 [Auditorium 11:30 – 13:00] looks at HDR for cinema, specifically the requirements and issues in the capture and post production of HDR images. Curtis Clark, ASC Technology committee chairman, American Society of Cinematographers and Bill Baggelaar, senior vice-president production and post production technology at Sony Pictures Entertainment will present. Straight afterwards, [Auditorium, 13:30 – 14:30] the trilogy will conclude with a panel of experts from Barco, Dolby Laboratories, IMAX Corporation and Sony who will discuss the technology and challenges of HDR and wide colour projection in exhibition.

Barco’s Stijn Henderickx is on the panel today at 13:30

Watch out too for the Big Screen Keynote on Monday when filmmakers from Walt Disney Studios’ Tomorrowland and Disney Pixar’s Inside Out will be presenting their

experiences in the creation and distribution of those movies. Remember, like all sessions in the IBC Big Screen Experience, these HDR primers are free for all IBC visitors to attend.

On the Launch Pad In an industry that is shifting fast, the dynamics of the industry change. Some of the brightest new ideas come not necessarily from the established players, but from exciting new companies. IBC is putting the spotlight on some of these new ideas, with a new zone that features companies at their first IBC. You can find the IBC Launch Pad in a new extension to Hall 14. With the shift to IP for infrastructure, and virtualised

software, the innovation is coming from companies who come from the internet and IT sectors. The companies bringing their brand of innovation to the IBC Launch Pad this year are AdSparx, Elmo, KenCast, Malooba, Optispeech, Ripple Networks, Rip-Tie and tv2u. The IBC Launch Pad is part of the exhibition, located in Hall 14, and is open until the show closes on Tuesday. To discover more about the IBC2015 Launch Pad visit www.ibc.org/launchpad

28/08/2015 16:02

For the latest show news and updates follow

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Deﬁning a long term vision for terrestrial broadcasting By Vincent Grivet, chairman of DVB CM-T Group and vice president, broadcast development at TDF

For many years, radio and TV services could be delivered only via terrestrial transmitters. Despite the successful development of alternatives to terrestrial broadcasting, terrestrial transmissions still play an essential role in many markets. However, the rapid evolution of digital technology and the media landscape could have far-reaching consequences. As a consequence, terrestrial broadcasting may need to be adapted to ensure that it will continue to bring the huge social benefits of an affordable, large reach and high quality access to media. In order to develop standards and technologies one needs a sound understanding of the market and business context in which they will be used. DVB has developed a holistic vision of what terrestrial broadcast

would likely be (or have to be) in the future to ensure that DVB specifications evolve in a consistent manner to achieve this vision. A dedicated study mission, with participants from leading national and global companies and institutions, undertook this challenging exercise over the past year and arrived at some interesting conclusions1. The

24 IBC D2 2015 Issue v1MDL.indd 1

findings are based on a thorough review of the most important trends for change in the current environment (21 key context factors were identified) together with a survey from a large array of qualified worldwide experts, both inside and outside DVB. Generally speaking, the DVB task force identified two main directions for change in terrestrial broadcast. Perhaps the most urgent and important one is to create the conditions where terrestrial broadcast can better ‘connect’ or adapt and serve the new media consumption paradigms. These include: the massive shift to on-demand viewing; the need to feed several different screens connected on a home network; the growing habit to consume media on mobile devices while on the move; and the trend to personalised media experiences. Clearly there is much to be done to arrive to this point. It is not unrealistic to envisage that the power of terrestrial broadcast will have a role to play in the

terrestrial broadcast technology. This is less of a priority as DVB-T2, the most recent terrestrial specification, when combined with the power of the emerging HEVC codecs provides enormous capacity and efficiency, and its full roll out is still ongoing. And from a long-term perspective, improvements to performance will not be neglected. DVB has already carried out work that leads to promising possibilities in this direction. More precisely, a prospective study to quantitatively model the demand and supply for terrestrial broadcast capacities projected that a mid/long term gain of roughly a factor of 1,8 would be desirable to meet future demand with a drastically reduced supply as in the case of the re-allocation of 700 MHz band. This growth in demand for capacity is fuelled principally by the overwhelming desire for higher image quality (HD and UHD) and the progressive emergence of new applications (eg. on-demand and mobile media delivery), which could take advantage of the wide reach and high efficiency of terrestrial broadcast. Thankfully this potentially large increase in demand can be mitigated by the high efficiency gains to be derived from deploying the latest DVB-T2/HEVC technologies. In summary, the findings of the study mission point to the opportunity, and the need, for the continued contribution of terrestrial broadcast for the delivery of media to mass

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audiences. This can only happen with a determined collective effort of terrestrial broadcast stakeholders, including the DVB, to engage and deliver the necessary adaptations in line with the major changes that are taking place. These changes are required to keep terrestrial broadcast as relevant as it is now, and has been for many years, for hundreds of millions of people.

If this is not done with sufficient speed, there is a high risk of excluding equally huge numbers of people from the new media and digital services they are aspiring to enjoy.

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support of these new use cases. As a matter of fact, in many circumstances, unicast networks are facing or will face significant limitations such as capacity or coverage, which are less of a problem for broadcast based solutions. The second axis for change is the need to plan further improvements in technical efficiency and performance of

28/08/2015 16:02

Why build your next encoding server on Matrox M264? Dedicated real-time hardware Multi-channel 4:2:2 10-bit Up to 4Kp60 Native AVC

NEW! Matrox M264

Hardware-based multi-channel H.264 8- and 10- bit encoding, decoding and transcoding capabilities for 4K, HD, SD and custom resolutions.

IBC Stand 7.B29 www.matrox.com/m264/ibcdaily Matrox is a registered trademark and Matrox M264 is a trademark of Matrox Electronic Systems Ltd. All other company and product names are registered trademarks and/or trademarks of their respective owners.

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01/09/2015 06:54

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Road to delivering a personalised and data-driven user experience By Michael Barroco, EBU

The current broadcasting landscape is a jungle of new players. Companies like Netflix – who are able to provide content in new ways direct to the consumer – have raised the expectations of audiences in terms of mobility and availability of content. What make new online players killer applications? As you probably know, Netflix and Spotify are able to deliver a very simple user experience. Because these companies have control of the whole distribution chain and every device is connected, the user is individually recognised through the system. This generates a lot of identified data that they can then use to learn about their users tastes and habits. User profiles allow personalised services and tailored recommendations. Leveraging this precious database, they can transform observable metrics into actionable options. For instance, they can use what is called A/B Testing to evaluate new features. This consists of proposing different interfaces to multiple sets of users. According to the reaction of the users, they can decide which feature is better for each subset of their audience. This is not easy for broadcasters since they have to comply with standards in order to reach their audiences and there are many players involved in the entire

26 IBC D2 2015 Issue v1MDL.indd 1

distribution chain. Time for broadcasters to rise up! Over the past few years, EBU Technology & Innovation has collaborated with industry and broadcasters to develop ways to enable broadcasters to catch up with online technologies in terms of personalisation and leveraging big data opportunities. Our team is building a community around the field of personalisation to allow broadcasters to provide the best user-centric experience while taking advantage of exclusive and live content. Until recently, it was very difficult to build a unified user experience across media devices and online devices. However, by using standards and collaborating with members and industry, we are now ready to compete with new online players using standards. Key standards to watch: EBU Tech 3366: The CrossPlatform Authentication Protocol. EBU-CPA is a broadcasting-flavoured OAuth2.0 protocol, which enables personalisation. It creates a link between a user profile and devices. Using this link, it is possible to create any kind of interaction between devices and people, assuming that the broadcaster provides a concept of a community. Imagine you are watching a live show on your TV and have to run to catch the bus. You jump into the bus and start the broadcaster application on your tablet. Using the link

between the devices and your user profile, the broadcaster will offer you to start watching the show at the exact moment you switched off your TV. This specification is in the process of being standardised at ETSI. EBU-CPA covers the full range of devices: limited input devices such as radios, connected TVs (HbbTV), and native mobile applications. For more information, see: https:// tech.ebu.ch/cpa • HbbTV 2.0 Specification: IP-connected devices are offering a set of frameworks to build custom applications on media devices (TV and radio). A major update on the previous HbbTV Specification, Version 2.0 adds new features to make existing services more attractive to the enduser or the service provider, enables new services such as push VoD, updates technologies and improves inter-operability between services and terminals. For more information, see: https:// www.hbbtv.org/ pages/about_hbbtv/ speciﬁcation-2.php • EBU RecSys Project: We are currently investigating how to specify interfaces between content recommendation providers and broadcasters infrastructure. More information: https://tech.ebu. ch/recsys

Architecture of a usercentric broadcaster Building such a user-centric experience is technically complex because these new

architectures are not easy to understand for architects who are used to build vertical and isolated systems. This will require a change in the culture and the skillset of engineers. There are many challenges associated with distributed and connected systems in terms of scalability, security and customisation. It is important for broadcasters to take into account three main elements when building a reliable modular and distributed User Management System: 1. The Identity Management takes care of identifying the user using his/her credentials. It is responsible for managing the profile and providing an interface to access it from other trusted systems. 2. In the context of connected applications, it is important to take into account the notion of a single sign-on. Indeed, a distributed system implies that different servers provide the features offered to the user, often using a single application. Therefore, it is essential that a user be granted access to the system without having to enter his credentials

for every service. 3. Since broadcasters want to provide personalised services on limited input devices, it is also necessary to consider that the audience does not want to enter an email and password on a radio or a TV using a remote control every time they access the system. The device manager manages the association of devices with an online identity and should offer the possibility of revoking devices in case it is stolen or lost. Based on our experience, a fully user-centric infrastructure requires open interfaces (APIs) in order to integrate other systems while keeping the full system scalable and secure. Therefore, OAuth2.0like and EBU-CPA interfaces are key to deliver personalised broadcasting services. If you want to learn more about designing and building your own broadcasting architecture to deliver personalised services, stop by our EBU stand 10.F20 during IBC or join us at the next EBU DevCon Conference in Geneva (6-7 October 2015).

28/08/2015 16:03

Published on behalf of the IBC Partnership by

Showcase for Toshiba minicams

1, which Polecam said was a perfect match for the Toshiba cameras. Polecamâ&#x20AC;&#x2122;s designer Steffan Hewitt, added, â&#x20AC;&#x153;You donâ&#x20AC;&#x2122;t put low performance tyres on a Ferrari! Excellent quality glass on a top quality camera gives fantastic results.â&#x20AC;?

Boxing clever: Toshibaâ&#x20AC;&#x2122;s IK-4K 4K minicam, camera head and CCU

10.C49

Polecam Systems

Meet us at IBC Stand #10.D29

By Heather McLean

Having been appointed by Toshiba as its European Centre of Excellence for its range of broadcast products, Polecam is showcasing the latest Toshiba minicams in Hall 10. The Toshiba IK-4K minicam is claimed to be the worldâ&#x20AC;&#x2122;s smallest 3-chip UltraHD 4K video camera providing 8Mp 3840 x 2160 output and showing high detail with up to 1600 TV lines resolution. Video output is switchable between 4k, 1080p and 1080i formats to configure to any HD display and application, all in what the company claimed was the worldâ&#x20AC;&#x2122;s smallest 3-chip C-Mount package Also on the Polecam stand is the flagship Toshiba IK HD5H 3CMOS camera head, which features Toshibaâ&#x20AC;&#x2122;s signature Microprism technology and native HD 1080p/i resolution in every channel, twice the sensitivity and 25% improved S/N ratio in an ultra-small housing. Finally, the all new Toshiba CCU IK-HD5E introduces the use of an adjustable Knee and Clip functionality which doubles up the dynamic range so the user can experience sharp colour quality in both the bright and the darker parts of the scene. Toshiba has added a 3G-SDI output to ensure full HD 1080p output. The IK-HD5 also includes a removable IR cut filter, a feature deemed â&#x20AC;&#x2DC;revolutionaryâ&#x20AC;&#x2122; by Polecam, as it opens up a whole new range of fluorescence imaging applications. The extended resolution offered by these latest cameras needs a high resolution lens that matches their performance and on the stand visitors can also see the latest offering from Fujinon, the Fujinon TF4XA-

27 IBC D2 2015 Issue v1MDL.indd 1

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28/08/2015 16:05

For the latest show news and updates follow

#IBCShow

DTGâ&#x20AC;&#x2122;s hard data approach helps the UK launch real UHD services Simon Gauntlett, DTG chief technology officer, explains how live testing and retailer advice is helping British TV platforms to lead Europe into the next generation of television services Ultra HD has already gone from next generation to state of the art in 2015, as the UK became the first European nation to launch commercial services on a traditional pay-TV platform â&#x20AC;&#x201D; helped by the DTGâ&#x20AC;&#x2122;s pioneering UK UHD Forum. August 2015 saw telco BT launch its 4K Ultra HD sports channel, streamed to fibre broadband customers. More than two years of collaboration in the DTG UK UHD Forum have enabled BT and other members to clarify the understanding of terms like 4K, UHD and HDR, which are used liberally with a wide range of interpretation. The DTG has also been talking to retailers to ensure they understand the potential and the limitations of the products theyâ&#x20AC;&#x2122;re selling. The DTG UK UHD Forum has been working since 2013 to help platforms and CE manufacturers develop their products, even though the international standards are still being finalised. We have hosted three 4K/UHD plugfests so far, bringing together CE devices, both commercially available and prototypes, pushing different types of content and seeing first-hand what works and what doesnâ&#x20AC;&#x2122;t, with support from Rohde & Schwarz. The first 4K UHD plugfest â&#x20AC;&#x201D; investigating HDMI support â&#x20AC;&#x201D; hosted 4K TVs from many different manufacturers, all available in retail. We also had two set-top boxes,

an upscaling Blu-Ray player and an AV Receiver, plus excellent HDMI test tools provided by Rohde & Schwarz and Quantum Data. This set the scene for further plugfests examining performance in different HEVC modes and HDCP interoperability, with further events planned for later this year. The results of each plugfest are published to all DTG members in an anonymised format to give a general picture of the market, although those who take part on the day gain a much deeper insight. For instance, in 2014, 60% of display models tested did not support HEVC, but when re-tested in 2015, this had reduced dramatically, and all devices supported 50/60Hz UHD HEVC. Even so, fewer than 10% were able to display all the 4K modes tested via HDMI. The next step in Ultra HD is High Dynamic Range (HDR), with multiple proposed standards being discussed in the ITU. Equally there are several HDR technology proposals being considered by MHEG. Until those are agreed, it is very difficult to set a consistent standard. However, with consumer electronics being launched that already support some form of HDR and services such as Amazon and Netflix offering the same, there is huge potential for consumer confusion. The DTG UK UHD forum has been

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28 IBC D2 2015 Issue v1MDL.indd 1

Simon Gauntlett: The DTG testing zoo is the only 4K testing facility in the UK

tackling this head-on by running a number of campaigns to improve understanding and ultimately educate retailers and consumers on the new technology. By working directly with retailers to agree some common messaging about 4K/UHD, we can ensure consumers know how to get the best out of the products and services available today without promising to be futureproof. Itâ&#x20AC;&#x2122;s a rapidly changing industry, and to continue moving this technology forward it is imperative to continue testing new devices, ensure conformance to standards

and issue guidance across the board for both manufacturers and retailers. The DTG testing zoo is the only 4K testing facility in the UK, hosting a growing number of UHD displays which can be hired out for testing as well as assisting the DTGâ&#x20AC;&#x2122;s ongoing work with the DTG UK UHD Forum and the development of test materials for Ultra HD. For more information about the findings and the ongoing activity of the DTG UK UHD Forum and how you can get involved, please visit the DTG at stand 5.A17.

Fusion HD secure DRM

Inside Secure

By Adrian Pennington

Not only does Fusion HD provide the high security levels required by Hollywood Studios to distribute HD content, but it also offers the flexibility that most other DRM solutions on the market do not. Thatâ&#x20AC;&#x2122;s according to Inside Secure, which has a demo of the brand-new Fusion HD at IBC. It is the latest implementation of Microsoft PlayReady Digital Rights Management (DRM) with over-theair security upgrade capabilities. According to the company, the security level offered by this solution enables the distribution of HD

premium movies â&#x20AC;&#x153;that meets the most up to date requirements of Hollywood studios. Moreover, this new product is one of the first in the industry which is fully downloadable for the high levels of security required in this market. It includes levels of security for the life of the device that were not previously available.â&#x20AC;? A Trusted Application Manager is said to significantly increase the security of the system. In fact, if the Trusted Application security level is compromised by a new attack introduced by content pirates, a new version of the security solution with reinforced countermeasures can immediately be downloaded overthe-air. 2.A08

28/08/2015 16:06

IT’S WHAT’S BEHIND THAT KEEPS US AHEAD

LEADING THE WAY IN DIGITAL KVM www.gdsys.de

G&D’s KVM systems have a proven reputation for long lasting usability and reliability. But that’s not all that keeps us ahead.

in every way – from design to planning, from installation to technical support.

Because G&D don’t just provide systems, we deliver solutions. KVM solutions that are tailor-made to meet your speciﬁc needs.

Versatility also plays its part in keeping us in front. For instance, we offer systems for a wide range of different video standards – digital or analog – with bandwidths up to 4K (incl. Full HD, 2K and Ultra HD).

Our broad portfolio allows us to combine products and systems to cover any application. Our expertise in all areas ensures your G&D solution is right for you

The power to deliver the perfect KVM solution. That’s G&D.

G&D AT IBC STAND 1.B10

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20/08/2015 14:44

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Q&A Muriel Le Bellac, CEO, Videomenthe Has IBC come at a good time for the electronic media industry? Why? Yes definitely as a lot of changes occur right now in the way of dealing with media content and expecting to use and view video: it’s becoming the real kingdom of viewing video when, where, how you want with the quality you expect. That means the media industry needs to fulfil such specifications and show it now during IBC.

What do you think are the key developments in, or threat to, your market sector at the current time? This is about proposing the same tools you use in your premises to manage your file-based workflow, in the cloud, but interfacing one to each other to be in continuity. Economically, capex and opex should cohabit smoothly and this is the challenge of new solutions on the market. Ease

of use, efficiency, elasticity and cost are the keys.

Why should delegates visit your stand at IBC ? Videomenthe is demonstrating its web portal Eolementhe allowing the user to build extremely easily his own filebased workflow, including transcoding, quality control, logo and subtitles insertion, etc. All the content is moved in an accelerated and secured

IP transfer in and out of our cloud where it is processed. Eolementhe is the continuation

of your inside workflow in the cloud. 2.A36e

4K clouds with 360-degree view MeteoGroup

By Will Strauss

Come rain or shine, Germany’s MeteoGroup

is using IBC to show how to cost-efficiently produce weather shows using virtual sets. Among the new developments for the company’s WeatherSuite

system is 360-degree video, an enhancement that allows presenters to create virtual flights over 3D terrain while simulating the changing weather conditions. WeatherSuite can output

4K, virtual reality and 3D for live-TV and both online and mobile platforms. MeteoGroup is also showcasing the latest extension to its weatherapp portfolio. RainToday,

which has already been launched in Germany, with further European rollouts planned, features realtime rain alerts with a high resolution radar. 2.C48

Implementing Media Technology

We think globally and act locally

Come and meet us at stand 8.B51

www.danmon.com

30 IBC D2 2015 Issue v1MDL.indd 1

28/08/2015 16:07

SkyPanel – a versatile family.

Fully tuneable and remote phosphor versions in two sizes. The new ARRI SkyPanel is a compact, ultra-bright and high-quality LED soft light that sets a new standard for the industry. Because different application areas call for different lighting needs, SkyPanel has been designed as a family of ﬁxtures, with the mid-range S60 and smaller S30 both available in fully color tuneable (C) and remote phosphor (RP) versions.

SOFT LIGHTING | REDEFINED

www.arri.com/skypanel

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To ﬁnd out more, visit us at our booth Hall 11.F21

01/09/2015 06:57

For the latest show news and updates follow

Tripod system for cinematographers Miller Camera Support By David Fox

The new Cineline 2090 Tripod System from Miller is designed to provide cinematographers with stability, smooth and consistent pan and tilts, and easy portability at an aggressive price. Charles Montesin, global sales and marketing manager, explained it had been constructed to meet the daily challenges cinematographers face. “Along with giving users access to a variety of setups and payloads, one key feature exclusive to the 2090 system is the illuminated rear-mounted controls on the system’s Cineline 70 Fluid Head,” said Montesin. “This allows all the controls to be seen and easily adjusted on a shoot located

#IBCShow

A watertight case for cameras SKB Europe

By David Fox

New waterproof cases for lowbudget 4K and HD cameras from Sony and Canon have been introduced by SKB. The iSeries case for Canon’s XC10 has a custom cut PE interior that will hold the camera, plus viewfinder, lens hood, AC power adapter, battery charger, batteries, memory cards and other accessories. The Sony A-7 case includes space for a Sony A7, A7R or A7S camera body with lens attached, lens hood section, two lens slots, and an accessory pocket. A removable section of foam will allow a 70-200mm lens to stay attached to the camera. Each lens slot has three half-inch removable rings to fit a variety of lenses. SKB has also modified the interior of its 3i-20118C300 case

in a dark location where the subjects are brightly lit.” The high-capacity leg-lock system uses turn-lock levers with a rapid lock/release action. The system can take payloads ranging from 4.5 to 37.5kg, providing the stability and security to support various rigging configurations. The lightweight Cineline 70 Fluid Head offers precise fluid drag control with soft starts, smooth stops and improved diagonal drag transition, plus counterbalance with an allin-one-location control layout. The fluid head has an extended sliding range to promote quick and seamless rebalancing after lens and accessory changes. It also has dual side mounts for monitors and accessories, as well as an assistant’s box front mount.

Giving cinematographers a leg up: Miller’s new Cineline 2090 Tripod System

11.D30

Anvato

By Anne Morris

A new end-to-end OTT software platform for multichannel video programming distributors (MVPDs) called Anvato Watch is designed to help programmers and service providers better monetise their OTT video offerings. For OTT offerings to be truly successful, they must be making money from day one, Anvato said. To enable this, the Anvato Watch platform includes server-side ad insertion capabilities that help service monetisation as operators forge ahead in mobile and OTT. For instance, using Anvato Watch, two viewers of the same channel in different areas of the city could be targeted

with a customised ad payload based on various devicespecific criteria such as time of day, geo-location, audience frequency and control (capping), or travel (distance and direction). Ads can also be stitched in for VoD assets for individualised ad delivery when the user requests the VoD playback, or programmes can be replaced when there are content restrictions, for example. Screen gold: Anvato Watch equips an OTT service with ad-insertion elements

Anvato claimed the platform eliminates the compartmentalised nature of other solutions, where various components are cobbled together in an effort to build a cohesive offering. Anvato Watch is designed to enable organisations to roll out an OTT service with every element including apps for mobile devices - usually within a few weeks. 14.L20

11.F65

-VHT Ä SSPUN! :2)»Z UL^ *HUVU ?* waterproof case, just one of 38 iSeries cases

AoIP driving business Merging Technologies

Watch to monetise OTT

to accommodate the new Canon C100 Mk II camera using custom cut PE foam. It also can be used with the other Canon models. By removing a piece of pre-cut foam the C300 model will fit and by keeping the foam in, the case accommodates the C500. There is also room for a monitor, batteries, memory cards and other accessories. The iSeries injection moulded cases use high-strength polypropylene copolymer resin in a gasketed, waterproof, submersible design (IP67) that is resistant to corrosion and impact damage, said SKB.

By Mark Hallinger

In the broadcast sector, the increasing acceptance of AoIP and sales of the Ovation audio and event sequencer have boosted sales of Merging Technologies’ Horus and Hapi converters, said the company. On its stand, Merging’s management and product specialists are discussing the introduction of AES67 a year ago and how this has changed the market. Merging said the majority of Horus and Hapi sales are with the premium AD8DP and DA8P converters fitted, but the ADA8 AD and DA combination board is also proving popular as it allows an instant doubling of the quantity of analogue I/O available on the units. For Horus, this means a possible 48 I/O can be used in a stagebox application. For Hapi, this allows 16 or 8 I/O with MADI.

Despite the extra component density, the performance of the AD and DA option card is virtually identical to the AD8 and DA8 components that are still in the range, said Merging. These can be mixed and matched to form a broad range of I/O combinations. Each ADA8 board comes equipped on the input stage with mic/line input selection, phantom power, LPF and phase invert. The output stage is also equipped as the DA8 card is, with a dip switch controlled line up level up to +24dBu and a digitally controlled output trim. All parameters can be managed from the front panel or remotely via the Ravenna LAN connection. Also on show is the VCube series of cost efficient PCI Express cards and USB video interfaces, now available in 4K and offered in three packs. These support a range of video cards from Blackmagic Design for capture and playback. 8.E96

Big I/O: Horus’ possible 48 I/O can be used in stagebox applications

32 IBC D2 2015 Issue v1MDL.indd 1

28/08/2015 16:07

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01/09/2015 06:58

For the latest show news and updates follow

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Targeted ad insertion platform spotted at IBC DVEO

By Will Strauss

A multi-criteria advertising insertion and delivery platform is on show for the first time at IBC. Designed for broadcasters and multiscreen pay-TV operators, DVEO’s Spotter uses both content data and viewer information to make decisions about which adverts should be played out. Content type, consumer profile and geolocation data are gathered by mining multiple databases in

real time. The Spotter triggers the start of adverts using analogue cue tones or SCTE 35 triggers to insert commercial spots into live or stored transport streams plus IP messaging, scheduled or manual triggering. Advertisements can be added inside, over or around video content via slices, overlays, crawl messages, alert bugs and video squeezes. Laszlo Zoltan, vice-president of DVEO, said, “Spotter uses programme content, viewer geo location, and other information

available from set-top boxes or mobile devices. It is the ideal way for broadcasters, cable and IPTV operators, and content providers to increase ad revenue by providing their sponsors with targeted dynamic ad insertion.” The Spotter works by transcoding content and inserting SCTE 35 signals with the metadata required for ad insertion. The resulting DVB-ASI output is typically passed on to a modulator for transmitting via satellite. IP output can be passed to the network or to the cloud. 2.A34

Audio repair and enhancement iZotope By Mark Hallinger

The latest advances in iZotope’s audio repair and enhancement toolkit are being showcased. RX can transform flawed audio

34 IBC D2 2015 Issue v1MDL.indd 1

into pristine, usable material by removing noises, distortions, reverb, and other common audio problems. For anyone in audio post production, broadcast, dialogue editing and mixing, independent filmmaking, or music production, RX can make poorly

recorded audio intelligible and ready for primetime, said iZotope. IBC attendees can also view and experience RX Loudness Control on stand. This offline plug-in efficiently analyses and renders a mix for loudness compliance in faster than realtime,

Data miner: Spotter uses content type, JVUZ\TLY WYVÄ SL HUK NLV SVJH[PVU KH[H

while transparently preserving the dynamics of the mix. Audio or video post production professionals working for broadcast can now access intelligent, automatic loudness compliance with just two clicks: one click to analyse audio, and one click to comply. The plug-in encompasses extensive presets for the latest and most significant loudness

standards—including BS.1770-13, EBU R128 s1, and ATSC A/85. 8.D70

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28/08/2015 16:08

Our world. The largest Arab community in the sky at 26ยบ East. Your world.

Meet us at IBC September 11-15, 2015 Hall: 1 Stand: 1.B38 www.arabsat.com

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Q&A Christian Schneider, vice president, corporate sales, Arvato Systems Has IBC come at a good time for the electronic media industry? Why? More than ever! Our industry is facing a tremendous change. IBC provides a great platform for visitors to discover the most recent market trends and to meet with key players in the industry. It offers solutions providers a brilliant opportunity to present our portfolio and to demonstrate how we are supporting customers as they embark on digital transformation and monetisation.

What do you think are the key developments in, or threats to, your market sector at the current time? The key development in our market is multi-platform delivery and everything that entails, including the ability to monetise content across all media channels. Our customers recognise that these changes affect technology, business models and business operations – all at the same time! Our customers need comprehensive solutions to cover all of the above.

Why should delegates visit your stand at IBC? We are a leading solutions provider covering all aspects of end-to-end media workflows including intellectual property management, scheduling, media asset management and content monetisation — across all platforms. Our global client base trusts our solutions to manage billions of media assets each year. Experience at our booth how we transform content into value enabling our clients to connect content and people. 3.B38

Multi-mode mod European debut for Spectrum X is set to excite Harmonic

DVLab By Ian McMurray

Radiofar’s DVB-T/T2 Exciter/ Modulator/GAP Filler, which is being demonstrated on the DVLab stand, is a multi-mode multi-function device designed to provide a cost-effective and high quality solution for broadcast network operators and system integrators aiming to deploy digital TV services over DVB-T/T2 networks in MFN or SFN environments. It is available in either a DVB-T or DVB-T2 configuration, and features an Interface B input mode for support of MFN, SFN (MISO and SISO), single PLP and multiple PLP DVB-T2 transmission based on T2-MI input supplied from a separate T2 gateway. An optional Interface A input mode enables standalone support of DVB-T2 in MFN single PLP mode with legacy MPEG-2 TS input. The

unit features high performance digital adaptive linear and nonlinear pre-correction for maximum transmitter performance, and what DVLab describes as a user-friendly intuitive web GUI for control via any standard web browser. Also provided are SNMP client Get/Set/Trap and SCPI control over RS232/RS485 and IP. It additionally allows for seamless switching between any of the ASI and/or IP inputs. Four Ethernet interfaces are configured for control and data transport, two of which are available for TSoIP. A multistandard global navigation satellite system (GNSS) receiver is integrated for time and frequency reference based on GPS, GLONASS, BEIDOU and GALILEO systems. According to DVLab, the product is futureproof as it is based on a fully reconfigurable and software-upgradable modulator platform. 5.C06

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36 IBC D2 2015 Issue v1MDL.indd 1

By Ian McMurray

Taking its european vow at IBC2015 is the Spectrum X advanced media server system from Harmonic. According to the company, Spectrum X elevates the ‘industry’s most trusted server platform to new levels of flexibility, efficiency and reliability’. Designed for production and playout applications, Spectrum X is claimed to ease the transition

to IP broadcast workflows by integrating SDI and IP I/O on the same chassis. The softwarebased system leverages Harmonic’s VOS technologies and combines file, baseband and transport stream ingest with integrated channel playout capabilities, including graphics and branding, DVE, master control switching and audio mixing. Supporting a broad range of SD and HD formats, and upgradable to Ultra HD, the Spectrum X system can operate as a true

Channel in a Box solution, as an integrated channel playout server, or as a conventional I/O server connected to Spectrum shared storage infrastructure or internal storage. According to Harmonic, the server is an easy-to-deploy, 1RU ingest and playout system for up to four channels that fits into any existing broadcast infrastructure. It can be operated as an SDI server within a conventional SDI infrastructure, an IP-based system or a hybrid of the two.

1.B20

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OnBoard automates ad planning SintecMedia

By Will Strauss

A targeted TV sales side platform that is designed to make digital and programmatic advertising more effective is being showcased at IBC. OnBoard provides broadcasters with tools for managing ad sales across digital

and linear platforms. With an open API it works with any buying linear and digital platform for direct buy or sell or programmatic buy or sell. According to SintecMedia, OnBoard can streamline sales by automating processes, managing inventory offerings, pricing and order confirmation, and providing post air analysis. Amotz Yarden, chief executive of SintecMedia, said, “As media

is delivered across increasingly diverse channels, we have developed solutions that enable broadcasters to meet the challenges of an ever changing business environment.” The media management software developer is also showing advances in its core products, OnAir and IBMS, and highlighting innovations in rights management within OnRights. 2.C32

28/08/2015 16:08

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TV Connect MENA, Dubai 2. - 3. November 2015

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Driller killer SNG van Megahertz

By David Fox

Georacing brings VR options to sports coverage Trimaran

A new newsgathering vehicle, one of a series built for a major broadcaster, posed an unusual challenge for Megahertz. For business reasons, the broadcaster is using leased vans, so no holes can be cut or drilled into the vehicle. After five years the van should be returned in good condition to the lease company, and the equipment transferred to a new vehicle. â&#x20AC;&#x153;It forced us to do a lot of engineering head-scratching and intelligent application to come up with a solution,â&#x20AC;? said Jon Flay, managing director of Megahertz. â&#x20AC;&#x153;The racks and technical furniture are secured in the van using seat mounting points, and the satellite dish is mounted using roof rack fixing points.â&#x20AC;? The broadcaster was also keen that the unit be as environmentally friendly as possible, so specified

By Will Strauss

Vantastic: Megahertz used a battery of good ideas on this SNG van

the capability of running the technical systems on batteries for six hours. In fact, thanks to smart load shedding so only the equipment needed is powered up in each stage of the newsgathering process â&#x20AC;&#x201C; acquisition, editing and transmission â&#x20AC;&#x201C; Megahertz has achieved as much as eight hours. This means the batteries can be charged overnight to support a complete dayâ&#x20AC;&#x2122;s work, using the engine to top up the battery only in extreme circumstances.

The roof-mounted VSAT satellite link can be switched between Ku-band and Ka-band, and there is a bonded cellular link and a terrestrial microwave antenna, so the signal can get back from almost anywhere. A small mast can lift the antennas above the traffic for improved transmission. The vehicle, which Flay claimed â&#x20AC;&#x153;is a very ingenious, very capable and very cost-effective solution for one-man newsgathering,â&#x20AC;? is on show at IBC.

The French motion design, visual effects and on-air graphics studio Trimaran is using IBC to showcase Georacing, a system for managing GPS tracking and producing on-screen virtual timing, ghost visualization, virtual reality and ranking data for sports coverage. Currently available for rallying, sailing, cycling, gliding, rowing and jet ski events, Georacing

is compatible with broadcast TV, large screens and mobile devices and includes apps for both broadcast and digital markets. Trimaran recently signed a two-year agreement for the use of Georacing with the Bullitt GC32 Racing Tour and became its official GPS tracking partner. Similar two-year contacts have been secured with the Yacht Club of GenĂ¨ve for the GenĂ¨ve-Rolle-GenĂ¨ve Race and with ASO, the organizer of the Tour de France Ă la Voile yachting race. 2.B39

On track: Georacing is being used on the Bullitt GC32 Racing Tour

11.F20

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" 39 IBC D2 2015 Issue v2.indd 1

28/08/2015 16:10

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Q&A Robert P McAlpine, EVP sales and marketing, Cobalt Digital Has IBC come at a good time for the electronic media industry? Why? It’s always a good time! Communications technology is so dynamic that the industry is constantly seeking optimum signal-transport solutions and cost reductions. The challenge now — for both broadcasters and most manufacturers — is deciding how much budget to allocate to 4K- and IP-related solutions relative to corporate

revenue. It involves predicting when the solutions will be viable and financially suitable.

What do you think are the key developments in, or threats to, your market sector at the current time? For our market, right now we’re focused on convergence! That is, products that help bridge the divide between the many different current video formats

and the next technology paradigm. Cobalt has already introduced several products for 4K, one of our core competencies. We’re also working with Embrionix to develop openGear products that will ease the transition to SMPTE 2022-X IP.

Why should delegates visit your stand at IBC? Cobalt Digital is a major provider for the openGear

platform. On our stand, knowledgeable technical managers will demonstrate innovations — such as our leading-density framesync/ genlock solutions for the OB market — and offer insight

into emerging technologies like SMPTE 2022. Think you have a unique problem no one else can solve? Stop by and challenge us to provide a solution. 10.B44

DVX200 4K handheld camcorder Opening up the cloud Quantum

Panasonic By David Fox

The new Panasonic AGDVX200 is a compact 4K/ Ultra HD camcorder that offers up to 50/60p recording and will cost £3420 (+VAT). It is designed for handheld use and is the spiritual successor to the fondly remembered DVX100, although far more stylish, with its carbon fibre and crimson trim. “This is a large sensor [Micro Four Thirds] camcorder designed for run and gun shooting with a huge variety of production uses,” commented Richard Payne, technical pre-sales manager

with its distributor, Holdan. It could even be a useful B camera for users of Panasonic’s VariCam 35 as it offers a V-Log L gamma curve (with ‘a very usable’ 12stops of dynamic range). “The colour rendition is beautiful, so I’d definitely consider shooting V-Log all the time with it,” added Payne. There is a new Leica Dicomar 13x f/2.8-4.5 optical zoom lens (28mm - 365mm in 35mm equivalent for HD use or 29.5mm - 385mm in 4K mode), which has separate manual zoom, focus, and aperture rings. It also has enhanced optical image stabilisation, including a fiveaxis Hybrid Image Stabiliser

Logged on: Panasonic’s new AG-DVX200 run and gun UHD camcorder

40 IBC D2 2015 Issue v1MDL.indd 1

and 4x correction-area image stabiliser that is claimed to produce clear images without blurring. Other features include variable frame rate recording, up to 120 frames per second in HD; timecode in/ out; 3G HD-SDI and HDMI 2.0 (4K) video outputs; and programmable user buttons. The 2.7kg DVX200 will record 4K (4096x2160) at 24p, or UHD (3840x2160) and HD (1920x1080) at 60p, 50p, 30p, 25p and 24p in either MP4 or MOV file formats. There are two SD card slots, for backup or relay recording at up to 150Mbps. 9.C45

By Carolyn Giardina

New at IBC is Quantum’s Q-Cloud Archive, developed to extend the company’s StorNext workflow capabilities to the cloud with no additional hardware, separate applications or programming. It aims to do this while maintaining compatibility with existing software applications. Users buy only the capacity they need and only as they need it, keeping assets in long-term storage for re-monetisation or simply as an off-site asset pool, said the company Quantum’s stand will also feature StorNext Pro Foundation, a shared storage system designed specifically for smaller workgroups or new deployments in post, broadcast, corporate and government video. It’s available in system configurations of 48TB and 96TB, which respectively support five and seven Xsan/Windows/ Linux SAN clients. In addition, StorNext Pro Foundation connects with Quantum Q-Cloud Archive to simplify extension into cloudbased storage. Another featured technology is the Lattus object

storage system, aimed at allowing facilities to create a parallel workflow for nonrealtime operations – such as ingest, transcode, rendering and delivery – by using IP connections to separate their network traffic from that of streaming realtime operations such as editing, colour correction and audio sweetening. Also on the stand, Quantum’s Artico NAS archive appliance is making its European debut. It’s created to let broadcast and post production facilities using scaleout NAS systems to establish media archives – outside of StorNext environments - that can scale to hold petabytes of content across disk, extended online, tape and cloud storage. Artico incorporates StorNext Storage Manager policies. When used in combination with any StorNext-qualified MAM system, Artico can move files from online storage to a longer-term storage with no user intervention while maintaining full access to the files. 7.B26

Post box: StorNext Pro Foundation is KLZPNULK ZWLJPÄ JHSS` MVY ZTHSSLY ^VYRNYV\WZ

28/08/2015 16:10

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C300 up to the Mark

Upgraded to 4K: Canon’s new EOS C300 Mark II

Canon Europe By David Fox

With the EOS C300 as a broadcast mainstay for a few years, Canon has revamped the camera, which will now shoot 4K and Ultra HD, plus wider dynamic range (up to 15 stops). The new C300 Mark II uses a new Canon-designed Super 35mm CMOS sensor that has twice the readout speed (reducing rolling shutter effects), and a more advanced imaging engine with dual DIGIC DV5 processors. The extra dynamic range is courtesy of a new Canon Log2 codec that retains more highlight and shadow information. It also has the Wide DR setting from the C100 MkII, which requires less work in post. It also offers improved auto focus, extended ND filters, an increased ISO range of up to 102,400 for low light use, and dual CFast 2.0 card slots. It has new XF-AVC recording codecs based on H.264 compression and MXF wrapping, with 10-bit 4:2:2 XF-AVC intra for 4K/ UHD at 410, 225, 220, or 110Mbps, while HD and 2K can be recorded in 10-bit 4:4:4 at 210Mbps, or 12-bit at 225Mbps. There are also XF-AVC Long GoP (50Mbps) and Proxy (35 or 24Mbps) options for 2K/HD recording, but not the MPEG2 format used on the C300. However, the C300 MkII won’t shoot at more than 30p in 4K/UHD, although it can go up to 100/120p in 2K/HD.

The Perfect Couple Automated Playout. Quality Compression. Together At Last. Meet FUZE-1. It merges fully automated channel origination with premium encoding and transcoding. All in a completely virtualized environment. Whether you’re building channels from scratch or repurposing existing ones, FUZE-1 is more than up to the task. Acquisition, switching, branding, ad insertion, squeeze backs, crawls. You name it, FUZE-1 can do it. With any mix of automation and manual intervention you choose. Plus, you can draw upon a set of premium codecs that take you back to baseband whenever circumstances dictate. And since FUZE-1 is all software, you can install it anywhere that ﬁts your current operation.

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28/08/2015 16:11

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OPINION

Civil drone market in my eyes Only companies who can offer solid technology at a competitive price will survive in the competitive UAV market, believes Hongjing LI, chief executive and president, Autel Intelligent Technology Development of the drones, or unmanned aerial vehicles (UAVs) seen today trace their beginning to World War II and continued in fits and starts with some military commands testing their effectiveness during the following decades. However, it is not until the very recent years that the drone industry appears to be innovating at lightning speed all over the world and a notable shift from the military market to the civil field gains momentum. People tend to believe that the age of artificial intelligence is coming and strive to take a piece from this market cake. Therefore, a growing ecosystem of drone software and hardware vendors is already catering to a long list of clients in agriculture, energy, logistics, TV and film, photography and other

possible areas. Though still young, the civil drone industry has begun to see some consolidation and major investments from large industrial conglomerates, chips companies and defence contractors. Overall, the market is expected to experience prominent growth during the forecast period. Progress owes to competition, as it were. As the global civil drone market is witnessing an increasing demand from various applications and significant technological advancements over the last few years, the smart drones are no longer a privilege of the few. Our customers are exposed to a surprising variety of product choices and offered more affordable prices ever. They are able to compare

every part of the products from different suppliers in terms of shape, colour, function, configuration, performance, warranty, price, etc. and choose the most cost-effective one from all. What is more, the after-sales service from drone providers is becoming more and more comprehensive, saving our customers from any worry about the product usage and maintenance. Notably, there is an emerging trend that consumers are now even possible to personalise their drones by selecting separate gimbals, cameras or other parts to configure their own drones ideally, instead of receiving a fixed device only. All these key opportunities in front of our customers actually bring in striking vibrancy to our current market.

R&D of drones is highly demanding for technologies comprising energy and propulsion systems, automation systems, collision avoidance system, cyber-security and jamming, on-board data processing, communication data links and radio frequency spectrum capacity. Technology barriers are at once a roadblock but meanwhile a powerful driver for the business going forward. As IBC2015 gathers the technologies and business models on an open fair platform powering the creation, management and delivery of all electronic media content

worldwide, we would be able to learn from one another and seek for long-lasting commercial relationships, making more breakthroughs in the drone industry. Finally, I believe, only those who can offer solid technology as well as competitive price will survive in this market. With our own technology, Autel Robotics will soon grow up into a firstclass drone supplier in the near future, creating another success in the drone market, apart from Autelâ&#x20AC;&#x2122;s impressive achievements in the automotive diagnostic industry. 8.E30

Universal ďŹ eld strength metering Smart storage options Promax Electronica

By Mark Hallinger

The HD Ranger 2 is a universal field strength meter that covers a comprehensive mix of broadcast standards around the globe. DVB-T2/C2/S2 (DVB-T/C/S also included) with MPEG-2 as well as MPEG-4 video are managed within the product. One of the most noticeable features on the new HD RANGER2 product is a very fast spectrum analyser, said Promax. This feature is one of the major changes adopted in the new product allowing for faster, more accurate sweeps. The HD Ranger 2 features a new 7-inch touchscreen with excellent brightness and superior image sharpness that can also

42 IBC D2 2015 Issue v1MDL.indd 1

be used wearing gloves. The hybrid operation allows the equipment to be fully operated using both the touch panel and the conventional keyboard. HD Ranger 2 features an IPTV input, common interface (CAM) for encrypted channels, HDMI interface and TS-ASI input/output, together with a lot of advanced features like task planner, realtime transport

stream recorder/player and analyser function, LTE filters, dynamic echoes analysis and StealthID (instant signal identification). The introduction of the latest technology within the product allows an operator to display multiple screens either overlapped together or in a 7-inch split screen format. 8.E41

Speedy sweeper: The HD Ranger 2 features an ultra-fast spectrum analyser

LTO Program By Heather McLean

LTO tape storage technology is being showcased in a bid to create more converts in the broadcast industry. LTO Program is adamant that its preferred storage method is the most cost effective and energy efficient way forward for media. The organisation claimed that when factors such as equipment, media, maintenance, energy costs and floor space are taken into account, LTO tape storage technology is the only answer. LTO Program claimed media professionals today should not overlook

the power of tape storage for high capacity storage needs. The quantity of digital content produced globally every day is staggering, said the organisation. While cloudbased storage services are helping store content that is frequently accessed, the sizable portion of content that remains untouched for long periods of time creates unnecessary burdens for digital content teams when stored in the cloud, as cloudsolutions can be cost and capacity-prohibitive, as well as vulnerable; this is where LTO comes into play. LTO generation 6 supports tape cartridge storage capacity of up to 2.5TB native. 9.C35

28/08/2015 16:14

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/ŶŶŽǀĂƟǀĞ DŽŶŝƚŽƌŝŶŐ ^ŽůƵƟŽŶƐ 01/09/2015 07:07

For the latest show news and updates follow

Scorpion Light gets little brother Blind Spot Gear By Heather McLean

After introducing the Scorpion Light, a portable, flexible and

affordable lighting solution, at last yearâ&#x20AC;&#x2122;s IBC, Blind Spot Gear is launching its new Kickstarter campaign for a new bit of lighting kit here at the RAI this afternoon.

After a Kickstarter generated 215% of the initial target for the Scorpion Light, Blind Spot Gearâ&#x20AC;&#x2122;s new top light, being showcased on the Scottish Development International

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(SDI) stand, utilises a revolutionary new LED technology that will include features unseen in this form factor, said the company. The launch will be followed by a whisky tasting event at the Scottish stand. 9.B30a

Geared up: Blind Spot aims to repeat the success of the Scorpion Light at IBC

Fusion Essential for FTA broadcasters Inside Secure

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Fusion Essential is a content playback and protection DRM software that features the strongest level of approved encryption (AES 128) when content is distributed via HTTP Live Streaming (HLS). Inside Secure said it was designed for the â&#x20AC;&#x2DC;challenging economic modelsâ&#x20AC;&#x2122; of free to air (FTA) broadcasters. The application uses Inside Secureâ&#x20AC;&#x2122;s obfuscation software security to â&#x20AC;&#x153;guarantee the integrity of content, strong resistance to reverse engineering, and protection against keys and secrets theft.â&#x20AC;? According to the company, FTA distribution of content allows consumers to access various TV programmes without requiring a subscription. Thus, advertising and sponsorship can help broadcasters to reach a much larger audience. It features the UltraViolet Common File Format, code and data protection against attacks and support for download and play, subtitles and immersive audio. 2.A08

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OPINION

MAM: Key strategic investment Media asset management is seen as key to business success, contends Kevin Usher, director of product and segment marketing, broadcast and media, Avid In today’s media environment enterprises are under intense pressure to improve content monetisation and maximise operational efficiency. They’re expected to do more — to create more content for more platforms and deliver it to more people — so they have to find new ways to secure revenues, differentiate services to earn audience loyalty, and deliver all these services at a lower cost. Today, the MAM system is seen as a key strategic investment. It provides wide-scale access to content, and it can take an active role in identifying and promoting content that has a revenue

Outside Broadcasting

opportunity attached to it. And as the repository of metadata, it’s seen as the heart of workflow processes and automation. MAM should today be seen as the workflow engine, driving automated processes as much as possible, and thereby reducing costs as well as serving more markets and outlets. To determine today’s attitudes towards MAM, Avid recently commissioned international research company Ovum Consulting to survey business leaders on their views. Ovum spoke to 125 individuals – mainly at C or board level – in 21 countries.

66% of respondents felt that their MAM system had lowered their multiplatform distribution costs. 50% said it had improved realtime collaboration between creative media professionals. And a staggering 82% of executives believe that MAM delivers a return on investment of 10% or better. They saw an average cost reduction in multiplatform delivery of 20%, and coupled that with a 17% increase in revenues due to faster production and distribution. It was clear from the survey, though, that MAM cannot deliver benefits on its own. It has to be part of a widely integrated system that provides seamless

Streamline Family

and, where practical, automated workflows across multiple vendors’ solutions. MAM may be the heart of the system, but if it doesn’t interwork with peripherals, a lot of its value is lost. The real benefits of a modern MAM system come in the ability to store, update and maintain comprehensive metadata, and to use this to drive automated workflows. This can only happen in an organisation that has reviewed all its processes and considered how best they can be accomplished in the future. Today, MAM is widely seen as a fundamental component of any media enterprise, and users are confident about its ability to deliver a return on investment. MAM is proven to solve key business and operational challenges that many media organisations face today. However, to achieve a successful outcome, MAM should be designed and implemented in close collaboration with the customer. Understanding

Broadcast Facilities

their needs at every stage, from design through to implementation, and beyond, is imperative. In conjunction, the MAM system needs to be futureproof to meet whatever new challenges in media formats and creativity media organisations will face in the future. Therefore, flexibility, extendibility and the scalability to address specific business or operational needs are paramount requirements of a MAM system, especially if total media enterprise transformation is the ultimate goal. 7.J20

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45 IBC D2 2015 Issue v1MDL.indd 1

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Mic managers catch the chat Dan Dugan Sound Design By Mark Hallinger

Three products for the management of live microphones in unscripted talking situations are being showcased – the Dugan Model

M, Dugan Model N and Dugan Model K. The new Dugan Models M and N are automatic microphone mixers, designed to work in conjunction with standard audio mixing consoles. The Dugan Model M has MADI I/O, both optical

and copper, and the Model N has Dante I/O, primary and secondary. Both models provide 32 channels of Dugan automixing at 96K or 64 channels at 48K and are PoE capable. The Dugan Speech System, Music System, and Gain Limiting are all supported. In addition, the M

HEVC encoder speeds UHD contribution Digigram

By Mark Hallinger

The new AQORD HEVC encoder has been launched by Digigram, in a bid to reduce the cost of high-volume data transport. The HEVC encoder fits into a 19-inch short-depth chassis in 1RU, the same form factor as a standard contribution encoder. The appliance ingests video from SDI inputs, encodes one raw UHD video signal or up to four simultaneous raw HD video signals using HEVC, then streams the encoded VoIP to the broadcaster’s production base. While the unit is intended for use in point-to-point broadcast contribution, its combination of size and functionality also makes it valuable for contribution applications in OB

Big Red: The 1RU AQORD encodes one UHD or multiple HD raw video signals in realtime

vans, said the company. Additionally, functional improvements and interface enhancements have been brought to the AQORD and AQILIM IP video product ranges with the release of a new V7 software update for each. One highlight of the V7 software release for the AQILIM multiscreen/OTT range gives users the flexibility to perform independent audio and video encoding, a capability that allows encoded audio to be muxed using one or more separate containers. Digigram said this allows AQILIM users to do more with their existing systems, because independent

audio encoding simplifies and accelerates the preparation and streaming of video along with many different language tracks. The new V7 software release for Digigram’s AQORD encoding/decoding products for broadcast contribution applications includes a new dual streaming feature that enables the use of two contribution links (SDSL, fibre, IP, satellite, and so on) to protect video transmission against IP packet drops or failed links. In other cases, the dual-streaming capability allows users to employ the AQORD unit for both encoding and decoding. 8.C51

Optimised web engine boosts Orchestrator 2.3 Aspera, an IBM Company By Carolyn Giardina

The new release of Aspera’s web-based workflow automation platform, Aspera Orchestrator 2.3 is being showcased. The company reported that the new version has undergone major optimisation across the

46 IBC D2 2015 Issue v2MDL.indd 1

core system engine to improve performance within high concurrency environments, with performance boosts in some cases as high as 10 times previous versions. The release also adds native installers and a number of usability updates for large and multi-tenant environments. New plug-ins have been added to the library of over 50 third-party applications that

can be invoked within an Aspera Orchestrator workflow. New inline file validation capabilities added to Aspera server and client software verify incoming media and metadata formats against ADI and DPP standards in broadcast, file-based VoD distribution and post production workflows.

Automatic for the people: Dan Dugan’s microphone mixers work with standard audio consoles

and N include a scene memory that can record and recall all operating settings, either

globally or by unit, in a library of named scenes. 8.C94

High efﬁciency DTV transmitter and 2K/4K playout NEC

By Mark Hallinger

A newly designed liquidcooled ultra-high efficiency digital TV transmitter series and an integrated 2K/4K playout solution are being showcased by NEC. NEC said the transmitters in this range are a direct response to increasing worldwide demand for electrical cost savings. The transmitters feature ultra-high efficiency on both the VHF and UHF bands, enabling broadcasters and network provider to dramatically reduce operational costs. One new feature found on this series of transmitters is a lightweight wideband power amplifier. This newly designed PA weighs about half of what the previous models weigh, making it possible to be lifted by one person. The wideband design allows for common usage among transmitters, reducing the need to stock a large number of spares. NEC said that a new userfriendly interface can be operated intuitively, even by non-expert personnel, while the minimisation of the main components and module help downsize space needs and thus site rental cost. NEC added that a big focus at IBC is using its technology to reduce its customers’ total cost of ownership.

The company has more than 80 years of field experience in the design and implementation of end-to-end broadcasting systems. NEC has supplied products and solutions to customers in more than 100 countries. Notably, NEC supplied transmitters to the UK for the start-up of the world’s first commercial terrestrial digital broadcasting service in 1998, and recently the company has developed what it claimed is the world’s first hardware-based ultrahigh definition encoder for commercial use. 8.B37 ,ɉ JPLU[ YLZWVUZL! ;OL UL^ YHUNL VM transmitters responds directly to demand for electrical cost savings

7.B27

31/08/2015 12:09

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Q&A Andrew Bond, sales director, ETL Systems Does IBC2015 come at a good time for the satcoms industry? Why? IBC always provides invaluable networking opportunities with satcom experts from all over the world and enables ETL to showcase our RF solutions. As an RF design expert we get the chance to see the projects that are shaping the market. In summary, it provides a fantastic platform to discuss client’s RF needs, enabling us to design RF products to meet their requirements.

What do you think are the key developments in, or threats to, your market sector at the current time? The satellite industry is always challenged by alternative ways to deliver content. ETL’s RF range helps ensure that satcoms signals remain the reliable, affordable and most flexible way of delivering live content. As a result of growth in the number of HTS (high throughput satellites) means that our newer RF products are designed for Ka-band applications. In addition,

ETLs range is created with resilience and reliability for use in mission critical applications, for example that is why 75% of the main NATO governments use ETL equipment for satcom applications.

Piranha LNB power supplies. Both of these major on flexibility to manage different types of signals coming from the LNB as well as power consumption reductions, ease of expansion and of course the usual ETL reliability levels. In addition, our growing StingRay RF over Fibre range has doubled in size and we have added many new

Why should delegates visit your stand at IBC? As always ETL is using IBC2015 to showcase new RF distribution technologies. Two new ranges of note are the new 64 x 64 Hurricane L-band switch matrix and our

TV and DAB exciter debut GatesAir By Mark Hallinger

Ace has HEVC encoding in hand Vitec

By Carolyn Giardina

A portable HEVC hardware encoder, the MGW Ace, has been developed by Vitec to take the benefits of HEVC encoding out of server rooms and into the field. The system includes Vitec’s realtime H.265 hardware based compression chip, a range of inputs, and KLV/STANAG metadata processing for

intelligence, surveillance, and reconnaissance applications. It also includes a secondary MPEG-4 H.264 chip to support legacy decoders. Recommended uses include live news broadcasting from the field, point-to-point contribution of HD video and live streaming from sports venues. Vitec suggested that by using the encoder’s HEVC/H.265 streams, broadcasters, corporate IT, military forces, and government agencies could reduce operating

high density RF over fibre modules to our chassis, as well as new portable ‘flyaway fibre’ for film crews in the field. 1.A33

expenses related to video projects with high-bandwidth utilisation, while managing increasing demand for more video services across LANs and WANs. Eli Garten, VP of product management, Vitec, said, “Small, power-efficient, and simple to use, the platform finally enables HEVC in any field or deployed on airborne platforms while dramatically reducing the bandwidth needed for producing high quality video and metadata services.”

A software-defined exciter for TV and DAB radio broadcasters is being introduced at IBC. GatesAir said its Maxiva XTE exciter builds on the previous generation Maxiva M2X exciter with new efficiencies and improvements. The company said the new exciter features greatly improved signal processing power, a smaller footprint, and advanced IP interfacing. Like the M2X, the Maxiva XTE exciter was developed to offer increased efficiency and performance for multichannel

broadcasters with enhanced signal correction to improve modulation error ratio (MER) and address other signal imperfections. Delivered in a 1RU platform — half the size of its predecessor — the XTE adds 16 times more native digital signal processing capability and headroom for multichannel broadcasters while at the same time reducing power consumption by over half. The company claimed that this ensures improved signal quality, throughput and IP networking capabilities for DTV standards and DAB radio, but also for emerging opportunities including LTE Mobile Offload. 8.B20

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48 IBC D2 2015 Issue v1MDL.indd 1

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Direct transfer options with Amazon S3 FileCatalyst

By Carolyn Giardina

Unlimi-Tech Software has launched FileCatalyst Direct 3.5 and is demonstrating the latest updates to its FileCatalyst tools. The company’s flagship product, FileCatalyst Direct, is a suite of client and server applications that perform pointto-point accelerated file transfers at speeds of up to 10 Gbps. The latest version, FileCatalyst Direct 3.5, offers users new options to transfer files of any size and format, to anywhere around the world. And, it’s now integrated with — and can save data directly to — Amazon S3 online file storage offered by Amazon Web Services, making it easier for users to share large media files in the cloud. According to the company FileCatalyst Direct 3.5 also offers extended support for dynamic files. The software compensates for potential file transfer errors, such as those that don’t grow sequentially or are inappropriately modified by certain file formats. It also claimed that FileCatalyst Direct 3.5 can substantially reduce the wait for file transfer corrections, and can also retransfer portions of a file that have been modified once the primary transfer is complete. FileCatalyst co-founder and CEO, Chris Bailey, said, “The driving force behind FileCatalyst Direct 3.5 is that media companies of every kind are sharing content globally, and are increasingly using the cloud to do so, but with varying degrees of frustration due to slow, or incomplete, transfers.” At IBC, FileCatalyst has also been showing updates for TransferAgent, a web browser application for accelerated file transfer with no reliance on a Java plug-in.

Vantage Media Processing Platform Built for tomorrow – solving real world challenges today Telestream Vantage is the premiere software-enabled media processing platform for managing all media services – from the camera to the point of distribution. With Vantage, you can quickly, easily, and cost-effectively ingest, edit, transform, package, monetize, and distribute your multiformat media.

NEW at IBC: z VOD Producer DAI simplifies and automates the creation of cable VOD assets and provisions them for Dynamic Ad Insertion, expanding revenue potential z Tempo offers a complete solution for intelligently re-timing file-based media while preserving quality, enabling revenue expansion and substantial ROI z New for Vantage Cloud: instant scalability for every Vantage User z New camera ingest formats for Vantage, and more!

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7.H37

49 IBC D2 2015 Issue v1MDL.indd 1

31/08/2015 12:12

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OPINION

Key encoding requirements for UHD delivery Advanced technologies such as HEVC, H-ARQ and network bonding are the future of encoding, asserts Ronan Poullaouec, CTO, AVIWEST The message is clear: consumers today are excited about UHD and 4K video content. In fact, shipments of 4K UHD displays are projected to reach 4 million units in 2015, marking a 208% increase over 2014, according to CEA’s US Consumer Electronics Sales and Forecasts. The challenge for the broadcasting industry is finding a way to deliver UHD and 4K content in the most affordable way possible without any resolution degradation. To address the growing demand for UHD/4K video content, broadcasters need to deploy a more efficient encoding solution than H.264/ MPEG-4 AVC. The HEVC video compression standard was recently developed, enabling

broadcasters to deliver the same level of video quality at half the bit rate, or improved video quality at the same bit rate. HEVC encoding will transform the television experience by facilitating the delivery of video content with higher resolution, frame rate, and colour gamut, as well as immersive audio. Yet, beyond HEVC, there are other capabilities that broadcasters need to look for in a next-generation encoding solution in order to deliver UHD and 4K video in its full glory. For instance, broadcasters should choose an encoding system that has been integrated with powerful contribution network protocols, such as the H-ARQ (Hybrid Automatic Repeat

One-stop cable shop Lemo

By David Fox

Request) mechanism. H-ARQ is a mix of Forward Error Correction (FEC) and packet retransmission coding that enables broadcasters to support any type of managed or unmanaged contribution links, including the public internet. An encoder leveraging the hybrid method for error control performs better in poor signal conditions than encoders using the traditional ARQ mechanism. Ultimately, this ensures that broadcasters do not lose any video quality once the UHD/4K content hits contribution networks. Network bonding technology has emerged as another feature that broadcasters wanting to deliver UHD/4K should look for in a video compression

solution. Encoders that are capable of detecting and bonding together multiple IPbased networks (eg., 3G, 4G, Wi-Fi, Ethernet, and satellite) can guarantee the delivery of live transmissions, with no latency. The encoder assures a high quality of experience for viewers by compressing video content based on the realtime characteristics of bonded networks, their bit rates, and delays, resulting in a stunning video resolution. AVIWEST believes that advanced technologies such as HEVC, H-ARQ, and network bonding are the future of encoding, allowing broadcasters to deliver UHD and 4K video, whether live or on-demand, affordably, from

Connection specialist Lemo is introducing its first fibre optic cable, so that it can offer users a one-stop shop for connectors, wire and cable, cable assemblies and media

converters. The new HDTV SMPTE (311M) and ARIB cables have been developed with Northwire, part of the Lemo group. Keith Beckman, senior

any remote corner of the world. At IBC2015, we are demonstrating these technologies via our new DMNG HE4000 HEVC 4K contribution video encoder. The HE4000 encoder makes it possible for broadcasters to deliver crystal-clear 4K content at low bit rates. Through AVIWEST SafeStreams technology, the encoder bonds together IP networks to assure the delivery of live transmissions even in the midst of unpredictable cellular network conditions. Recent innovations in encoding technology are helping propel the industry toward producing and delivering more content in UHD and 4K. 2.A29

director of corporate projects at Northwire, explained, “End users demand strong cable that is robust enough to protect the glass fibre from crushing, bending and abrasion abuse in the field. However, the same users want cables to be flexible for ease of deployment and field handling.” This critical balance between ruggedisation and flexibility was achieved with support from experts at Lemo’s Fibre Optics Unit of Research in the UK Both the SMPTE and ARIB cables are made of black PVC, with tinned copper wires and are designed for outdoor and truck operations. 11.D42

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50 IBC D2 2015 Issue v1MDL.indd 1

31/08/2015 12:13

Published on behalf of the IBC Partnership by

NLE compatibility and closed-captioning for Xchange Suite Cross over: Version v4.5 can download and import data from Xchange into FCP X and Premiere

Primestream

By Carolyn Giardina

Primestream is demonstrating Xchange Suite v4.5, an upgrade to the application that gives broadcasters and video professionals instant web access to content on their FORK Production servers from any PC or tablet device. This introduces closedcaptioning features, as well as the ability to control distribution with new publishing features for natively exporting to OTT network and social media outlets. Xchange v4.5 also features Insight, a new comment, rating and media activity tracking system. Xchange Suite v4.5 has the ability to download and import content, metadata and markers from Xchange into editing systems such as Apple Final Cut Pro X and Adobe Premiere Pro CC. Xchange 4.5 now features a built-in panel for Adobe Premiere Pro. Through a new interface, users can now search the Xchange media asset database from within Premiere Pro, select media, and import those items into a Premiere Pro project. When an edited sequence is complete, users can export the project into a finished file, ready for distribution. Also making its IBC debut is Mobile2Air 3.0, a upgrade to the iOS app that integrates remote field reporting with Primestream’s FORK Production Suite, and now with Xchange. The update is designed to allow uploading and reviewing from anywhere across Mobile2Air and Xchange environments. Mobile2Air 3.0 integrates with Aspera’s FASP upload acceleration technology.

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51 IBC D2 2015 Issue v1MDL.indd 1

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OPINION

Keeping up to speed with change The evolution of cabling and connectors always has knock-on effects that need to be addressed, explains Chas Luchford, sales & marketing director, Canford Audio At Canford, our broadcast customers range from equipment end-users, studio technicians, studio system integrators and OB truck builders. Celebrating our fortieth birthday in 2016, we have certainly seen change throughout our long existence â&#x20AC;&#x201C; the difference now is the speed of change. With the increasing pace of the move from specialist broadcast cables and connectors to universal standard Category cables (Cat6 and Cat6A) and fibre, the product ranges we carry to support this technology are changing fast (we could never cope with this quickly enough if we still produced the Canford Big Blue Book!).

But these changes always have knock-on effects. Finding an RJ45 connector large enough to fit onto Cat6A is not a trivial example, but exactly the sort of â&#x20AC;&#x2DC;problem solvingâ&#x20AC;&#x2122; that is behind much of our product sourcing. While the bulk of cable is installed, deployable Category cables are now required to support location production. Canford was the first to introduce a truly deployable Cat5E cable, that laid obligingly flat on the ground like a mic cable. Cat6 deployable just had to follow. HDMI doesnâ&#x20AC;&#x2122;t go long distances on copper, so weâ&#x20AC;&#x2122;ve partnered with an innovative manufacturer which does fibre HDMI, offering up to 100 metres. And Senko

now has DIY fibre termination kits suitable for location work â&#x20AC;&#x201C; another evolutionary product. Canfordâ&#x20AC;&#x2122;s range has always been a mix of in-house designed and manufactured products, alongside more specialist thirdparty product lines. Even with more than 400 different mains distribution units, we still havenâ&#x20AC;&#x2122;t met all the facility combinations that system designers require â&#x20AC;&#x201C; thatâ&#x20AC;&#x2122;s market diversity. Some are ultra-basic products where sophistication isnâ&#x20AC;&#x2122;t applicable, at the other end of the scale, we now have a family of IP-addressable mains distribution units that will message when something isnâ&#x20AC;&#x2122;t quite right with

one of the connected pieces of kit, and which can be fully controlled from an iPhone. Whatever the technology, connection panels and housings are always needed. Fibre connection panels have been introduced recently, along with IP66 rated wall cabinets to house the ever increasing amount of equipment installed outside the studio or truck. At the other end of the technology spectrum, in the sports broadcast sector, customers demand to get closer to the action. Canford has introduced Canadian radiomic manufacturer Q5X to the UK, with its feature product of ultraminiature, body-worn radio microphones for rugby players during live games, which allow viewers to get â&#x20AC;&#x2DC;up close and personalâ&#x20AC;&#x2122; to the players. Although widely used in the US and Australia, their first highly successful trial in live

rugby coverage by UK national broadcasters took place recently, to an enthusiastic reception by production directors and audiences. Come and see how these tiny transmitters work on our stand at IBC. The theatre and studio sectors are also seeing dramatic changes with moves to digital and wireless communications. The â&#x20AC;&#x2DC;GreenGoâ&#x20AC;&#x2122; digital communication system operates on IP networks without needing a central control matrix, so bringing flexibility of operation at a much lower price point than most other digital systems. 9.C01

Whatsâ&#x20AC;&#x2122;On update improves cost and scheduling simulations MediaGeniX By Will Strauss

In an effort to bridge the gap between scheduling and costs, MediaGenixâ&#x20AC;&#x2122;s broadcast management system Whatsâ&#x20AC;&#x2122;On

has been updated to include the ability to do multiple simulations that take into account financials, ratings and other KPIs.

Michel Beke, senior VP of product strategy at MediaGenix, explained, â&#x20AC;&#x153;Whatsâ&#x20AC;&#x2122;On now offers new tools that significantly improve

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the broadcastersâ&#x20AC;&#x2122; ability to choose the best strategic plan. â&#x20AC;&#x153;They can do that on the basis of accurate, live data on the financial implications and the impact on the stock. This is possible because the cost of every simulation is accurately updated with changes in the actual schedule and in the actual contract and finance management. An added functional benefit is that the new simulation tools allow for multiple â&#x20AC;&#x2DC;mini-simulationsâ&#x20AC;&#x2122; on a tactical level of scheduling.â&#x20AC;? Also at IBC MediaGenix is touting the workflow engine within Whatsâ&#x20AC;&#x2122;On, which the company says breaks down the barrier between linear and non-linear content distribution. In a joint effort with its customers it is developing enhancements that will enable a scheduling team to handle both linear and non-linear content publishing at the same time and using the same tool or tools. In addition, Whatâ&#x20AC;&#x2122;s On now also has a configurable User Interface that allows operators to choose their own layouts. 3.C59

31/08/2015 12:14

Published on behalf of the IBC Partnership by

Plan to exceed 8K realism by 2020 NTT

By Adrian Pennington

If you thought 8K broadcasting by 2020 was mission impossible then think again. Japanese group NTT (Nippon Telegraph and Telephone Corporation) has a R&D project that intends to establish media processing technologies that can transmit ultra-highdefinition video surpassing even 8K – in five years time. Specifically, it is investigating an immersive telepresence technology called Kirari!, a technique for directly transmitting not just the images and sounds of players at a live sports event but also the environment and ‘emotions’ in which the game exists. It links real objects that exist

in the environment, such as lighting, and reproduces them together with the 8K video from multiple cameras and sound by projection mapping rather than on displays. Kirari! is a combination of compression technology H.265/HEVC, the lossless speech coding technology MPEG-4 ALS (recommended for Ultra HDTV audio services in Japan), and media synchronisation technology Advanced MPEG Media Transport (MMT). NTT says the objective is to make it seem as if a game is being played in front of the viewers’ eyes, in a form that “far exceeds the reality enjoyed from a flat image.” Its belief is that while 4K and even 8K may have spread around the world by 2020, there are limits to the realism

that can be portrayed on a flatscreen. “We can reconstruct games with top athletes in weight lifting or judo at a gymnasium in New York, a square in Beijing, or schools in cities in Japan, providing a new type of public viewing,” states NTT. It does this by using synchronised reproduction that transmits a life-size image of the subject, for example, a player, while transmitting additional information about the environment to fit into the dimensions of the transmission destination, even when the destination facilities have different dimensions, lighting, and acoustics. The introduction of Kirari! is intended for 2020 in Japan to coincide with Tokyo’s hosting of the Olympics.

Standalone LTFS tape archive system is launched at IBC TMD

By Will Strauss

A standalone storage and archive product that uses the Linear Tape File System (LTFS) has its industry debut at IBC. Paragon is designed as a complete sub-system for adding hierarchical storage management (HSM) to existing asset management systems from multiple vendors. It has a RESTful API in order to make integration as simple as possible and incorporates appropriate data tape storage and management technology using the LTFS file system for permanent storage life and media portability. TMD is also offering Paragon+, which also includes core asset management functionality. “We know, from talking

to our customers, that there is a gap in the market for a simple and highly targeted storage system, which can sit as the archive for any asset management or digital workflow system,” said Tony Taylor, CEO, TMD. “We have taken proven technology, wrapped it in a framework which is simple to integrate with other systems, and are now bringing it to market as a standalone archive. We are already seeing serious interest from the market” The intention is that Paragon and Paragon+ will be sold as packaged systems, via distributors. ERA has been appointed as the Paragon distributor for the UK. LTFS is a file system specification that allows Linear Tape-Open (LTO) tapes to be indexed like a disk drive. 2.B59

8.G07

SYSTEMS INTEGRATION, EQUIPMENT SALES, EQUIPMENT RENTAL, PROJECT SOLUTIONS Trusted broadcast partner from acquisition to playout +44 (0)845 8200000 sales@gearhousebroadcast.com www.gearhousebroadcast.com

53 IBC D2 2015 Issue v1MDL.indd 1

Remote production is here: see our live demonstration on stand 10.B39 at IBC2015

31/08/2015 12:15

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#IBCShow

OPINION

Going the wireless way Flexibility and easy deployment are key, but not at the expense of diminishing critical capabilities says JP Delport, broadcast sales director, Cobham What is emerging now in our industry in terms of wireless transmission is a more clearly defined line between what sports and events production teams want to do with their technology compared to what, for example, news broadcasters want to achieve. Sports and other live events are all about high picture quality, 1080P, 4K, and what have you. On the other hand, news organisations are increasingly leaning more toward moving data and images over IP via 3G/4G networks, BGAN, Ka uplinks and traditional COFDM in order to deliver the content as quickly and reliably as possible.

What that means is that the days of providing one product and trying to shoehorn it into serving various broadcast markets is gone. Flexibility and easy deployment are key, but not at the expense of diminishing the critical capabilities necessary for the technologies’ primary task. That’s why we have developed some very exciting new transmitter technologies, each specifically designed for live sport and events users, and news gathering organisations respectively, both of which are on display and ready for inspection at IBC. We have clearly defined our transmitter offerings at IBC into

one that is perfect for the outside broadcast market and one that is best for news networks. Our new dual-input SOLO8 SDR is an HD-SDI COFDM transmitter that includes integral video analytics, recording, and IP streaming capabilities. SDR stands for ‘software-defined radio’, which we think is the very definition of next generation wireless broadcast technologies. The beauty of the SOLO8 SDR platform is that it runs apps almost like a smartphone and can instantly change its personality to suit the news gathering requirement in the field. Instead of having to take

the time – and expense – to purchase and swap modules and capabilities in the field – often at critical moment, you simply press a button and make a selection or two and you’re away. We, and the handful who have tried it so far, think that’s very cool indeed. I know the term ‘game-changer’ is an overused cliché, so let’s just say that the SOLO8 SDR will rock the broadcast world in ways that will prompt new clichés that, when it comes to the SOLO8 SDR, we will be very happy for the industry to overuse. For those involved in live sport and event coverage, our new SOLO7-OBTx camera-back transmitter features 1080p60 and 4:2:2 with integrated camera control. It includes swappable RF modules (340MHz – 8.6GHz) and H.264/MPEG-4 AVC video encoding. Its latency, depending on mode, ranges from 1s

to an ultra-low 10ms, which when coupled with ultra-low power consumption delivers the extended performance that news gatherers require in the field. Added to our broader range of broadcast technologies, including the tried and test IP Mesh and Nano HD TX, we truly believe that our latest products and their extraordinary capabilities represent a milestone in wireless communications and are genuinely excited to present them to the marketplace for the first time at IBC2015. 0.G04, 1.F41

Versatile comms with Smartpanel Audio sorted for UHD OB Riedel Communications set and 18 keys in 1RU.

By Heather McLean

The RSP-2318 Smartpanel is being showcased at IBC, which Reidel claimed would ‘enrich the user experience and change the way broadcasters and A/V professionals communicate’. According to the company this is the world’s first control panel designed to serve as a powerful multifunctional user interface. It includes three high-resolution, sunlight-readable, multi-touch colour displays, as well as stereo audio, a multilingual character

These features can be further expanded through the use of apps. Three such apps are Light touch: The RSP-2318 Smartpanel is designed to now available, offering serve as a multifunctional user interface different levels of functionality for Smartpanel. With connect an independent second the Basic app, users have 12 headset. intercom keys and connectivity All three can be expanded to RAVENNA/AES67 or AVB. via an integrated options slot The Plus app also has 12 and are ready for add-ons as intercom keys and adds an well as additional intercom and analogue audio port for 4-wire non-intercom apps. Riedel’s integration and three GPI/Os. intercom app can be quickly The Pro app has 18 intercom upgraded to the desired edition, keys and two analogue audio without changing any hardware ports for 4-wire integration, components, said the company. 10.A31 three GPI/Os, and the ability to

Calrec By Mark Hallinger

Timeline Television has installed a Calrec console in UHD1, Europe’s first 4K/UHD OB truck. Timeline built the truck to provide content for BT Sport, which launched Europe’s first live sports UHD channel on 1 August. It chose the Artemis console in part because of its large fader count in a small footprint. Will Underwood, lead sound engineer, Timeline, said, “Our aim is to deliver high-quality,

4K challenge: The Calrec Artemis audio console in use at Timeline Television OB

exciting, and engaging 5.1 surround sound for all of BT’s UHD and HD productions. But there are timing complications that go along with embedding audio and encoding/embedding Dolby E in 4K video that make it tricky. We easily overcome those challenges with the Artemis console.” 8.C61a

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See us at IBC 2015 Stand 2.B21 ProConsultant Informatique, the partner of Media Groups worldwide Europe Office Metz, France - USA Office Atlanta, Georgia www.proconsultant.net

54 IBC D2 2015 Issue v1MDL.indd 1

31/08/2015 12:16

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LiveMedia Server launched

Q&A Orlander-Oliver Beckles, marketing manager, Fujinon Europe – Optical Devices Division Has IBC come at a good time for the electronic media industry? Why? Last year’s IBC focused on the introduction of 4K Ultra HD technology. Twelve months later several production companies and broadcasters have started to implement 4K Ultra HD production and transmission technology. The most prominent would be UK-based BT Sport, which recently launched a new Ultra HD channel

What do you think are the key developments in, or threats to, your market sector at the current time? In our segment it would clearly be the introduction of 2/3-inch

4K Ultra HDTV cameras. In response Fujinon developed the world’s first 2/3-inch 4K Ultra HD lenses which now enable 4K acquisition in a TV broadcast environment. We estimate a dramatic surge in worldwide 4K Ultra HDTV broadcast productions in 2016. This factor creates much optimism and new momentum within the industry as this represents the beginning of a new business cycle.

Why should delegates visit your stand at IBC? Fujinon will showcase the newest developments in 4K UHD optical technology. Our recently launched Fujinon

Versatile : LiveMedia Server is a multichannel and multiformat player and recorder

3D Storm By Carolyn Giardina

2/3-inch UA80x9 & UA22x8 EFP/ENG lenses will be on display, providing a hands-on experience to our visitors. Furthermore, we will host a co-exhibitor this year; Timeline Television, which is the first European production company to invest in a 4K OB van. 11.C20

Xpander Lens unlocks Open Gate P+S Technik By David Fox

The Starkish Xpander Lens enables lenses like the Angenieux Optimo zooms or older Cooke zooms to cover the full Arri Alexa Open Gate or Red Epic Dragon 6K sensor without any vignetting, so that users can make the most of their large sensor coverage. The two versions are compatible with a wide range of zoom lenses, such as: Angenieux’s Optimo 17-80mm and 24-290mm, Compact Optimo zooms, 17-102mm, and 25-250mm HR; and Cooke 18-100mm. It will soon also be compatible with Fujinon and Canon zooms. There is, of course, an image expansion factor of either 15%, giving a focal length that is x1.15 larger than indicated, or 21% (depending on version),

56 IBC D2 2015 Issue v1MDL.indd 1

#IBCShow

with a subsequent loss of light of either 1/3 to 1/2 stop or 1/2 to 2/3 stop respectively. Compared to a range extender, the Xpander expands the original image to cover a larger sensor area while maintaining the optical performance over the larger image area, while an extender only needs to maintain the optical performance over the original image area, which

means it won’t get the most out of the sensor. The Xpander Lens can be attached to most existing lenses where there is enough space between the back of the lens and the first filter. The current lens mount needs to be removed and replaced by the Xpander. It is not compatible with spinning mirror-shutter cameras. 11.G35

Expansion joint: The Starkish Xpander Lens working with a Red Dragon

3D Storm is launching LiveXpert’s new LiveMedia Server at IBC, a multichannel and multiformat player and recorder aimed at the production of news, talk shows, exhibitions and events. The distributor of NewTek and LiveXpert products, 3D Storm is showing LiveMedia Server along with a full range of tools on its stand during IBC. LiveMedia Server supports a range of audio and video codec in the market, both in standard and high definition with built-in up/down conversion and aspect ratio adjustment per clip.

There are two models of LiveMedia Server: One dual channel in 1RU unit and one four channel in a 4RU unit. Selection of inputs and outputs is flexible, allowing configuration of any channel as recorder or playout. Users can add a file to any playout channel while this file is still being recorded; 3D Storm claimed that the ‘Play While Rec’ function of LiveMedia Server is also easy to manage. It can externally control supporting Sony RS-422/VDCP protocols and GPI triggering. It can also be controlled from control surfaces from JLCooper. LiveMedia Server integrates control over video mixers and TriCaster from NewTek. 7.K21

Shared storage for post Accusys By Carolyn Giardina

Accusys has introduced its latest Thunderbolt shareable storage for post production workgroups. The A12T2-share is a 12-bay tower RAID system, with four host Thunderbolt 2.0 ports, which allow four Thunderboltcompatible computers to share the content distributed across 12 hard drives. The company said it could be further expanded with an extra three JBOD systems for obtaining capacity of 384TB (when equipped with the latest 8TB enterprise level HDDs). Accusys used its experience in PCIe SAN and transmission technologies within the media and entertainment industry to develop the A16T2-share and A12T2-share. Users can configure the storage as a SAN storage pool when integrated with SAN software, or partition its array into several storage volumes and benefit from the Thunderbolt ports as direct attached storage with capacity

for filmmaking workflows. With Thunderbolt 2.0 in a shared storage environment, Accusys noted that this system could be used for collaborative workflow in the burgeoning 4K video market. 6.C19 Tower of power: The 12-bay A12T2-share hosts four Thunderbolt 2.0 ports

31/08/2015 12:16

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â&#x20AC;&#x2DC;Worldâ&#x20AC;&#x2122;s ďŹ rstâ&#x20AC;&#x2122; 50Gbps digital backplane

#IBCShow XTP II : â&#x20AC;&#x153;AV infrastructure for 4K and beyondâ&#x20AC;?

Extron

By Heather McLean

IBC has seen the debut of XTP II CrossPoint matrix switchers with a 50Gbps digital switching backplane, to deliver the highest level of performance in the Pro AV

WE MONITOR

industry, according to Extron. Representing what Extron calls a â&#x20AC;&#x2DC;monumental leap in engineering and product designâ&#x20AC;&#x2122;, XTP II enables the deployment of an AV system infrastructure with a switching bandwidth that exceeds the data rate required to distribute 4K/60 video with 4:4:4 chroma sampling at 16bits per colour. The firm also claims it is the only AV technology platform that supports uncompromised 4K video while providing additional bandwidth to accommodate anticipated future video resolutions and formats. These matrix switchers can be configured with a variety of boards, including the new XTP II HD 4K PLUS input and output boards that support HDMI 2.0 and HDCP 2.2, a new family of XTP 4K fibre boards and endpoints, or any of the existing products in the XTP Systems family. Casey Hall, VP of sales and marketing for Extron, said, â&#x20AC;&#x153;We are very excited to be the first in the Pro AV industry to deliver an AV infrastructure for 4K and beyond. Integrators can feel confident installing a XTP system that meets todayâ&#x20AC;&#x2122;s requirements as well as the emerging video standards of tomorrow.â&#x20AC;? XTP II CrossPoint matrix switchers are engineered to exceed the bandwidth required by HDMI 2.0 and DisplayPort 1.3 signals. Three modular frames are available for 16x16, 32x32, as well as larger 64x64 I/O sizes, and can be configured with XTP II HDMI input and output boards, which offer the highest level of HDMI 2.0 performance with a full 18Gbps data rate throughput at each port. The XTP II boards are also HDCP 2.2 compliant, for reliable switching of encrypted, 4K video content. To streamline integration, all products within XTP Systems are compatible with one another. 9.A07

58 IBC D2 2015 Issue v1MDL.indd 1

31/08/2015 12:17

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OPINION

Technology for everyone The market is evolving and so are we, says Valentijn Diemel, global marketing coordinator, Datavideo Technologies Europe The market is evolving at breakneck speed. Traditional big broadcasters are seeing their budgets being cut, and the smaller, smarter technology solutions are rising fast. For instance, we have developed a virtual studio for educational markets and entry level broadcasters. This machine is capable of switching four virtual channels, recording and

streaming directly from the box. All this comes for a price of only $6000. This technology is within reach for anybody. Even in the more rural environments like Africa or the Middle East, we see a rising demand for smart technology like virtual studios. At Datavideo, we care about the entry level and emerging markets. We try to serve them

with affordable price levels, a wide array of features, outstanding quality and good service. In these territories, users are sometimes still working with analogue, composite cameras. Even for them, we still produce good equipment. We can also help them transition to HD. The entry level market is also very important for us. We see that clients are struggling with way

Slowmo on show

too complicated and expensive solutions. At Datavideo, solutions are always easy to use, or easy to learn. You don’t have to be a broadcasting technician to work with our equipment. We also serve the bigger, broadcasting market. Our OB van solutions are unique and precisely cut to fit in most standard vans. Our converters are broadcast grade and very affordable. We even have a rack mount kit for our converters, with a built in power distributor. Our company is actually celebrating our 30th anniversary at IBC. Since 1985, we’re producing technology for a wide spectrum of markets.

Open space public audio Jutel

Broadcast Solutions

To this date, we at Datavideo Technologies Europe BV created a distribution network in over 52 countries within EMEA. IBC is a home game for us, since we are the EMEA subsidiary of Datavideo and based in Utrecht, the Netherlands. We always have a big terrace on our booth to receive and speak to our distributors. 7.D39

controlled using a tablet. The Nallikari system features more than 30 of Genelec’s prototype active loudspeakers, concealed by structures within the restaurant. In this installation, different audio can be broadcast simultaneously to the restaurant, bistro, patio, conference rooms and spa facilities. The individual zone configuration including the control of TVs, microphones and Jutel’s RadioMan playout system is done using a tablet with Jutel’s HIPman software.

By Mark Hallinger

The complete product range of server and replay system specialist slomo.tv is being presented on the Broadcast Solutions stand. This range, which Broadcast Solutions distributes exclusively, includes HD/3G/4K SSDbased multichannel recording and instant replay systems for live video production, and specialised videoReferee systems for sport judging. Products for nearly all production environments are available – from 4 to 12 channel full HD or

A new fully digital, webbased public audio solution for large public spaces has been revealed. The system – named Internet of Sound – is one of the first of its kind in the world, said Finnish digital radio station system provider Jutel. At IBC2015, Jutel is discussing the first implementation of the system at Restaurant Nallikari in 8.E91 Finland. This project was carried out in collaboration with speaker manufacturer Genelec, using the AES67/RAVENNA web standard. The new sound system is designed for large public spaces like conference venues, shopping malls and other locales that need sound customised separately for each space. Jutel said that with this system there’s no Wide open: The Restaurant Nallikari in Finland has installed a web-based public need for wiring, and audio system for large open spaces the system can be

Action replay: The slomo.tv range includes systems for live production and sport judging

4K replay servers, all offering simultaneous recording and editing functionality. For the first time Broadcast Solutions is showing Robycam, a highly developed cable camera system that is used for live broadcasting in OB or studio

environments. The system consist of carbon fibre gyrostabilised remote heads and motion control systems that allow for camera movements in 3D in a fast and precise way, said Broadcast Solutions. 8.A84

Compact hybrid UHF coupler Delta Meccanica By Mark Hallinger

A new UHF 40 kW 3dB hybrid coupler owes its design to extensive computer simulation completed before the manufacture of prototypes. Delta Meccanica referred to the coupler as ‘single section, multi lines’ because the inner conductors are four interlaced lines in a crossed

59 IBC D2 2015 Issue v1MDL.indd 1

configuration. The company said it was a unique, compact design that is less expensive than similar products. Delta claimed that this new hybrid coupler configuration has reached impressive RF performances, such as a VSWR better than 1.1 and an

Smooth lines: computer ZPT\SH[PVUZ WHPK VɈ ^OLU designing this hybrid coupler

isolation better than 30 dB, across the entire UHF band. 8.E39

31/08/2015 12:17

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SDVN line-up bolstered by 10GE monitoring module Evertz By Will Strauss

As part of its IP-based SDVN (Software Defined Video Networking) drive, Evertz has introduced a multi-image display processing module with 10G interface that supports SMPTE

2022-6 and ASPEN. The 3067VIP10G-3G-HW has multiviewer functionality with up to 36 inputs and up to four outputs, all via multiple 10GE streaming physical interfaces. Designed to support an increasing demand for high resolution displays, the new module accepts uncompressed

#IBCShow

Action camera mounts up

The 3067VIP10G-3G-HW has multiviewer functionality with up to 36 inputs

video over 10G multiple links as sources, and outputs mosaic uncompressed or JPEG2000 (optional) encoded over 10G. Following hot on the heels of the 7867VIP series, the 3067VIP10G-3G-HW platform has similar key features including automatic aspect ratio adjustment per source, graticule

generation, audio monitoring with level bar display, signal fault monitoring and under monitoring display. The 3067VIP10G-3G-HW can be used in conjunction with the SDI Gateway (IPG) series and the 3080IPX from Evertz’s SDVN product portfolio.

GoPro

It’s a wrap: The Strap mount being used with GoPro’s new Hero4 Session

3.C20 By David Fox

USB 3.0 feedthrough adapters Neutrik

By Mark Hallinger

A new range of USB 3.0 feedthrough adapters is being introduced. Using a standardised D-shape housing and available with either a nickel flange or a black chrome flange, the new USB 3.0 feedthrough

60 IBC D2 2015 Issue v1MDL.indd 1

adapters feature a reversible A-B type insert. This enables installers to position either the Type A or Type B connector at the front. The adapter offers the option of either connecting the screen to the chassis or of isolating the screen. Peter Milbery, president, Neutrik USA, said, “The new USB 3.0 Feedthrough Adapters are a new

option allowing our customers to dramatically increase data transfer rates while using the industry-standard D size cut-out. The USB 3.0 Feedthrough Adapter is one of the most common new product requests we have received.” 8.C90

Fast feed: The new USB 3.0 adapters allow increased data transfer rates

New mounts and accessories for use with GoPro’s Hero action cameras, including the new Hero4 Session, have been released. Two of the mounts are specifically for the Session: the Ball Joint Buckle and Floaty. GoPro has also released its first and storage system: Casey, which has a water-resistant, semi-rigid shell to protect against light rain and snow, while a padded interior with removable dividers protects a variety of cameras and accessories. 9.C40

31/08/2015 12:19

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Acquisition & Accessories

Media Asset Management

Broadcast Solutions

Audio & Radio Displays

Playout Automation & Server Applications

Cable & Satellite

Content Production

Post Production & New Media

Home Systems & Broadband

Studio Systems

System Integration & Consultancy

iTV

Telecine & Film

Transmitters

iPTV

VFX

Mobile Systems

Workflow Solutions

Service & Broadcasters Transmitters & Set Top Boxes

61-72 IBC D2 2015 Centre Section v4.indd 1

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

Wall

Evertz

IBC Content Everywhere Technology In Action Theatre

China

Pace plc

IBC Hackfest

Grass Valley, a Belden Brand

KAONMEDIA The Israel Export & International Cooperation Institute

China

Humax Co. Ltd ARRIS Harmonic Inc

Samsung

China

ArabSat South Korea

Dolby Laboratories

Eutelsat SA SES

Huawei Technologies Co. Ltd.

Great Britain Ericsson

France

arqiva

Appear TV

Canada

Nevion

Cisco Intelsat Corporation

Amtrium Philips Home Control

NAGRA

Imagine Communications 4.AMT

r Service Centre, yer Room

61-72 IBC D2 2015 Centre Section v4.indd 2

Amtrium Restaurant (1st floor)

IBC Launch Pad

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ETL Systems

If itâ&#x20AC;&#x2122;s live, itâ&#x20AC;&#x2122;s Cobham

Excelling in RF Engineering

See the NEW 64x64 Huricane L-band Matrix

Hall 1 Stand A33 For further information or a demo please visit Hall 1, stand F41 at IBC.

www.etlsystems.com

Dive in and explore a new world of 4K content

Meet us at IBC Stand 1.D59 www.eutelsat.com

MAKE WAVES WITH OTT.

HALL 1, STAND F70

61-72 IBC D2 2015 Centre Section v4.indd 3

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24i Media...........................................14.L05 25-Seven Systems .............................8.D47 2CRSI ...................................................8.C15 2nd Screen Mini-Cluster....................8.F03 2wcom Systems GmbH .....................8.E78 3D Storm .............................................7.K21 3Flex and AutoPost Projects ............8.F13 42 mediatvcom...................................2.A30 422tv ..................................................9.B30a 4MOD .................................................14.C15 9.Solutions Technology .....................9.D12 A A & C Ltd............................................11.D65 A.C. Entertainment Technologies ...11.A70 Aaton - Transvideo...........................11.F31 ABC Products....................................11.D35 ABE Elettronica ...................................8.A43 Abekas, Inc .........................................9.B06 ABonAir ............................................ 3.A29k ABOX42..............................................14.J13 ABS ......................................................2.A27 Absen GmbH .....................................11.B63 ABV International ...............................5.B20 Academy of Broadcasting Science of SARFT..............................................8.G05 Accedo...............................................14.E14 ACCESS..............................................14.D14 Accusys ....................................6.C19/7.J31 AccuWeather Inc. ...............................3.A68 Ace Marketing Inc. .....3.B37/5.A15/5.A41/ 5.B03 /5.C03/6.A29/ 9.B14/11.B51 Acebil.................................................11.E69 Acetel Co., Ltd.....................................2.A09 Acorde .................................................5.C49 Actia Telecom .....................................4.C83 Active Circle ...................................... 2.B39f Actus Digital .......................................7.B10 Adam studio monitors .......................8.D70 ADB ......................................................4.B52 Adder Technology ..............................7.C30 Adobe Systems Inc. ...........................7.G27 AdSparx USA Inc ..............................14.N16 Adtec Digital .......................................1.D01 Advanced Media Workﬂow Association (AMWA) ........................3.A19a Aeta Audio Systems...........................8.A24 Advantech ...........................................9.C22 Advantech Wireless ...........................1.A74 AEQ.......................................................8.C55 Agama Technologies .........................4.A75 AheadTek ..........................................10.F35 Airborne Robotics Drones & Copters2.A14 Airbus Defence and Space ............. 2.B39g AirTies Wireless Networks ................5.B05 AJA Video Systems ............................7.F11 AJIMI................................................. 2.B39h Akamai Technologies Limited ..........6.A15 Akfa Teknoloji.....................................8.D15 AKG by Harman ..................................8.D60 Aladdin co., LTD ...............................11.E65 AlanDick Broadcast Ltd.....................8.B94 Albis Technologies ............ 14.C04/ 14.C11 Albrecht Elektronik ..........................10.A40 ALC NetworX GmbH ...........................8.F57 Alcatel-Lucent ....................................MS25 Aldena Telecomunicazioni ................8.A40 ALi Corporation...................................4.C59 Alpha Networks SA ............................5.B01 Alphatron Broadcast Electronics....11.C36 Altech Multimedia ..............................1.D40 Altera Europe Ltd................................2.A50 Alterpop ............................................. 2.A36f Alticast Corp. ......................................1.F36 Amagi Media Labs Pvt. Ltd ...............2.C23 Amazon Web Services .....................14.N29 Ambient Recording GmbH...............8.C73a AMD .....................................................7.H35 AMIMON Ltd. .....................................11.C75 Amino Communications ..................14.K20 Amos - Spacecom..............................1.C65 Ampegon .............................................8.D35 Amptec ................................................8.D70 AnaCom, Inc........................................1.A95 Andra Motion Technologies Inc......11.C36 Anevia..................................................4.B66 ANNOVA Systems GmbH ...................3.A33 ANT Group SRL ...................................8.D65

61-72 IBC D2 2015 Centre Section v4.indd 4

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Antik Technology .............................14.E05 Anton Bauer ......................................11.E55 Anvato ...............................................14.L20 ANYWARE VIDEO ..............................8.B36c Apace Systems Corp..........................7.K27 APANTAC.............................................8.E37 APEXSAT GmbH ..................................4.C80 Appear TV............................................1.C61 Appiness...........................................10.F42i Applicaster ........................................3.A29o Aputure Imaging Industries Co. Ltd .9.D38 AQS ......................................................1.A06 ArabSat................................................1.B38 Arbor Media ........................................5.B04 Arcadyan Technology Corporation.14.F19 Archimedia Technology.....................7.J01 Archiware GmbH ................................7.G03 AREPLUS .........................................11.E40c ARET video and audio engineering ..0.C01 Argosy ...............................................10.C51 Arion Technology Inc .........................4.A81 Ariston BTS SA ...................................8.D03 Arkena/TDF .........................................1.B79 ARM .....................................................4.C61 arqiva...................................................1.B61 ARRI ...................................................11.F21 ARRIS...................................................1.D31 Arrow OCS.........................................14.D02 Artec Technologies AG ......................7.C28 Artel Video Systems Inc.....................2.A20 Artesyn Embedded Technologies14.D01/MS34 arvato Systems...................................3.B38 ASC Signal Corp .................................1.C51 Asensetek ...........................................8.A20 ASG-Atempo & ASG-Digital Archive 7.J31 Askey Computer Corp........................1.A40 ASPERA, an IBM company ................7.B27 Associated Press/AP ENPS ...............7.D30 Astec Solutions................................. 4.A61f Astro Strobel Kommunikationssysteme GmbH ...................................................3.C41 ATCi and Studiotech ..........................1.A03 ATEME .................................................1.D71 Aten Infotech NV.................................8.D11 ATG Danmon Ltd. .............................8.B51a ATG Middle East FZ-LLC ..................8.B51a Atomos ................................................9.D25 ATTO Technology, Inc. .......................7.F41 ATX Networks .....................3.A29b/14.G16 Audible Magic...................................14.L04 Audio Ltd .............................................8.C97 Audio Network....................................7.H09 Audio Wireless Ltd .............................8.E98 Audisi / Stereo Tool / Thimeo ...........8.A15 Autel Intelligent Technology Corp., Ltd. ............................................8.E30 Autocue .............................................11.E55 Autoscript..........................................11.E55 AV Stumpﬂ GmbH ..............................8.B15 Avanti Communications ....................MS48 Avateq Corp. ..................................... 2.A41f Aveco ...................................................3.B67 Avid ........................................... 7.J14/7.J20 AVIION Media ....................................14.G17 Avitech International Corporation ..10.F26 Aviwest................................................2.A29 AVL Technologies...............................5.A49 AVP Europa .......................................10.E52 AVT Audio Video Technologies GmbH ...................................................8.E76 AWOX ...................................................4.C64 Axel Technology SRL .........................8.B81 Axia Audio ...........................................8.D47 Axinom ..............................................14.H15 Axle ......................................................7.D07 Axon..................................... 10.A21/10.B21 Ayecka Communication Systems Ltd ........................................5.C05 Azden Corporation .............................8.E81 Azercosmos ........................................5.B23 AZURE SHINE TECHNOLOGY CO., LTD. ..............................................5.C11 B B & H Photo, Video, Pro Audio ........10.A01 Band Pro Munich GmbH ..................11.D21 Barco Silex ..................................... 10.D31a Barnﬁnd Technologies ......................3.B16

Barrowa...............................................1.A32 BBC Research & Development..8.F14/8.G08 BBright...............................................2.B39a BCE - Broadcasting Center Europe ..7.G15 Beamr ............................................... 3.A29h Beenius..............................................14.C30 Beijing Feiyashi Technology Development Co., Ltd.....................11.B51c Beijing Fxlion Electronic Technology Co.,Ltd................................................11.A14 Beijing Huahu Senda Technology Co., Ltd............................................ 11.B51d Beijing Novel-Super Digital TV Technology Co., Ltd............................4.B51 Beijing Realmagic Technology Co. Ltd..................................................2.A24 Beijing United Victory Co., Ltd ........11.G73 Beillen Battery - JIADE Energy Technology........................................11.B52 Bel Digital Group ..............................10.A30 Belgium Satellite Services s.a. .........1.F49 Belden................................................11.D11 Benel BV / Falcon Eyes ....................11.A64 BES.....................................................10.D57 Bexel ..................................................11.E55 Beye .....................................................5.C18 BFE Studio und Medien Systeme GmbH ...................................................3.A63 BindInc Program Data Services......14.L23 Biquad ...............................................8.C30c BIRTV ...................................................6.A04 bitmovin GmbH ......................8.F14/14.H12 Black Box Network Services.............8.E32 Black Unicorn (Operating Crane) Parallax Company ..............................0.E03 Blackmagic Design ............................7.H20 BLANKOM systems GmbH.................1.A08 Blind Spot Gear Ltd ..........................9.B30a BlockBattery .....................................11.C36 BLT .......................................................8.A48 Blue Lucy Media .................................7.G07 Bluebell Opticom Ltd........................10.F24 Blueﬁsh444 .........................................7.J07 Blueshape .........................................11.A20 BMS Broadcast Microwave Services GmbH ...................................................1.A10 Bon electronics.................................10.D20 Booxmedia Inc..................................14.G06 BorisFX ................................................7.K29 Boxx TV Ltd .......................................10.C49 Bradley Engineering.........................11.F41 Brainstorm Multimedia......................7.K31 BRAM Technologies (Broadcast Automation Technologies) ................8.B10 Brazil Pavilion PS Electro-Electronic8.C30 Bridge Technologies ..........................1.F68 BRIDGET EU Project - University of Surrey .................................................8.F03 Brightcove ...........................................4.B60 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.D14 Broadcast Solutions GmbH ... 0.B01/8.A84 Broadcast Sports..............................11.F63 Broadcast Trafﬁc Systems................2.C18 Broadcom Corporation ......................2.C25 Broadpeak...........................................4.B78 BroadStream Solutions .....................8.B29 BroadView Software ....................... 2.A41n Brother, Brother & Sons ..................11.D46 Bryant Unlimited...............................10.D15 BTESA (Broad Telecom S.A)..............8.D16 Bubble and Squeak PR .....................8.B38i BW Broadcast .....................................8.E73 C C2m Solutions ................................. 2.B39h Calrec Audio......................................8.C61a Cambridge Electronic Industries Ltd.9.A36 Cambridge Imaging Systems ...........7.F39 Camera Corps Ltd ............................11.E55 Camerobot Systems GmbH .............10.D30 Camgear Inc......................................11.B66

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Cammotion Ltd ................................9.B30ci Canara Lighting Industries Pvt. Limited...............................................11.B62 CANARE .............................................11.A50 Canford ................................................9.C01 Canon Europe Ltd .............................11.E50 Cantemo ............................................7.K01a Capella Systems .................................3.C31 Carl Zeiss AG.....................................11.F50 Cart Blanche - SmartCait-SVX..........5.B24 Cartoni ...............................................11.E30 Caspian One Ltd .................................8.B38 castLabs GmbH ................................14.K02 CastleNet Technology Inc..................5.B02 Castoola ............................................14.H10 CASTPAL TECHNOLOGY INC., SHENZHEN .........................................5.A15a CASTWIN .............................................2.C50 Cataneo GmbH....................................3.B19 CatDV (Square Box Systems)..........7.J15c Cavena Image Products AB ..............2.C32 CB Electronics.....................................7.F06 CCBN2016 ...........................................6.A03 CCI Paris Ile-de-France .....2.A36/2.B39/8. B36/8.D82/11.E40 C-COM SATELLITE SYSTEMS INC. ....4.C53 CCPIT Electronics & Information Industry Sub-Council .......................... 5.C26/10.D25 Cedar Audio Ltd ..................................8.C98 Cedexis .............................................14.M33 Cerevo Inc. .......................................14.M06 Census Digital...................................2.A41e Challenger Communications ............1.F59 Chengdu Dexin Digital Technology Co., Ltd.............................................. 5.A41b Chimera .............................................11.A55 China Const Co. Ltd..........................11.E67 CHINA SUN COMMUNICATION GROUP LIMITED .............................................5.A41c Christie ................................................9.D15 Christy Media Solutions - Broadcast Recruitment Specialists ....................6.C29 Chrosziel............................................11.D72 CHYRO .............................................. 2.A36b ChyronHego ........................................7.D11 Cinedeck .............................................7.J07 Cinegy...................................... 7.A30/7.A41 Cinela.................................................8.C73a Cinematography Electronics...........11.D63 Cinemoves UK...................................11.D64 Cineo Lighting...................................11.F53 Cineroid .............................................11.G27 Cinfo.....................................................5.B18 Cires21...............................................14.K06 CirroCast .............................................7.G07 Cisco ....................................................1.A71 Civolution ............................................2.B41 ClassX SRL ..........................................8.A74 Clear-Com .........................................10.D29 Clearleap ...........................................14.G10 ClearView Imaging .............................8.E17 Cleversafe ..........................................8.B01 Cloudian, Inc .......................................2.C11 Cloundncoder.com ...........................14.K14 Clyde Broadcast ...............................9.B30a Cmotion GmbH..................................11.G42 COAX Connectors ltd........................10.F39 Cobalt Digital Inc. .............................10.B44 Cobham ....................................0.G04/1.F41 Codex Digital.....................................11.G54 Cogent Technologies .......................6.C28a COM-TECH Italia SpA .........................8.A33 Comigo .................................. 3.A29e/3.B52 Communications Specialties/Artel...2.A20 Compunicate Technologies Inc. .......1.F29 Comrex ..............................................11.G11 Comtech EF Data ................................1.F80 Comtech Telecommunications .........1.F80 Comtech Xicom Technology .............1.F80 Conax...................................................1.C81 Conciety AG..................................MS1/MS2 Concurrent Computer Corporation...2.B31 ContentWise......................................14.K05 Convergent Design...........................11.A38 Cooke Optics.....................................11.D10 Corning Optical Cables ......................7.J31 Corran Media ....................................9.B30a Coship Electronics Co, Ltd. ...............1.F50

Cosmolight ........................................11.C30 Coveloz ............................................. 2.A41k CP Cases Ltd .....................................10.A44 CPI International Inc. .........................1.B41 Craftwork ............................................5.A25 Craltech Electronica, S.L. ..................9.C02 CreateCtrl AG ......................................3.A40 Creative Network Design...................7.F06 CRENOVA MULTIMEDIA Co., Ltd. ......4.A74 Cryptoguard AB ..................................3.C63 Crystal Vision ......................................2.B11 CSG International .............................14.L18 CSR Ltd ................................................5.C19 CSTB Russia........................................6.B06 CTM Solutions.....................................7.B11 CTP Systems .......................................8.E83 Cube-Tec International GmbH ..........5.C41 Cubiware .............................................5.B48 Cuescript ...........................................11.F45 Custom Consoles Ltd .......................8.B38a CV Support Limited ..........................11.B66 CymTV International BV.....................5.A03 CYTAGlobal .........................................4.C76 D DAC System SA ..................................8.E04 daccord broadcasting solutions GmbH ...................................................8.C21 Dalet Digital Media Systems .............8.B77 Damery ........................................... 10.D31h Dan Dugan Sound Design .................8.C94 Danmon Asia Ltd. .............................8.B51a Danmon Danmark A/S.....................8.B51a Danmon Group..................................8.B51a Danmon Norge AS ...........................8.B51a Danmon Svenska AB .......................8.B51a Danmon Systems Group A/S ..........8.B51a DataDirect Networks .........................7.B33 DataPath..............................................1.F56 Datavideo Technologies Europe B.V.7.D39 Datos Media Technologies S.A. ......8.B51a Davicom ........................................... 8.B38h DAVID Systems GmbH .......................3.A31 Dayang Technology Development Inc. ...... ..............................................................7.B35 dB Broadcast ....................................10.A28 DB Elettronica Telecomunicazioni ...8.A22 DCC LABS ..........................................14.L14 Decimator Design...............................7.B40 Dedo Weigert Film GmbH ................11.E31 Dega Broadcast Systems Ltd............7.D01 Dejero ................................................11.C51 Dek-Optics .........................................8.B10 DekTec.................................................2.B40 DELEC Audio- und Videotechnik GmbH ..... ..............................................................8.C80 Delta Meccanica s.r.l. ........................8.E39 DELTACAST developer solutions ......7.A14 DELTACAST sport graphics ...............7.A14 deltatres.p.a. ................................MS1/MS2 Deltron Italia SRL................................8.E35 DENZ ..................................................11.C88 DeSisti - ILT Italy S.r.L. ....................11.B45 Deutsche Telekom ..............14.L24/14.N28 DEV Systemtechnik GmbH & Co. KG 1.B31 DEVA Broadcast Ltd. ..........................8.D79 DEXEL Lighting .................................11.G68 DGQoS SRL ........................................8.D37c DHD ......................................................8.A50 DiGiCo UK Limited ............................8.C61b DiGiDiA.................................................8.E89 Digigram..............................................8.C51 Digispot System GmbH......................8.D74 Digital Broadcast Inc .........................6.B03 Digital Forecast CO., Ltd ..................5.C48b Digital Vision .......................................6.A14 Dimetis ................................................1.B30 DirectOut GmbH..................................8.E85 Disk Archive Corporation ................ 8.B38f DIVICON MEDIA HOLDING GmbH ......8.C81 DJI ........................................................9.C33 DK-Technologies ................................8.E60 DLP - Digital Tech Co., Ltd.................9.B10 DMG Lumiere ......................................9.A01 DMLite ...............................................10.D20 Dolby Laboratories .............................2.A11 Dongguan Dishstone Electronics Co. Ltd .. ........................................................... 5.A41h

25/08/2015 11:49

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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 DR.PENG TELECOM MEDIA GROUP CO.LTD ..............................................................5.B15 DSPECIALISTS GmbH .........................8.E69 DTG ......................................................5.A17 DTS.......................................................2.B50 Dune HD.............................................14.D07 DVB ......................................................1.D81 DVBControl - MediaControl ...............3.B41 DVEO division of Computer Modules, Inc. . ..............................................................2.A34 DVLab ..................................................5.C06 DVMR ................................................. 2.A36f Dynacore Technology Co., Ltd. .......11.D62 Dynamic Drive Pool............................7.H15 Dynamic Perspective ... 0.G01,0.G02,8.E12 DynamiCam Ltd ................................11.F41 Dynaudio .............................................8.D56 E E2Work Solution .............................. 8.B30b Earda Electronics Ltd .........................4.C67 Easel TV ............................................14.M25 Easy Media Suite ................................8.A25 easyDCP GmbH...................................8.B80 Easyfocus ..........................................11.G42 Easyrig...............................................11.A46 ebs.tv .................................................14.B01 EBU (European Broadcasting Union).......... ............................................................10.F20 Eclipse Broadcast ........................... 9.B30d Eddystone Broadcast...................... 8.B38b Edgeware ..........................................14.B20 Editshare .............................................7.G37 EDL-REC ..............................................7.A05 Egatel S.L ............................................8.D40 Egripment BV ....................................11.A21 EiTV ....................................................8.C30a EKT (Eagle Kingdom Technology Ltd) ........ ..............................................................5.C32 Elber SRL .......................................... 8.D37a Elecard.................................................3.C25 Elemental Technologies ....................4.B80 Elements.tv | Syslink GmbH ..............3.A27 ELENOS – ITELCO - ELECTROSYS .....8.C41 Elite Antennas Ltd ............................4.A61e Elmo Europe SAS.............................14.M11 ELTI d.o.o.............................................8.C25 Embrionix Design Inc.........................6.B02 EMC......................................................7.H10 EMCORE Corporation (OpticommEMCORE) .............................................5.B21 Emerson Network Power – Avocent 5.C14 Emotion Systems .............................6.C28c EMS Technical Personnel Ltd ...........1.B09 ENCO ....................................................8.A45 Encompass Digital Media..................4.B77 Enensys ...............................................2.A31 Ensemble Designs, Inc. .....................8.B91 Entertainment Communications Ltd ......................................................14.C01 Entone................................................14.L10 Envivio, Inc. .........................................1.D73 EPGdata.TV........................................14.L22 Equinix.................................................3.B13 ERECA ..................................................9.C47 Ericsson...............................................1.D61 ERSTREAM ........................................14.L15 Es’hailSat ............................................4.B74 Espial ...................................................5.B25 ETC .....................................................11.A62 Etere.....................................................8.B89 Etilux ............................................... 10.D31b ETL Systems .......................................1.A33 ETRI......................................................8.G06 Euro Light System ............................11.E38 Euro Media Group...............................0.E02 Euroﬁns Digital Testing .....................5.B17 Eurotek S.R.L ......................................8.A59 Eutelsat SA ..........................................1.D59 Evertz ...................................................3.C20 EVS ........................................... 8.A96/8.B90 EXALUX............................................. 8.B36d

61-72 IBC D2 2015 Centre Section v4.indd 6

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Exir Broadcasting AB .........................8.D28 expertplace solutions GmbH.............3.A60 Exterity ..............................................14.H13 Extreme Reality ................................ 3.A29f Extron Electronics ..............................9.A07 Eyeheight Limited...............................8.B97 eyeSight..............................................3.A29l eyevis GmbH .......................................9.B24 F F&V Europe B.V.................................11.G50 F.A.Bernhardt GmbH, FAB .................2.A21 Facilis Technology Inc. ......................7.C10 farmerswife ........................................9.C25 Farseeing Co., Ltd.............................11.D66 FAST LTA AG .......................................8.A01 fayteq AG..........................................14.M24 FENIX3 S.p. z o.o. S.K.A......................5.B22 Fiberfox .............................................11.G59 FileCatalyst .........................................7.H37 filmfabriek...........................................6.A07 Filmgear ............................................11.A28 Filmlight ..............................................7.F31 Filmotechnic Remote Systems B.V.11.G72 Fischer Connectors ..........................11.F32 Flanders Scientific, Inc. ...................10.B10 Flanders/ Belgium...............10.F38/10.F42 Flow Works GmbH..............................3.C31 Flowcine ..............................................9.A03 FocalPoint Server .............................7.J38a Fonix ..................................................10.F45 Fonsview Technologies Co., Ltd .......1.F92 FOR-A...................................................2.A51 Forscene............................................8.B38e FORTIS ...............................................5.C48e 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 Freakworks & Freak Films ..............9.B30a Freefly Systems ..................................9.B35 Friend MTS ..........................................1.A44 FSUE “VGTRK” ....................................8.B10 Fujian Newland Communication Science Technology Co.Ltd..............................1.C91 Fujifilm Europe GmbH ........................9.B02 FujiFilm Recording Media GmbH .................. ............................................... 9.B04/ 11.G20 Funke Digital TV .................................3.C60 Furukawa ..........................................11.G25 G G. L Optics .........................................11.C80 GatesAir ...............................................8.B20 GATR Technologues...........................1.A02 Gazprom Space Systems ..................4.B85 GB Labs .............................................7.J15b GearCam............................................11.A54 Gearhouse Broadcast ......................10.B39 GenArts................................................7.J05 Genelec................................................8.D61 General Dynamics Mediaware..........5.A26 General Dynamics SATCOM Technologies ..............................................................1.A41 Geniatech Inc,Ltd .............................5.A41e Genius Digital Ltd .............................14.F33 Genval Les Dames ..........................10.D31i Geritel Giomar.....................................8.E33 Ghielmetti AG ......................................8.C77 GIGABYTE Technology .......................4.C75 GigaContent A/S .................................1.B71 Gigatronix Ltd .....................................9.A51 GkWare e.k..........................................2.C51 Glensound ...........................................8.E72 Glidecam Industries, Inc..................10.B20 Global Distribution .............................7.J31 Global VSAT Forum ............................6.B05 Globecast ............................................1.A29 Glookast Technology .........................7.D03 GODOX Photo Equipment Co.,Ltd......8.D07 Gold Best Limited ...............................4.C62 GoMax Electronics Inc. ......................2.C41 Good Mind Industries.........................3.A52 Google - Widevine ............................14.F05 GoPro ...................................................9.C40 Gorgy Timing ................................... 8.D82b

GOSPELL Digital Technology Co., Ltd.,....... ..............................................................3.A61 Gotech International Technology Ltd ......... ............................................................5.A41a Gracenote ..........................................14.H20 Grass Valley, a Belden Brand.1.D11/1.E02 GraVue Co., Ltd ...................................9.A18 GREAT Britain Pavilion..........4.A61/6.C28/ ........................................7.J15/8.B38/9.B30 GreenPeak Technologies...................1.C90 Grip Factory Munich GmbH .............11.D64 GRUS ....................................................2.C29 GSERTEL .............................................8.D23 GT - SAT International .......................5.B31 G-Technology .....................................7.J31 Guangshun Suitcase & Bag Industrial Co.,Ltd............................................. 10.D25b Guangzhou Shiyuan Electronics Co., Ltd... ............................................................5.C03b Gulfsat Communications Company ...4.B75 Guntermann & Drunck GmbH ...........1.B10 Guramex ............................................10.B31 H Haivision............................................14.N26 Hangzhou Xingfa Transmission Equipment Co.,Ltd ........................... 5.A41d Harmonic Inc ......................................1.B20 Harris Broadcast ............................. 4.AMT HDMI Licensing, LLC ..........................5.C33 Hefei Radio Communication Technology Co., Ltd.............................................. 3.B37b HELLAS SAT ........................................1.B38 HEXAGLOBE.......................................14.L25 HF Prints ..............................................8.E03 HGST ....................................................7.J31 HHB Communications Ltd .................8.D56 Hi Tech Systems Ltd ..........................8.C92 Hibox Systems ..................................14.L12 HighPoint Technologies, Inc. ............8.A68 Hiltron GmbH.......................................4.B89 Hisilicon Technologies co., Ltd .........2.C30 Hispasat ..............................................1.A50 Hitachi Data Systems.........................7.C12 Hitachi Kokusai Electric Europe GmbH ...... ............................................................11.D39 Hitachi Kokusai Electric Turkey Elektronik Ürünleri San. Ve Tic.A.S. .................11.D39 Hive Streaming ............................MS1/MS2 HMS GmbH ..........................................8.C21 Homecast Co., LTD .............................1.A27 Hongkong Haifei Electronic Limited..5.C24 Horizon Teleports ...............................4.C65 HP........................................... 14.H05/MS21 HS-Art / Diamant-Film Restoration ..5.C41 HTTV.....................................................5.B35 Huawei Technologies Co. Ltd............4.C70 Huaxin Antenna ..................................1.C95 Hubee................................................14.M29 Humax Co. Ltd ....................................1.C27 HwaCom ..............................................5.B22 hybris Software - An SAP Company .......... ............................................................14.N31 Hyundai Fomex Co. Ltd....................10.F23 I IABM ....................................... 8.F51a/8.F54 IBAS - Italian Broadcasting Advanced Solutions .............................................8.A40 IBC Content Everywhere Hub ..........14.J10 IBC Content Everywhere Technology in Action Theatre ................................3.A19 IBC Drone Zone...................................0.CS1 IBC Future Zone ..................................8.G01 IBC Hackfest ......................................5.C12 IBC Partners’ Pavilion ........................8.F51 IBC TV ................................................12.A05 IBM................................MS22/MS40/MS41 Icom Scottech Ltd ............................9.B30a ICoSOLE - Immersive Coverage of Spatially Outspread Live Events .......8.F14 IdeasUnlimited.TV ..............................8.A54 IDX Technology.................................11.C25 IEC Telecom ........................................2.B20 IEEE ......................................................5.B08 IEEE Broadcast Technology Society ...8.F51b IET - The Institution of Engineering and Technology........................................8.F51c

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iFootage International (HK) Limited... 9.B14g IGP b.v..................................................1.F58 IHSE GmbH ..........................................7.B30 Ikegami Electronics (Europe) GmbH .......... ............................................................11.A31 Ilionx ....................................................3.C27 Image Engineering GmbH & co. KG 11.E16 Image Matters ............................... 10.D31c Imagine Communications ............... 4.AMT Imagine Products Inc.........................7.G41 Imagineer Systems ............................7.K29 IMC Technologies Inc ........................8.A12 iMetaﬁlm Ltd.....................................9.B30a iMinds ...............................................10.F42l iMinds - Expertise center for Digital Media.......................................8.F14 I-MOVIX .............................................11.E43 In2Core ..............................................11.G41 INA - Institut National de l’Audiovisuel...... ..............................................................6.A20 Indiecam GmbH ................................11.E75 IneoQuest ............................................3.A23 Inetsat..................................................5.C09 Infomir GmbH ...................................14.L09 Infostrada Creative Technology......14.B36 Inmarsat ..............................................2.B19 innoPia Technologies, Inc ...............5.C48c Innovative Pixel GmbH.......................7.E30 Innowave Technologies, S.A ..........14.M26 Inside Secure .......................... 2.A08/MS45 Inspur Group Co. Ltd. .......................5.C26b instaDIGITAL ....................................14.M31 Institut für Rundfunktechnik (IRT) .10.F51 Intek Digital., Inc. ...............................4.C56 Intel Corporation.................................4.B72 Intelsat Corporation ...........................1.C71 Inter BEE ..............................................6.A06 International Datacasting Corporation ...... ..............................................................1.C29 Interra Systems ..................................7.B13 Interxion ............................................14.L13 intoPIX SA ...................................... 10.D31d Inview ................................................14.H07 inXtron .................................................6.A23 IO Industries Inc. ..............................11.D67 IPcopter GmbH & Co. KG....................0.A01 IPE Products........................................9.D18 IPV Limited ..........................................8.D41 Irdeto ...................................................1.D51 Irom Tech inc. ...................................8.B30e ISO......................................................9.B30a Itelsis ...................................................8.E19 Ittiam Systems....................................1.F61 IWEDIA S.A ..........................................5.B40 iZotope, Inc .........................................8.D70 IZT GmbH.............................................8.A34 J J.L. Fisher ..........................................11.C40 Jampro Antennas, Inc. ......................8.B96 Jaunt....................................................8.F18 Jave Yuan Electric Wire Co.Ltd.........5.A01 Jinni ...................................................3.A29s JK Audio ............................................11.G11 JLCooper Electronics .........................8.B92 JOANNEUM RESEARCH VidiCert .......5.C41 JoeCo Limited .....................................8.E97 JSC Prospect.......................................8.B10 Junger Audio ....................................10.A49 Jutel .....................................................8.E91 JVC Professional Europe Ltd...........11.G30 k K5600 Lighting..................................11.E28 Kabelkom SP. Z O.O. ..........................5.C15 Kaltura ........................ 3.A29c/3.C67/3.C69 Kantar Media ......................................2.B41 KAONMEDIA ........................................1.B16 KATHREIN TechnoTrend GmbH.........1.F89 KATHREIN-Werke KG .........................8.C29 Keepixo................................................1.F34 KenCast, Inc .....................................14.M10 Kineﬁnity .............................................9.A04 Kino Flo/Cirro Lite (Europe) Ltd ......11.E33 Klotz Communications.......................7.F07 KOBA 2015 ..........................................6.B07 KOBES.Co.Ltd ....................................11.E65 Kobold................................................11.A61

KONOVA KOREA CO., LTD ................11.E65 KONVISION ..........................................9.B10 Korea Pavilion..........................5.C48/8.B30 Korusys Ltd ...................................... 4.A61h Kratos Integral Systems Europe .......1.A01 KUDELSKI SECURITY ..........................1.C81 Kupo Grip Ltd. ...................................11.G69 Kvant-Eﬁr ............................................8.E75 KWS Electronic GmbH........................3.C41 L L-3 Narda-MITEQ................................1.A18 Lacie ....................................................7.G17 Lanparte ............................................11.A34 LAON Technology .............................10.F22 Lasergraphics, Inc .............................7.F01 LATTO .................................................3.A29j LAWO AG .............................................8.B50 LCA - Lights Camera Action............11.F53 Leader Electronics Corp-Europe.....11.A10 LeaseWeb Global Services ..............14.K18 Lectrosonics, Inc. .............................8.C73b LEDGO TECHNOLOGY LIMITED ........11.C71 LEDIXIS ............................................. 8.B36d LEMO Connectors .............................11.D42 Lenovo .................................................5.C20 LES-TV ................................................8.B10 Level 3 Communications ............MS1/MS2 Levels Beyond..........................5.C21/MS38 Libec ..................................................11.A53 Liberty Global plc. ..............................1.D39 Lightcraft Technology........................5.C01 Lightstar (Beijing) Electronic Co., ltd................................................11.A63 Limecraft .........................................10.F42a Limelight Networks............................3.C22 Linear Acoustic...................................8.D47 LINK Srl................................................9.A50 LINKEDTV EU Project..........................8.F03 LiteGear .............................................11.F53 Litepanels..........................................11.E55 Lith Technology Co., LTD .............. 11.B51b LiveArena AB ...............................MS1/MS2 LiveLike ...............................................8.F17 Livestream ..........................................7.A10 LiveU ....................................................3.B62 Livewire Digital...................................2.C27 LLS BROADCASTING UNION ..............8.B10 LMP Lux Media Plan ........................10.F21 LogicKeyboard - BSP .........................7.F49 LOOTOM TELCOVIDEO NETWORK WUXI CO.,LTD. ............................................ 3.B37d LS telcom ............................................8.E43 LSB Broadcast Technologies GmbH 8.B35 LSI Projects Ltd.................................11.E35 LTO Program .......................................9.C35 LUCI - Technica Del Arte BV..............7.C09 Lukup Technologies...........................3.A30 Luma Tech ........................................11.A54 Lumantek ............................................3.B61 Lumens............................................11.E40a Lund Halsey (Console Systems) Ltd.2.B10 Lupo Light SRL .................................11.F59 Luso Electronic Products Ltd. ...........1.F11 Lynx Technik AG.................................8.C70 M M & J Comms .....................................1.F59 Mac TV...............................................9.B30a MACOM................................................8.A19 Magma ..................................... 7.F06/7.J31 make.tv................................................3.B40 Malooba............................................14.M04 Mandozzi .......................................... 8.D37d Manfrotto ..........................................11.E55 Mark Roberts Motion Control Ltd ...11.F11 MarkAny, Inc.....................................11.E65 MarkMonitor International ................2.B41 Marquis Broadcast Limited...............2.A58 Marquis Media Partners LLP.............2.A58 Marquise Technologies .....................7.H03 Marshall Electronics ........................11.D20 Mart, JSC.............................................8.C18 Marvell.................................................5.C23 Massive Interactive..........................14.K17 Masstech.............................................8.B70 Masstech Innovations Inc .................7.K28 Masterclock, Inc...............................10.A42

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Masterplay Digimedia........................8.A16 MathEmbedded Ltd............................5.A25 Matrox Electronic Systems ...............7.B29 Matthews Studio Equipment Inc ....11.G71 Maud Technology.............................14.N03 Maxon Computer GmbH ....................7.K30 MEDIA BROADCAST ...........................1.B79 Media Broadcast Technologies (MBT) ................................................ 8.D82a Media Excel.......................................14.D10 Media IT Profy.....................................7.J43 Media Links EMEA .............................1.C31 Media Logic ........................................7.F07 Media Portal......................................8.C30b Media Utilities, a DNMS brand ..........8.A50 Media-Alliance ...................................8.B71 MediaGeniX NG...................................3.C59 MEDIAGURU ......................................10.A41 Mediamano .......................................14.L03 Mediamat Broadcast Services..........8.E16 Medianet Vlaanderen.....................10.F42k MediaPower ........................................7.J42 Mediaproxy Pty Ltd ............................7.J07 Mediascape EU Project - Vicomtech 8.F03 mediatvcom ........................................2.A30 Megahertz .........................................11.F20 Mekall ................................................9.B30a Memnon Archiving Services .............8.C85 Merging Technologies .......................8.E96 MeteoGroup ........................................2.C48 Metraweather ...................................14.C06 Metrological ......................................14.E25 METUS .................................................7.A02 MeVi Limited .....................................9.B30a MG ALBA ...........................................9.B30a Mico Electric (Hong Kong) Limited...3.A46 Microsoft ......................................MS1/MS2 Microtech Gefell GmbH......................8.D77 Midas Media Ltd...............................9.B30a Mier Comunicaciones S.A. ................8.E40 Miller Fluid Heads (Europe) ltd .......11.D30 Minerva Networks............................14.A12 miniCASTER® c/o TV1 GmbH...........1.A80 Minnetonka Audio Software .............7.J40 Mirada .................................................4.C50 MiraVid ..............................................14.L02 Mirror Image .......................................3.A24 Mistserver.org/DDVTECH.................14.K13 MISTV ..................................................2.A16 mLogic.................................................7.J31 Mobibase...........................................14.C07 Mobile Viewpoint..............................14.F21 Mode-AL............................................10.A38 MOG - Technologies...........................7.K28 Mogami Cable.....................................8.D56 Mole - Richardson Company ..........11.F57 Moso Power ........................................8.E24 Motama .............................................14.H19 Motion Plus Media ...........................14.L17 Motion9 ...............................................9.B12 Movicom, LLC ...................................11.F73 MovieTech AG...................................11.D35 MPP Global Solutions.......................14.K01 MSA Focus International Ltd.............3.B56 Mstar Semiconductor, Inc.................2.C33 MT-C .................................................10.D31j MTF Services LTD.............................11.C61 MTS - Media Technical Systems ....11.D35 MULTICAM SYSTEMS.....................11.E40a Multidyne Video & Fiber Optic Systems...............................................9.D40 Murraypro Electronics .................... 8.B38g MWA Nova GmbH ...............................7.E30 Mware Solutions Ltd ........................14.F10 N NAB Show ........................................10.F34 nablet GmbH .......................................7.G05 nac Image Technology Inc. .............11.G75 NAGRA .................................................1.C81 Nagra Audio ........................................8.E96 nangu.TV ...........................................14.L27 Nanguang Photographic Equipment Co., Ltd...............................................11.E10 Nanjing Magewell Electronics Co.Ltd...................................................8.C11 Nanocosmos .......................................2.A10 Nanuk By Plasticase ..........................9.A49

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Narda Safety Test Solutions..............8.E20 Nativ...................................................7.K01b Nautel ..................................................8.C49 Nautilus Studio ...................................7.G05 ND SatCom ..........................................4.A60 NEC Corporation .................................8.B37 NEETRA S.r.l. .......................................8.E92 Neotion ................................................4.B53 Net Insight...........................................1.B40 Net Mobile AG ...................................14.L16 NetApp .................................................7.J42 Netco Sports .......................................8.E25 Netgem ................................................5.B44 NETIA ..................................... 1.A29/8.B36b Netsweeper ........................................2.A41i NetUP .................................................14.J18 Network Innovations..........................2.A46 NeuLion .............................................14.F34 Neutrik AG ...........................................8.C90 never.no...............................................7.A09 Nevion..................................................1.B71 New Japan Radio Co., Ltd .................4.C71 NewFace TV Ltd............................... 2.A41b Newtec ................................................1.A49 NewTek ...............................................7.K11 NEWZULU...........................................14.C05 NexGenWave Co.,Ltd.........................5.C48f Nexidia......................................7.F39/MS43 Nexsan by Imation .............................6.A08 Nexstreaming ...................................14.C36 NEXTO DI ...........................................11.G37 NGINE NETWORKS ............................2.A36a NHK ......................................................8.G03 Niagara Streaming Media ..............14.M28 Nice People At Work ..........................5.C45 Nila LED Lighting ..............................11.E38 Nimbus, Inc. ......................................11.E65 Ningbo Eimage Studio Equipment Co., Ltd ............................................................11.C50 Ningbo Jie Yang Television Equipment Co., Ltd.............................................. 9.B14b NINSIGHT .............................................7.B11 NKK Switches Co., Ltd .......................8.A70 NOA ......................................................8.D91 NoisyPeak Sarl. ................................14.H16 Nordija A/S ........................................14.L06 North Telecom ....................................4.A55 Northwire Inc ....................................11.D42 Norwia ...............................................10.A12 Novella SatComs Ltd..........................1.F58 NovelSat ...................................3.A29r/MS3 Novotronik GmbH ...............................1.A54 Nozon.................................................8.F20c NST&T Univers Phone - Afrikanet Oxford Consultech.................. 4.A61/8.B38 NTP Technology A/S ....................... 8.B51b NTT Group ...........................................2.C58 NTT Network Inovation Labs ............8.G07 NUGEN Audio ......................................8.D56 NWIEE ................................................5.C03a NyeTec Limited ...................................2.C31 O Obh Obh.............................................9.B30a Object Matrix Ltd ..............................6.C28b OConnor.............................................11.E55 OCTOPUS Newsroom .........................7.G11 OKNO-TV..............................................8.B10 OMB Broadcast...................................8.E27 Omnia Audio .......................................8.D47 Omnitek .............................................10.F30 Onair Medya Ltd .................................8.E44 ONE CONNXT .......................................1.A97 One For All...........................................1.C41 Onetastic SRL .....................................8.C20 Ontario, Canada..................................2.A41 OOONA .................................................2.C32 OOYALA .............................................14.F32 Open Broadcast Systems Limited . 4.A61g Open Telly........................................10.F42c Openheadend - DVMR ..................... 2.A36f Opera Software.................................14.E20 Opic Telecom ....................................8.C30d Optical Cable Corporation ...............10.E59 Optispeech .......................................14.M09 Optocore GmbH ..................................8.C60 Optoway Technology Inc ..................8.E34 Optral, S.A. ........................................10.E50

Oracle ..................................................7.D14 Orad Hi-Tec Systems .........................7.J20 Orban Europe GmbH ..........................8.D93 Ortana Media Group Limited ...........8.B38c OSEE TECHNOLOGY CO., LTD...........10.D59 Osprey by Vario Systems...................3.A26 OTICOM CORPORATION ...................11.E65 OVERLINE - Systems ..........................8.E94 Ovide Smart Assist...........................11.G41 P P+S Technik .....................................11.G35 Pace plc ...............................................1.B19 Packet Ship Technologies ...............14.H11 PAG Ltd. .............................................11.C36 Pals Electronics Co. Ltd .....................0.F01 Panaccess Systems ...........................5.C18 Panasas, Inc. ......................................7.J31 Panasonic Marketing Europe GmbH ..................................... 9.C45/10.D46 Paneda.................................................8.E02 Panther GmbH ..................................11.E20 Parabola .............................................4.A61i Paradigm.............................................4.C74 Paralinx .............................................11.E55 Pathpartner Technology Consulting PVT. Ltd ...............................................9.A06 Paywizard .........................................14.G14 PBI........................................................2.A32 PCCW Global .....................................14.E10 Peak Communications Ltd. ...............1.C33 Pebble Beach Systems ......................8.C71 Perception TV Ltd .............................14.E09 Perceptiva - Labs .............................2.A36c Percon ...............................................10.E51 Perfect Memory ............................... 8.D82d Pesa .....................................................8.E47 Phabrix ..............................................10.B12 Philips Home Control .........................1.A81 Phoenix7 Ltd .......................................3.C21 Phonak Communications AG ............8.E95 Photon Beard Ltd..............................11.D43 Piksel .................................................14.C34 Pixagility...........................................14.M32 Pixel Power LTD .................................7.A31 Plaber S.r.l. - HPRC Cases .................9.B43 PlayBox Technology Ltd. ...................8.B70 Playlist Software Solutions. ............8.C30e Plisch GmbH........................................8.D32 PLURA Europe GmbH .........................8.B73 Pluxbox................................................8.A14 Polecam.............................................10.C49 Pomfort GmbH ..................................11.A40 Popyoular AB ...................................14.B01 Portabrace ........................................11.A54 Portaprompt Ltd ...............................11.G49 Postium Korea Co., Ltd. ...................10.D20 Prime Focus Technologies ................7.B12 Primestream .......................................7.D21 Prismahub...........................................8.B02 ProCase GmbH..................................10.F29 ProConsultant Informatique..............2.B21 Prodrone Technology Ltd ..................8.A47 Prodys..................................................1.A39 Professional Sound Corp. ..................8.C96 PROFITT Ltd ............................ 7.A07/8.B10 Progira Radio Communication..........8.D44 Projectbuilders ...................................0.E02 Promax Electronica S.L. ....................8.E41 ProMAX Systems................................7.A04 Promise Technology ...............6.C10/6.C11 Pronology ..........................................10.A26 ProSup/Casu .....................................11.E73 ProTelevision Technologies AS ........8.C48 Providius Corp. ................................ 2.A41p Provys ..................................................2.B49 PRO-X CO., Ltd ..................................11.E42 Prysmian Group (Draka Comteq Germany)...........................................11.C31 PSI Audio ............................................8.E96 Psiphon Inc. ......................................2.A41c Pufferﬁsh Ltd ....................................9.B30a Push-Pull TV ......................................2.A30 Q Qarva .................................................14.E30 Qbit GmbH ...........................................8.E49 qinematiq GmbH...............................11.E75

Qligent .................................................8.A09 QTV Sports ........................................9.B30a Quadrille ........................................... 2.B39b Quadrus Technology ..........................7.K25 Quales..................................................8.A26 Quantel and Snell ...............................7.G20 Quantenna Communications .2.C17/MS36 Quantum 5X Systems Inc. ............. 2.A41m Quantum Corporation ........................7.B26 Quicklink .............................................2.B20 Quickplay ..........................................14.D27 QUICtools...........................................9.B30a Quintech Electronics and DEV Systemtechnik....................................1.B31 Qvest Media ........................................3.B40 R R.V.R Elettronica.................................8.E36 Rabbit Labs .........................................3.A44 Radica Broadcast Systems Ltd...... 8.B38h Radio Frequency Systems.................8.A41 Radioscape .........................................8.D90 RaLex Solutions..................................8.D73 Rambus Cryptography Research .....2.A49 RAMI ..................................................8.B36a Rapid Information & Communication ................................8.B30a Rascular Technology Limited ...........5.A10 RCS ......................................................8.E11 Red Digital Cinema............. 11.A77/11.C70 RedwoodComm Co.,Ltd .................. 8.B30d Remote Solution Co., Ltd. ................5.C48a Research Concepts Inc......................1.F58 RF-Design ...........................................1.F45 RFE Broadcast ....................................8.B23 RGBlink................................................7.B08 Riedel Communications GmbH & Co.KG .................................................10.A31 Ripple Networks ...............................14.N01 Rip-Tie, Inc.......................................14.M22 RIZ - Transmitters Co.........................8.B03 RJS Electronics Ltd ..........................6.C28d RME/Audio AG ....................................8.E05 RO.VE.R Laboratories S.P.A ...............8.B67 RØDE Microphones ............................8.D56 Rohde & Schwarz...............................7.E25 Roku...................................................14.E14 Roland ................................................8.D56 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.G77 Rovi Europe Limited ................................14.G01/14.H02/14.M16 RR Media .............................................1.B24 RSG Media Systems.........................14.H04 R-Style Softlab....................................8.B10 RT Software Ltd..................................7.F33 rt1.tv production GmbH .....................0.G03 RTI Group ............................................7.C03 RT-RK...................................................5.B32 RTS.....................................................10.B48 RTS (Royal Television Society) .......8.F51d RTW......................................................8.D89 Ruige China.......................................11.D47 Russian Satellite Communications Company (RSCC) ................................1.A58 Ruwido ................................................1.D69 Rycote Microphone Windshields Ltd8.C64 RYMSA RF ...........................................8.C65 S S&T (Strategy & Technology Ltd) .....1.B22 S3 Group..............................................3.B39 S3 Satcom Ltd ....................................1.B91 Sachtler .............................................11.E55 SAF Tehnika ........................................8.A28 Sagemcom ..........................................1.D41 SALZBRENNER STAGETEC Audio Video Mediensysteme GmbH.......................8.C80 SAM - Snell Advanced Media ...........7.G20 SAM EU Project- Socialising Around Media - TIE Kinetix ............................8.F03 Sam Woo Electronics Co., Ltd. ........11.G29 Samjin..................................................5.C36 Samsung .............................................1.D35

Sanken Microphone Co.,Ltd..............8.C93 Sans Digital .........................................7.F04 SAPEC ..................................................1.F27 Satellite Interference Reduction Group...4.A61 SatixFy ............................................. 3.A29m Satmission .............................. 0.D01/1.A91 SatService GmbH................................1.F47 ScaleEngine Inc. ................................2.A41j SCALITY ...............................................7.C29 ScheduALL ..........................................1.D30 Schill GmbH & Co. KG ......................11.E41 Schneider Kreuznach.......................11.A41 Schoeps Mikrofone ............................8.C64 Schulze-Brakel Schaumstoffverarbeitungs GmbH ....8.D75 SCISYS Deutschland GmbH...............8.B61 Scottish Development International 9.B30a Screen Facilities Scotland...............9.B30a Screen Subtitling Systems ................1.C49 ScreenHI ............................................9.B30a SCTE...................................................8.F51e SDN Square .....................................10.F42b SeaChange ..........................................1.F70 SED Systems.......................................1.A52 Seewald Solutions............................11.A48 Selevision ..........................................14.J03 SELFSAT ..............................................5.B30 Sematron.............................................1.A78 Semtech Corporation .......................10.F46 Semyung India Enterprises Pvt. Ltd...............................................8.B30a Sencore ...............................................1.F76 Senna Ltd. .........................................11.F71 Sennheiser Electronic GmbH & Co. KG ..................................................8.D50 SeoulTech Co.,Ltd ............................8.B30c Servicevision.....................................11.C45 SES .......................................................1.B51 SGL.....................................................7.J15a SGO ......................................................6.A11 SGT.......................................................8.A98 Shape.................................................11.F61 Shen Zhen Maiwei Broadcast Equipment Co., LTD............................5.C25 Shengzhen Yelangu Technology C.,LTD .... ............................................................9.B14c SHENZHEN AEE TECHNOLOGY CO.,LTD ...... ..............................................................8.E38 Shenzhen Aoto Electronics Co., Ltd .9.B19 Shenzhen BestView Electronic Co., Ltd ..... ............................................................9.B14a Shenzhen C&D Electronics Co.,Ltd...1.C93 Shenzhen Crystal Video Technology Co. Ltd..................................................9.B02 Shenzhen Gigalight Technology Co.Ltd...................................................5.B06 Shenzhen Integration Multimedia Technology Co.,Ltd.......................... 5.B03b Shenzhen Jiuxing Tianli Technology Co., Ltd.................................................8.A11 Shenzhen Justek Technology Co., Ltd...............................................14.J01 Shenzhen Leyard Opto-Electronics Co. Ltd. .......................................................9.C17 Shenzhen Maike Industrial Co., LTD .............................................3.B37a Shenzhen New Glee Technology Co., Ltd. . ..............................................................2.C45 Shenzhen SDMC Technology co. Ltd ................................................14.J02 Shenzhen Seneasy Industrial Co., Ltd.................................................1.F90 Shenzhen Shiningworth Technology Co., Ltd...............................................3.B37e Shenzhen Sunchip Technology Co.,Ltd................................................5.B03a Shenzhen Wingsland Technology Co.,Ltd..................................................9.A30 Shenzhen Zoomtak Electronics Co., Ltd.............................................. 5.A41g Shooting Partners Group ...................9.D10 Shotoku Broadcast Systems...........11.F40 SHOTOVER Camera Systems ..........11.A68 SI Media ..............................................8.B93 Sichuan Changhong Network Technologies Co., Ltd...................... 6.A29b Sichuan Jiuzhou Electric Group Co., Ltd ... ..............................................................3.B45

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Sichuan Video Electronic Co., Ltd...3.B37c Sielco SRL ...........................................8.A58 Siemens.............................................14.A30 Sigma Designs....................................2.C35 Signiant .............................................14.L08 Signum Bildtechnik GmbH ................7.D31 Silver Brain..........................................9.A46 Silverpop - an IBM Company .........14.L30 SilverStone Technology Co., Ltd. ......8.A23 SintecMedia ........................................2.B32 SIRA-SISTEMI RADIO .........................8.C31 SIS LIVE ...............................................1.C55 Skardin ................................................5.A25 SKB Europe BV..................................11.F65 SkyDigita .............................................3.A44 Skyline Communications ..................1.A23 Skyware Global ..................................4.C88 Skyware Technologies ......................1.F33 Skyworth Digital.................................5.A31 Slik Corporation................................11.A30 Slomo.TV .............................................8.B40 Small Town Heroes ........................10.F42d SmallHD.............................................11.E55 SmarDTV .............................................1.C81 Smart Fun............................................8.C19 SmartLabs.........................................14.C19 Smarty Life Sp. z o.o. .........................5.B22 SMiT .....................................................1.F86 SMK Electronics (Europe) Ltd. ..........1.A46 SMPTE ................................................8.F51f SNL KAGAN .........................................4.C77 SoftAtHome .........................................4.A51 SoftLab - NSK .....................................7.A08 SoftNI Corporation..............................1.B28 Softron Media Services .....................7.G12 SOFTVALLEE........................................2.C21 Solarﬂare.............................................7.J31 Solid State Logic.................................8.D83 SOLIDANIM......................................11.E40d SOLITON SYSTEMS K.K ......................2.A42 Sommer Cable GmbH.........................9.C41 Sondor Willy Hungerbuehler AG .......7.H01 Sonifex Ltd ..........................................8.E61 Sonnet Technologies .........................7.G02 Sonosax...............................................8.E96 sonoVTS GmbH ...................................8.B68 Sony ........................................12.A10/0.E01 SONY Pro Audio ..................................8.D70 Sound Devices, LLC............................8.B59 Sound Ideas ..................................... 2.A41d Soundminer Inc. ...............................2.A41a Spacepath Communications Ltd ....4.A61c SPB TV ...............................................14.E17 Spectra Logic......................................7.J30 Spectracal Inc...................................10.A14 Sphericam.........................................8.F20b SPI International / Filmbox..............14.H09 Spideo................................................14.K04 Spin Digital..........................................1.F13 Spinner GmbH.....................................8.C28 S-PRO SYSTEMS.................................8.B10 Squadeo ........................................... 2.A36d Squid Systems....................................7.D13 SSIMWave Inc...................................2.A41o ST Video - Film Technology Ltd ........8.C07 STAGETEC Entwicklungsgesellschaft fur professionelle Audiotechnik GmbH..8.C80 Staer Sistemi ......................................8.A40 Stanleys.............................................10.A05 STARCOR ...........................................14.F27 Stardom storage solutions................7.G09 Starﬁsh Technologies Ltd .................8.D88 Starline Computer GmbH...................7.H05 Step2e Broadcast AG .........................2.B29 Stirlitz Media.......................................8.E90 STMicroelectronics ............................1.F40 Stoneroos ..........................................14.H14 StorageDNA.........................................7.B42 STORDIS GmbH...................................7.H39 STP SA System Technology Partner .. 8.C85 Stream Group....................................14.J17 Stream Labs............................ 7.G47/8.B10 Stream Owl ......................................14.M27 Streambox, Inc. ..................................5.A09 StreamItUp ....................................... 3.A29n Streamlyzer.......................................10.D42

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For the latest show news and updates follow

Streamroot ........................................14.H17 STRYME GmbH ...................................7.J03 Studer by Harman ..............................8.D60 Studio Network Solutions..................7.H40 Studio Technologies ..........................8.D56 STV Group PLC..................................9.B30a Stypegrip ...........................................11.C65 Suitcase TV Ltd........................2.C10/2.C15 Suman Satellite Technology Company ........................................... 5.A41f Sumavision Technologies Co.,Ltd ....1.C30 Sundog Media Toolkit........................6.A14 Surface Heating Systems ..................1.F59 SVP Broadcast Microwave................2.C55 SVS Satellite System..........................5.C31 SWE-DISH (now DataPath)................1.F56 Swedish Microwave AB.....................1.F71 swissaudec .........................................8.F01 SWIT Electronics Co., Ltd ................11.A39 Switchcraft, Inc. .................................9.C49 SYES.....................................................8.C74 Synapse TV .........................................1.B22 Syrp Ltd .............................................11.A71 System House Business partners ....8.B10 Systembase Ltd ..................................8.E93 System-On-Chip Technologies Inc..2.A41l T TAG V.S. ...............................................4.C85 TAKTIK SA ...................................... 10.D31e Talia .................................................. 4.A61d Tangent Wave LTD .............................6.A21 Tango Wave ........................................1.A04 Tata Communications........................MS23 Tata Elxsi Limited ...............................3.A48 Tatung Technology Inc. ...................14.F19 TC Electronic.......................................8.D56 TCL Technoly Electronics (Huizhou) Co., ltd............................................... 5.A15b TDC POLSKA sp. z o.o. .......................5.A08 Teamcast.............................................2.B51 TECH4HOME ........................................3.C46 Techbid Auctions .............................10.A03 Technicolor ...................... MS5/MS7/MS47 TECHNICOLOR R&I Hannover ............8.F14 Technocrane S.R.O...........................11.D36 Techwave, Inc...................................11.E65 Tecsys Video Networks Ltd..............3.A29i Tedial ...................................................8.B41 Tektronix Communications...............2.A54 Tektronix Inc. ....................................10.D41 TELECAST TECHNOLOGY CO., LTD .. 3.B37f Telechips .............................................5.A28 Teleidea .............................................14.J20 Telelynx Inc. ........................................6.B22 Telemetrics Inc. ................................11.C21 Telenor Satellite Broadcasting .........1.A59 TelergyHD & Mware solutions ........14.F10 Telesat .................................................1.C39 Telescript International .....................9.A44 Teleste .................................................4.B61 Telestream ..........................................7.G30 TELETOR, LLC......................................7.A08 Television Research Institute............5.C43 TELIKOU TECHNOLOGIES CO., LTD. .11.A12 Telmaco S.A. .......................................7.K40 Telmec RF ...........................................8.A40 Telos Alliance .....................................8.D47 Telos Systems ....................................8.D47 Telsat Srl .......................................... 8.D37b Telstra................................................14.F37 TEM ......................................................8.E45 Teracue eyevis GmbH ........................9.B24 Teradek .............................................11.E55 Teris Tech Trade Co., Ltd................. 9.B14f Terrasat Communications, Inc. ........1.F94 Testronic Laboratories...................10.F42e Thales Angenieux.............................11.F34 The Electronic Lab..............................8.A08 The Good Life Co., Ltd ......................11.E65 The Inmex Company ......................10.F42j The Israel Export & International Cooperation Institute .........................3.A29 The Qt Company ...............................14.H01 The Walt Disney Company (Switzerland) GmbH ...........................8.F05

TheLight ............................................11.D69 thePlatform .......................................14.C20 ThinkAnalytics Ltd .............................1.D92 thinklogical .......................................10.A24 Thomson Broadcast...........................8.C35 Thomson Video Networks ...............14.A10 Thomson Video Networks - Project H2B2VS................................................8.F16 Thum+Mahr GmbH ............................8.A50 Thuraya Telecommunications Company... ..............................................................2.B30 TIANCHANG LIMING ELECTRONICS CO.,LTD. .............................................6.A29c TIE Kinetix N.V. ...................................8.F03 Tieline The Codec Company..............8.E74 Tiffen..................................................10.C49 Tiger Technology.....................6.A18/7.J31 Tilta Technology Co., LTD ................11.G74 Timecode Systems Ltd ................... 9.B30b Timeline Television Ltd ....................11.C20 TiVo ......................................................5.B48 TIXEL ....................................................7.B01 TMD Ltd ...............................................2.B59 TMG....................................................14.F11 Toner Cable Equipment UK Ltd. ........5.B21 ToolsOnAir Broadcast Engineering GmbH ........................................7.G45/8.F14 Toshiba Electronics Europe GmbH ...6.C23 Total Technologies Ltd ......................5.A02 TQTVD Software Ltda......................8.C30g TRACT ..................................................8.D74 Tract Co ...............................................8.B10 TRANSRADIO SenderSysteme Berlin AG .............................................8.D35 TRedess...............................................8.D23 Triada-TV.............................................8.B44 Trilogy Communications Ltd...........10.A29 Trimaran Georacing ........................ 2.B39d Trinnov Audio Pro...............................7.D12 TriVis Weather Graphix......................3.A58 True Lens Services (TLS Optics) .....11.G65 TSDA ...................................................8.C30f TSF.be SA ....................................... 10.D31k TSL .....................................................10.B41 TTI Norte ..............................................4.C69 Turbosight (TBS) Technology Co.Ltd....5.C02 Turksat A.S .........................................5.C07 tv2u ...................................................14.M07 TVC (TELEVIZIJOS IR RYSIO SISTEMOS, UAB) .....................................................0.B02 TVIP....................................................14.G03 TVLogic Co., Ltd................................10.D26 TVStorm...............................................4.C82 TVU Networks .....................................2.B28 TW Electronics (Newbury) Ltd ..........4.B63 Twist Cluster.................................. 10.D31g Two Big Ears .....................................8.F20a U UHD Alliance ......................................MS47 UHP NETWORKS INC. (formerly Romantis Inc.) ......................................................5.A11 Ultimatte Corporation ........................7.C27 Ultra Electronics GigaSat...................1.C57 Uniﬁed Streaming ............................14.D30 Unilumin Group Co.,Ltd....................11.A69 Unique Broadband Systems Ltd .......5.B19 Unitron ..............................................10.F42f Unity Intercom ..................................11.G11 Universal Electronics bv. ...................1.C41 UPnP Forum ......................................14.G15 US Wondlan International Ltd .........9.B14e Utah Scientiﬁc ..................................10.D10 Utelisys ..............................................14.C08 UXP Systems Inc. ............................ 2.A41g V Valtech...............................................14.C02 ValueLabs..........................................10.F37 VANGUARD VIDEO .....................3.A54/MS4 Vantrix ...............................................14.J06 Varavon .............................................11.C11 Vcodex Limited .................................9.B30a VdB Audio............................................8.C93 Vector 3 ...............................................7.C01 Venera Technologies .........................7.G43

#IBCShow

Verimatrix............................................4.A59 Verizon Digital Media Services .......14.C17 Versatile Remote Heads ..................11.F41 Veset ....................................................8.A21 Vestel .................................................14.A20 Viaccess-Orca ...................... 1.A51/3.A29d ViaLite Communications ...................1.A21 VIDAU SYSTEMS .................................8.B10 VidCheck .............................................8.A30 VIDELIO - Media..................................8.C58 Video Clarity........................................2.C57 VideoFlow......................................... 3.A29g Videomenthe.....................................2.A36e VideoPropulsion .................................4.C73 Videosolutions Group.........................7.A06 Videostich ............................2.B39e/8.F20d Videostrong Technology Co.,ltd......6.A29a Videosys Broadcast .........................10.F45 Videssence........................................11.B12 VidiGo B.V............................................7.H30 Viewz ...................................................9.A48 Vimmi Communications Ltd............3.A29a Vimond Media Solutions .................14.E26 Vimsoft ................................................9.A40 Vinten.................................................11.E55 Vinten Radamec ...............................11.E55 Visio Light Inc. ..................................11.G45 Vision III Imaging, Inc. .......................8.G04 Vision Research................................11.B42 Vision247.............................................1.B22 VISLINK ................................................1.A69 Visual Impact Scotland....................9.B30a Visual Research Inc. ..........................7.D05 VisualOn, Inc .....................................14.G13 Vitec .....................................................7.G16 Vitec Group .......................................11.E55 VIXS Systems Inc. ..............................3.A28 Vizrt......................................................7.A20 VJU iTV Development GmbH .............3.C31 V-Nova Ltd ..........................................5.A25 Vocas .................................................11.E34 Voice Technologies ..........................8.C73a VoiceBox .........................................9.B30cii VoiceInteraction ...............................14.H18 Volicon.................................................7.G23 Vortex Communications Ltd ...........11.G11 VRT (Vlaamse Radio- en Televisieomroeporganisatie) ............8.F14 VSN (VIDEO STREAM NETWORKS, S.L.) ..... ..............................................................7.D25 Vualto.................................................14.D24 VuTV.....................................................1.B22 W W.B. Walton Enterprises Inc..............1.A62 Walimex Pro......................................11.G87 Wallonia Export-Investment Agency (AWEX)...............................................10.D31 WASP3D ..............................................7.C21 Wave Science Technology ................8.A44 Wazee Digital ...................................14.M12 Weather Metrics .................................3.A68 Weather Services International ........7.A15 Wedel Software BV ............................8.C04 Well Buying Industrial Co., Ltd..........8.D92 WellAV Technologies Ltd...................5.B47 Wellen+Noethen..................... 0.G03/3.B40 Wheatstone Corporation....................8.A86 Wide Orbit............................................8.D71 wige Broadcast GmbH .......................0.G01 Wildmoka ............................................5.A25 WINEGARD COMPANY........................4.C79 WINJAY S.R.L. .....................................8.E92 Winmedia ..........................................8.D82c Wisi Communications GmbH & Co. KG ...... ..............................................................4.B50 Wisycom SRL ......................................8.D78 Witbe....................................................4.A71 Wiztivi ................................................14.L01 WNM SA .......................................... 10.D31f Wooden Camera ...............................11.E71 Woody Technologies..........................3.C31 Work Microwave GmbH.....................4.A77 World DMB ..........................................9.D30 WorldCast Systems ............................8.B60 Wowza Media Systems ......... 3.B18/MS46

wTVision..............................................7.A45 Wyplay .................................................5.A25 X X-ARTProDivisionGmbH .............MS1/MS2 XCRYPT, INC......................................5.C48d XD MOTION......................................11.E40b x-dream-media GmbH.......................3.C31 XenData ...............................................7.H47 XeusMedia Technology .....................8.C95 Xiamen Came Photographic Equipment Co., Ltd............................................ 10.D25a Xilinx Inc............................................10.F30 XOR Media...........................................7.J42 Xstream .............................................14.F15 Xylostream Technology Ltd ..............2.A48 Xytech Systems ..................................6.C22 Y Yamaha Commercial Audio ..............8.A69 Yangaroo .......................................... 2.A41h Yaojin Technology (Shenzhen) Co.,Ltd ...... ..............................................................5.C13 Yegrin Liteworks ..............................11.G63 Yellowtec.............................................8.A51 Yospace.............................................14.C18 YoYotta ................................................7.J31 Yuan High-Tech Development Co., LTD..... ..............................................................8.A76 YUYAO LISHUAI FILM & TELEVISION EQUIPMENT CO., LTD..................... 11.B51a Yuyao Sinor International Trading Co., LTD. ......................................................9.A38 Z Zacuto................................................11.G64 Zappware nv .......................................1.A81 Zattoo TV Solutions ..........................14.J05 Zaxcom..............................................8.C73a Zentrick ...........................................10.F42g Zeticon.............................................10.F42h ZHANGZHOU LILLIPUT ELECTRONIC TECHNOLOGY CO., LTD...................11.B51e ZHANGZHOU SEETEC OPTOELECTRICS TECHNOLOGY CO. LTD........................9.B41 Zhengzhou Generalink Lighting Equipment Co., Ltd. ..........................11.A75 Zhengzhou Taiying Video Equipment Co,Ltd...................................................9.B49 Zhongshan Kingjoy Photographic Equipment Co. Ltd ..............................9.A10 Zhuhai ChuanFu Optical Technology Co.,ltd................................................ 9.B14d Zippy Technology Europe GmbH ......5.C35 Zixi LLC ..............................................14.G04 Zoo Digital PLC .................................7.J38b ZTE .......................................................4.B45 Zylight................................................11.E38

Correct as of 10 August 2015

25/08/2015 11:49

Published on behalf of the IBC Partnership by

Ultra HD in deep focus

Multiviewer for IP and baseband Apantac

Ikegami Electronics (Europe) By Mark Hallinger By David Fox

A traditional three-sensor 2/3-inch camera is Ikegami’s new entrant to the Ultra HD production stakes. The Unicam UHD camera uses 4K-native 8-megapixel CMOS chips and traditional prism optics to provide the deep focus favoured for broadcast operation, particularly for sports. It is designed for easy integration into studio and OB truck systems, with the same ergonomic and operational features as a conventional Unicam HD camera. A 2/3-inch B4-mount allows direct docking with conventional lenses plus a focus-assist function, while uncompressed RGB 4:4:4 baseband is delivered from the camera head to the newly designed 4K-UHD base station to ensure the highest possible transmission quality.

OB ready: The new Ikegami Unicam UHD 4K shoulder-mount camera

Also new is Ikegami’s BS-98/ CCU-980 hybrid 2K/4K, rack-mountable optical-fibre transmission link. It is being demonstrated, alongside new UHD displays, delivering HD and 4K processed UHD signals simultaneously, so that users can employ existing HD cameras and accessories, including lenses, for 4K productions as economical bridge equipment. A new robotic camera system based on a combination of the Ikegami HDL-45E head mounted on a pan/tilt unit, both controlled

via an Ikegami iHTR-100 fibreoptic transmission link, is also on show. The multi-purpose HD camera has three 2/3-inch 2.3 megapixel AIT CCD imagers, an LSI processor and 14-bit A/D converters and can be used in lighting levels down to 0.065 lux without frame accumulation, or 0.00054 lux with frame accumulation. The iHTR-100 link operates at distances of up to 10km and can multiplex up to 20Gbps of multiple format video with very low delay. 11.A31

AMS 2010 responds to LTE 800 threat Kabelkom By Ian McMurray

A new EMC threat for CATV networks has appeared, according to Kabelkom the new LTE 800 mobile phone system. According to the company, LTE causes enormous ingress in European CATV networks and, moreover, leakage from coaxial cables can substantially interfere with LTE terminals and base stations. As such, CATV operators may be in conflict with national authorities and LTE operators; leakage control of cable TV networks is obligatory under the EMC Directive. Kabelkom has developed what it described as ‘an innovative tool for leakage and ingress control’ to help CATV operators with network maintenance. The AMS 2010 series leakage meter is a sophisticated measurement system with a GPS receiver which simplifies

73 IBC D2 2015 Issue v1MDL.indd 1

leakage measurements. According to the company, it is low in weight and small in dimensions, has very good sensitivity, long battery operation time, and simple user menu. The meters are upgradable and can be tailored to customer’s needs. The AMS 2010 uses a new, EU patent-pending method for leakage tagging which Kabelkom said is suitable for fully digital TV and DOCSIS networks. The tagging method does not require free channels in the tested network.

Leakage tagging is absolutely necessary, noted Kabelkom, because it helps to recognise the signal radiated from the tested network; similar signals can be radiated from other CATV networks, terrestrial transmitters or radio noise sources. The tagged signal is generated in a specialised tagger (also offered by the company). The measurement data can be simply visualised on Google Earth maps, making leakage detection a very fast and efficient process. 5.C15 Playing tag: The AMS 2010 has a GPS receiver ^OPJO ZPTWSPÄ LZ SLHRHNL TLHZ\YLTLU[Z

A new hybrid multiviewer supporting IP/ASI and SDI/ CVBS baseband signals has been added to Apantac’s Tahoma platform at IBC2015. The new Tahoma-IL accepts a mix of IP/ASI streams and baseband video signals and displays them on one or more monitors. The IL Multiviewers accept H.264, MPEG-2 and MPEG-4, multicast and unicast over UDP or ASI, as well as MP1L2, AAC-LC and HEC-AAC-LC audio formats. Baseband signal support includes 3G/HD/SD-SDI, as well as composite video formats. With the new hybrid multiviewer, facilities have the ability to mix and match up to 20 IP and SDI/CVBS images on a single display. Tahoma-IL offers high resolution HDMI/

DVI outputs, and an optional SDI output for pristine visual monitoring. Output resolutions up to 1920x1200P are supported, including 1080P. Built-in CATx extenders (with optional active receivers) for each output extend the output up to 35 metres (115 feet). If longer distances are needed for the HDMI outputs, Apantac offers HDBaseT extenders for up to 100 metres or fibre extenders for up to 300 metres. The customisable onscreen display set-up via software includes borders, labels, GPI/O, tally, visual and audio alarms. There’s also AFD & WSS, alarm monitoring, close captioning, safe area markers, audio meters, analogue and digital clocks, as well as room for logos. Video windows on the display include multiple labels, and support UMD, OMD, IMD and standalone labels. 8.E37

IP transport and ﬂypack glue Lawo

By Mark Hallinger

The V__link4, designed for signal contribution, distribution and remote production via qualified LAN and WAN structures is being showcased at IBC. Lawo said V__link4 offers VoIP coding, signal processing and a video/audio delay measuring system in a 1RU frame. It provides four SDI inputs and outputs, four 1GbE ports and redundant 10GbE ports plus an internal switching fabric. Features include full support for SMPTE-2022 and RAVENNA/AES67 for VoIP and AoIP applications, including streaming of raw uncompressed 3G/HD/SD-SDI. In addition, a range of optional codecs can be used in parallel to create and

receive JPEG2000, DIRACpro, M-JPEG and H.264 streams. The Lawo V__pro8 for ultracompact video processing is also being demonstrated. Lawo said this product has become popular in flypack applications. Its fully digital 8-channel video processor provides the glue features required within the workflow of broadcast production, said the company. This included a browserbased GUI and extensive audio handling capabilities for de-embedding, delay, level adjust, channel mapping, down-mix and re-embedding for SDI and MADI audio streams. Optional capabilities include quad-split monitoring, RGB and YUV colour correction, AV sync measurement and format conversion. 8.B50

Smart switch: The V__link4 is aimed at IP video transport and routing

31/08/2015 12:25

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Sky Sports gets Agile Mobile Viewpoint By Anne Morris

Sky Sports News recently deployed the WMT Agile 2.0 R system from Mobile Viewpoint, which is showcasing the small encoder in the IBC Content Everywhere zone this week. Designed for harsh environments, WMT Agile 2.0 R is small enough to fit between camera body and battery pack, or can be carried in a small backpack. Its aluminium design makes it extremely sturdy and will survive drops of more than two metres without problems, said the company. It offers up to eight 4G modems, HD-SDI/ CVBS/ HDMI input, a LAN connection, satellite/KA-sat/BGAN support and 32GB of removable storage for recording video locally, and ready for editing. Sky Sports News selected Mobile Viewpoint as its primary technology partner for its

74 IBC D2 2015 Issue v1MDL.indd 1

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FlashPack unwrapped SGL

national and international live video over IP contribution network. Sky Sports deployed 10 WMT Agile 2.0 R systems to facilitate the coverage of live sports news from different regions in the UK and international events. At the same time multiple WMT decoders have been added to the current WMT servers at the Sky MCR in London to receive all WMT live streams simultaneously. The first deployment took place on 4 August, celebrating the start of the UK football season. Mobile Viewpoint and Sky Sports News have been working together for several years with international live broadcasts of live sports events around the globe. Ian Brash, technical manager of Sky Sports News, said, “Extensive testing of all the major brands over 30 months showed that the Mobile Viewpoint range best matched our newsgathering requirements. Their willingness and ability to write custom

By Carolyn Giardina

Smaller, lighter: The Agile 2.0 R encoder is intended to make life easier with roving cameras

software enhances our user experience and matches our unique conditions. This is technology whose time has come.”

FlashPack, which SGL described as an “archiving system designed for use with all major media and production asset management systems,” has been unveiled. At the heart of FlashPack is SGL FlashNet, the company’s archive and storage management system, packaged as a compact entry-level system. It’s recommended for broadcasters, sports venues, post production houses, corporate communications and other organisations that need to manage media assets. According to SGL, implementation is simple and is completed remotely, linking FlashPack to the user’s MAM or PAM system. FlashPack doesn’t require dedicated IT resources.

Sheppard: FlashPack “addresses the need for a separate, self-contained system”

Lee Sheppard, director of product management, SGL, said, “The FlashPack complete storage archive addresses the need for a separate, selfcontained system providing a price versus performance ratio that lowers the cost of entry while ensuring the key business criteria of future scalability and security.” 7.J15a

14.F21

01/09/2015 09:35

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Compact terrestrial transmission ABE Elettronica By Mark Hallinger

The MTX compact series of transmitters/transposers/gapfillers are being introduced, for digital and analogue terrestrial TV broadcasting in most standards. ABE said

the series brings together the highly efficient and reliable ABE MOS and LD-MOS broadband power amplifiers with ‘state-of-the-art technological solutions and excellent value’. The complete transmitter (including modulator, input interfaces, power amplifier,

power supply modules, etc.), housed in a single 3U rack drawer, can deliver up to 800Wrms (1.6KWp.s. when operated in analogue mode). The version housed in a single 1U rack drawer can provide up to 60Wrms (120Wp.s. analogue). 8.A43

Storage performance on test Toshiba Electronics Europe By Carolyn Giardina

Addressing demand for Ultra HD, Toshiba is presenting its line-up of hard disk drives and solid state drives for the current and emerging requirements of video production and distribution. Toshiba’s team is available to provide on-stand

demonstrations of sequential- and randomaccess performance of different drive models and configurations including when drives Spin cycle: Toshiba’s server environment is on show are used as single volume or in different types of RAID array. SSDs for use in large storage The products are aimed at arrays designed for content video applications and range streaming, and high-write from high-capacity HDDs endurance SSDs for use in for archiving video data, video editing applications. 6.C23 to high read performance

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Audio decluttered with 688 combo Sound Devices By Mark Hallinger

The 688 12-track portable mixer/recorder with new SL-6 powering and wireless system is being showcased. Sound Devices claimed that by pairing these products together, users can significantly streamline and de-clutter any audio bag, creating the ability to control and monitor an entire audio system in one wireless location. The 688 is the newest member of the 6-Series family of mixer/recorders and incorporates a multi-channel mixer, recorder, and MixAssist auto-mixing technology.

To simplify interconnection between the 688 and multiple channels of wireless, the new SL-6 powering and wireless system was developed using Sound Devices’ SuperSlot technology. The company claimed that SuperSlot is the industry’s first non-proprietary, open wireless control and interfacing standard. Matt Anderson, chief executive, Sound Devices, said, “A mixing bag comprised of a 688 with SL-6 plus a SuperSlotcompatible wireless receiver offers audio mixing, recording and wireless receiver control all from the mixer, ultimately simplifying power distribution and interconnection.” 8.B59

Slimline bag: the new system allows streamline control and monitoring of audio systems

76 IBC D2 2015 Issue v2MDL.indd 1

01/09/2015 09:37

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Hybrid playout service reďŹ&#x201A;ects Broadcast 2.0 shift

Q&A Adam Little, broadcast and cinema sales manager Americas, Europe, Oceania, IO Industries What do you think are the key developments in, or threats to, your market sector at the current time? The key developments this year have been largely in the area of Virtual Reality (VR). Broadcast and cinema professionals have been able to leverage their experience producing 3D content to provide the expertise needed to set up multi-camera systems for VR content creation. Substantial funding is available for these projects and itâ&#x20AC;&#x2122;s a vertical allowing film and video professionals to combine with the IT and gaming industries.

Amagi

By Will Strauss

Has IBC come at a good time for the electronic media industry? Why? In being one of the larger industry trade shows, the IBC showâ&#x20AC;&#x2122;s timing is a good milestone to align with the launch of new technologies. This year, we expect to see a lot of the VR prototypes from NAB refined into production-ready technology. Having been on display at other gaming industry and consumer events, this show allows the concepts to be discussed from a broadcast perspective.

Why should delegates visit your stand at IBC? Our 4KSDI and 2KSDI cameras combine the resolution, frame rates, and synchronisation features required to fit into cutting edge broadcast applications. The camerasâ&#x20AC;&#x2122; sizing and flexible control interface allow them to be run remotely in areas where other cameras wouldnâ&#x20AC;&#x2122;t normally fit. Demos at our stand will include a range of lensing and control options. 11.D67

HEVC 4K contribution encoder bolsters DMNG streaming Aviwest By Will Strauss

The latest enhancements to the Digital Mobile News Gathering (DMNG) system, including a new HEVC 4K contribution video encoder, are among the highlights for Aviwest at IBC. The DMNG HE4000 is a 1RU-sized device that is designed to help broadcasters deliver content at low bit rates. It features Aviwest SafeStreams technology that bonds together IP networks to ensure the delivery of live transmissions even in unpredictable mobile network conditions.

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Reflecting its theme for IBC of â&#x20AC;&#x2DC;Broadcast 2.0â&#x20AC;&#x2122;, Amagi is displaying what it describes as a â&#x20AC;&#x2DC;next generationâ&#x20AC;&#x2122; managed playout service for the very first time. Based on a hybrid architecture consisting of cloud-management and edge-playout technology, the new offering provides options for content delivery, playout management, ingest, asset management, archive management, quality control, traffic and scheduling, and 24/7 monitoring. Using the new service content owners supply their assets using fast file-transfer on the Internet or upload using portable storage. Amagi then automatically ingests

and transcodes assets into the required formats, archiving the content as required. The service also includes an automated content ingest workflow with built-in problemsolving abilities to automatically prioritise assets scheduled for earlier playout. Also introduced by Amagi at the show are personalised midroll advert insertion capabilities for linear and on-demand OTT content. A demo is showing how its patented watermarking technology automatically detects the commercial breaks and splices different mid-roll ads to different users based on their profiles. This innovation means broadcasters no longer need to remove their linear feed TV ads, said the company. 2.C23

Video delivery made EZ

Also new at IBC is a grid a broadcaster to embed the view for DMNG Manager, the core of the app within its own server application that is used application. for managing a fleet of DMNG AVIWESTâ&#x20AC;&#x2122;s DMNG system equipment. allows broadcasters to capture Working with a grid of and broadcast live HD or SD thumbnail feeds, the user can video over multiple networks, drag and drop video streams to including bonded 3G/4G one or multiple receivers mobile, Wi-Fi, Ethernet, and or CDNs. satellite. 2.A29 Aviwestâ&#x20AC;&#x2122;s DMNG app, which turns any smartphone into a live broadcast video camera, will also be on show, along with an SDK Aviwest DMNG app turns a smartphone into a live broadcast video camera that allows

Vitec

By Carolyn Giardina

The EZ TV IPTV system, which allows a facility to deliver live, ondemand, or recorded video over their existing IP infrastructure, is on show in Hall 7. Using the EZ TV Web Portal, administrators can create, manage, and distribute video assets while the systemâ&#x20AC;&#x2122;s browser-based EZ TV Player offers CPU-efficient playback of IPTV streams across networks. Now equipped with a new add-on for IPTV settings, the system also offers quality and

compliance dashboards, as well as instant alerts. Vitecâ&#x20AC;&#x2122;s MGW Sprint MPEG-4 H.264 HD encoder/decoder appliance is also on display. The lineup also includes the Focus FS-H50/60/70 portable proxy recorders, Proxsys PX-series MAM system, the Extensor SDI4Mosaic 4K mosaic generator. 7.G16

IPTV stars: administrators can create and distribute assets using the EZ TV Web Portal

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OPINION

Send in the clouds Those who have tended to dismiss the cloud as another fad are waking up to its reliability, says Chris Bailey, CEO and co-founder of Unlimi-Tech/FileCatalyst Cloud computing enables organisations to scale up their IT infrastructure without shovelling cash into a big iron IT oven. The cloud enables you to store and access programmes and files over the internet rather than real estate-hogging racks that hold row upon row of local storage devices. The cloud approach has numerous benefits, but some in our industry are still resisting the idea of using the cloud for file transfer. However, that’s changing, rapidly. There are real, quantifiable advantages over more traditional approaches using proprietary hardware, and FileCatalyst has been at the forefront of

implementing those advantages. One advantage is accessibility. Data and computing resources can be accessed from anywhere through the internet or a private network. And not only is the cloud upwardly scalable, it’s equally elastic, which means it can be used to the specific degree necessary to meet each user’s needs, which relieves substantial pressure on existing internal IT infrastructures. Computing power can also be shared without compromising security, which leads into one of the most common questions regarding the use of the cloud: ‘Is my data safe?’ Consider this. Banks, online

retailers, government agencies and many others have used the cloud for years, safely and securely. The broadcasting industry is only now catching up. The cloud is at least as secure — in practicality far more secure — than locally stored data, provided the proper security measures are taken. You just need to be diligent about security when making choices about the types of cloud services you use to store and transfer data. Many businesses use Amazon’s Simple Storage Service (S3), currently considered the market leader. S3 provides everything I’ve mentioned in terms of high bandwidth data

access, scalability, durability, and redundancy. Additionally, many vendors support S3 with their SaaS offerings, so moving data to S3 allows users to leverage these services, and since they are pay per use, users can do so without any capital expense. However, file transfers into S3 can be slow because of inherent latency issues. By using highly specialised software such as FileCatalyst, which was specifically designed to move bulk data as quickly as possible, users can transfer data into S3 many times faster than the tools provided by Amazon or other third-parties. Not only does this enable FileCatalyst users to get data into the cloud in a fraction of the time, it also provides tools to automate the process. So, assuming you’re in this business to serve your customers and make a profit, you need cloud computing to reach modern consumers

who demand the freedom and flexibility to view content on whatever device they choose, from anywhere. It’s not a question of what device they prefer, it’s a question of what device is in front of them right now. If you want to ensure your content is on that device, get it in the cloud, fast. 7.H37

NEW

WIRELESS STORE AND FORWARD WORKFLOW FROM CAMERA TO POSTPRODUCTION WMT AGILE-SF SIMULTANEOUS LOW RES AND HIGH RES RECORDING ON REMOVABLE MEDIA

DIRECT LOW RES TRANSFER FOR PROXY EDITING

FAST CLIP UPLOAD DIRECT FROM THE FIELD USING BONDED MOBILE CONNECTIONS

SDI, HDMI AND ANALOG AUDIO

HIGH RES PARTIAL RETRIEVE MANAGEMENT PLATFORM MAINTAINS BROADCAST QUALITY EVEN WHEN NETWORKS ARE CONGESTED

Live video over bonded IP connections

ADAPTIVE LIVE STREAMING

IBC: Hall 14, Content Everywhere

14.F21

MOBILEVIEWPOINT.COM

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Dive in and explore a new world of 4K content

ULTRA HD - THE NEW BENCHMARK IN COMMERCIAL BROADCASTING At Eutelsat, we recognise the potential of this new format and are innovation leaders in Ultra HD, including the launch of Europeâ&#x20AC;&#x2122;s ďŹ rst dedicated Ultra HD channel and HOT BIRD 4K1 channel. We want to facilitate and drive the launch and sustainable growth of your Ultra HD business, and provide you with support through a strong, tried-and-tested, broadcast chain.

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Come and talk to us at IBC and let us help you grow your business.

Stand 1.D59 www.eutelsat.com

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Toward better DAW monitoring

Q&A Geir Bryn-Jensen, CEO, Nevion

RTW Has IBC come at a good time for the electronic media industry? Why? The industry is in the midst of a sea change, with many broadcasters reinventing and realigning their business models. In Nevion’s space, media transport, this translates into broadcasters looking for extra flexibility and more cost effectiveness – doing more, with less. The rate of change can be daunting, but these are also positive times with plenty of innovation and creativity.

What do you think are the key developments in, or threats to, your market sector at the current time? In the media network sector, the transition from traditional

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baseband technology to IP is proving to be a challenge for many vendors, particularly in the face of competition from new providers outside the broadcasting space. Nevion started the transition to IP nearly a decade ago, but for those at the start of the IP journey these are testing times.

By Mark Hallinger

The TM3 USB Connect tool is being debuted at IBC2015. The RTW TM3 USB Connect software enables a direct connection between a TM3-Primus TouchMonitor as a plug-in within a DAW environment. It offers a remote control within the DAW for start, stop and reset on the TM3-Primus. With

Why should delegates visit your stand at IBC? Nevion will focus on the move from baseband to IP, both in the contribution space and also in the studio. Alongside ‘traditional’ optical transport, we will demonstrate our IP offering, which is entirely based on industry standards. Central to that offering is Nevion’s award-winning

this software, it is no longer necessary to define the TM3Primus as an output device. The TM3-Primus may now be connected to any channel or group in the DAW project just by inserting the plug-in into the desired channel, said RTW. If the TM3-Primus is operated as an output device, the TM3 USB Connect software can also be used as a standalone remote control for the TM3-Primus. This new software may be operated with the most common DAW software products for Mac and PC. 8.D89

media network management system, VideoIPath, which puts non-expert users in charge of their own service needs. 1.B71

Plug-in: The TM3-Primus can be connected to any channel or group in the DAW project

31/08/2015 12:33

Hall 7 | Stand # B27 September 11 - 15, 2015 Amsterdam RAI

www.asperasoft.com moving the worldâ&#x20AC;&#x2122;s data at maximum speed

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Playing the cards right

Q&A

Deltacast

Dean Wales, head of marketing and PR, Screen Subtitling Systems Has IBC come at a good time for the electronic media industry? Why? IBC2015 may prove to be one of the most significant for many years. Rather than a single hero technology dominating the show’s attention, I believe this year the focus will be on vendors who have seized the challenges and opportunities born out of the seismic technology shift we have all experienced. A show that’ll shape the vendor landscape, perhaps.

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

The speed at which media consumption has changed and the consequent swing over to an IT-based infrastructure for its delivery has, in spite of ceaseless warnings, been a blow to many traditional manufacturers. The pace of consumer transition from traditional to alternative platforms shows no signs of slowing down and we have little option other than to embrace this evolution or be left standing.

Why should delegates visit your stand at IBC? Screen has remodelled the delivery of its mainstay product Polistream in order to satisfy the current requirements of its

By Carolyn Giardina

customers. Still available in its conventional 1U arrangement, Polistream will soon be available in a Virtual Machine configuration, or available for customers to install on their own hardware, labelled as a Bring-Your-Own-Device or Off-The-Shelf option. An OPEX Rental option will also now be available. 1.C49

Broad spectrum of broadcast systems BRAM Technologies

By Mark Hallinger

A fully-featured broadcast studio is being showcased within the united Russian stand, where several major broadcast vendors are represented.

BRAM Technologies (BRoadcast Automation Technologies) is showing its products for multichannel ingest, TV production,

Demonstrating a strategy to quickly adopt emerging standards, and on the heels of its spring announcement that it was partnering with Sony, Deltacast is launching its first two IP cards at IBC. These products combine IP network technologies with current SDI standard interfaces to support any resolution of video, claimed the company. The first card manages two IP connections while the second one supports one IP connection and one 4K SDI channel. Deltacast’s VideoMaster SDK

allows software developers to integrate the cards into their applications. It also offers a unified interface for any Deltacast card, so customers can migrate smoothly from standard to standard. VideoMaster’s goal is to provided an efficient way to manage the transition from SDI to IP, with the possibility to address both in the same product. Deltacast reported that it is additionally developing a version of VideoMaster that will manage IP connections implemented through standard IP connections proposed by PCs. Deltacast has also partnered with Intopix to address mixed SDI and IP ecosystems. 7.A14

Networking combo: Deltacast’s new strategy combines IP technologies with SDI standards

broadcast playout and archive here. One key product is AutoPlay software for broadcast in SD, HD, or UHD formats. The system provides 24/7/365 multichannel broadcasting with 100% redundancy and the ability to control studio

equipment, said the company. AutoPlay solutions are being demonstrated along with the company’s Azimuth video servers, which are the core elements of BRAM systems. Azimuth video servers work with multi-format content, providing transcoding. AutoPlay systems are also based on the A-MAM distributed storage and media asset management system from BRAM Technologies. This provides multiple users access to media and operations, as well as manual and automatic control. Specific BRAM products on display include the NewsHouse system for organising news production and playout, and the TimeRunner SE system for multichannel recording and slow motion replays of video for live sports and other content. 8.B10

Switched on: AutoPlay software can broadcast in SD, HD, or UHD formats

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Expanding audio connectivity

AoIP on tap: Ravenna/AES67 connectivity is now available on IQOYA codecs

Digigram

By Mark Hallinger

The benefits that Ravenna/ AES67 connectivity brings to the IQOYA range of AoIP codecs is being showcased by Digigram. This allows users to get audio data directly from an in-studio Ravenna or AES67 network and subsequently encode and stream it over IP to transmitter sites via a WAN in compliance with EBU ACIP. Now shipping with Ravenna/AES67 connectivity, Digigram’s IQOYA *SERV/ LINK incorporates multiple distribution codec instances and the company’s FluidIP audio streaming engine on a single processing hardware platform. The company said this would simplify the transport of multiple audio signals (mono, stereo, and multichannel) over IP networks in a high-density format. The IQOYA *SERV/ LINK codec allows radio and TV broadcasters to configure multiple-stereo or multichannel solutions for links between studios and between the studio and transmitters, DVB/ cable operators, or content delivery networks. Also Ravenna/AES67compliant, the IQOYA *LINK and IQOYA *LINK/LE audioover-IP codecs are full-duplex encoding and decoding solutions that provide uncompromising performance for IP-based studio-to-studio and studio-to-transmitter links, as well as audio program delivery to DVB/cable operators, said Digigram. Another product on show at the Digigram stand is the company’s IQOYA *CALL and IQOYA *CALL/LE AoIP program contribution codecs, which now provide AES67 connectivity. 8.C51

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OPINION

A paradigm shift in production Sky News and LiveU combined to transform how broadcasters cover live events during the UK general election, explains Ronen Artman, VP marketing, LiveU Covering elections has always presented broadcasters – and now media companies more generally – with a particular set of challenges. Bonding transmission technology is now allowing them to rise to those challenges and has also introduced a whole new level of cost-effectiveness. 2015 saw a paradigm shift in live broadcasting when Sky News partnered with LiveU for its coverage of the UK general elections: the broadcaster delivered 138 live IP feeds from 150 key counts and constituencies countrywide using LiveU’s cellular uplinking technology. This was unprecedented and allowed Sky News to cover closely contested results live in what was predicted to be a very tight election. Sky News was keen to expand upon its coverage of the Scottish Referendum

2014. There it provided additional coverage from 32 locations, using apps and iPads. During early planning stages for 2015, a demo unit of LiveU’s LU200 ultra-small transmission device arrived at Sky News. After conversations with LiveU, and further internal discussions, it was decided that LiveU units out in the field, providing coverage of 150 constituency declarations at 138 key counts, would give Sky News a unique selling point for its coverage of the election both via broadcast and online. The 138 LiveU transmission units were paired with Sony PJ620 Handycams, each manned by a team of trained media students and young journalists. This was in addition to 49 traditional OB trucks providing live feeds to the newsroom using capacity on an ad-hoc basis

from Globecast, SIS Live and Arqiva. Purely for practical reasons, Sky News decided to use both LU200s and LU400s. The LU400 has the advantage of accommodating four SIMs and four modems, giving the option to use one SIM from each of the main mobile providers in the UK. The broadcaster used six LU200s to follow each of the main parties out on the campaign trail through the whole preelection campaign. An SD proxy of all 138 LiveU feeds was routed to Osterley over IP, via 138 cloud-based LU2000 MMH servers, each cloud server also streaming its feed live to a YouTube Live Event. Sky News customers were able to access these live streams from the Sky News App and website, enabling a greater choice of live viewing. Once a count had finished, the

live stream was replaced with a clip of that constituency’s declaration. Sky News decided to capitalise on the spectacle of 138 simultaneous live feeds and built a brand new studio around the monitoring solution, from where they anchored their election programme. The new studio enabled the production and technical teams, along with the results team, to see what was going on across all incoming feeds at all the critical counts and consistencies, and provide a dynamic backdrop to the election coverage. Thanks to LiveU Central, LiveU’s unified management platform, the technical team could easily track the status of modems, Ethernet ports, what connectivity was being used, or whether a unit was connected or not. It made

Want to move from baseband to IP, but not sure how? Look no further! Discover how Nevion helps broadcasters transition their networks smoothly, incrementally and cost effectively from baseband to IP in studios, campuses and beyond — using a standards-based approach including real Software Defined Networking (SDN).

Visit our stand at IBC #1.B71

nevion.com

technical support very simple as all the relevant info could be seen and adjustments made. The result? Live election coverage like you’ve never seen before. 3.B62

Harnessing big data effectively Genius Digital

By Anne Morris

Data analytics is helping the TV industry to turn knowledge into actions in order to reduce churn, optimise targeting strategies and launch new services, according to audience analytics specialist Genius Digital. Jonathan Sykes, chairman of Genius Digital, acknowledged that ‘Big Data’ is one of the most hyped topics in the television industry today. “But very little real-world experience is being shared,” he said. The company is hoping to change that by showing visitors at IBC this week how customer data can be used in an effective way. On-stand demonstrations of the Genius Digital Insight Platform are seeking to provide a deeper understanding of audience activity from any platform and device, across linear, on-demand or hybrid services, in realtime. By taking data from subscribers and developing ways to act upon it, Genius Digital claimed it equips pay-TV operators with the answers they need to build more compelling services, enter content deals with viewer data and build engaging offerings, such as targeted campaigns, based on actual audience activity. 14.F33

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Regenerated TimeLord Masters Net modularity

Clocked on: The new FLX-2 (top) and GPS-equipped TimeLord-μNet (bottom)

Vortex Communications

By David Fox

The various hardware and software timing systems from Vortex have been completely revamped this year, including the introduction of a new modular TimeLord-Net and versions ideal for vehicle use. Its V-400 series of time displays have undergone a major engineering and design refresh to provide enhanced operability, lower power consumption and additional features at a reduced cost. They now use the latest generation of clearer, brighter LED displays, which use less power, while infra-red remote control for setup is now standard, as is stopwatch operation. The new V-400NP includes NTP locking and Power-over-Ethernet capability, so mains power is not required, although that is only available for clocks with up to 10cm high digits because of PoE power constraints. The TimeLord-Net Master Time Source has been completely re-designed and re-engineered, and is now modular, providing extra functionality at a lower price. The new TimeLord-μNet GPS-locked NTP Time Server is a highly accurate, low cost, extremely compact universal NTP time server with GPS antenna and PoE. It works with all NTP compatible devices including the Vortex FLX-2 and V-400N series time displays and stopwatches. Also new is the next generation FLX-2 Virtual Clock and Timer system, which uses Android hardware to provide graphical clocks for display on low-cost HDMI screens. FLX-2 can be programmed to display any of the V-400 series clocks or V-ECO or V-FLX.

Hit Your Targets • Ultra efficient • Lightweight with wideband ampliﬁer • User-friendly interface • Versatile conﬁgurations

IBC Booth No8-B37

New UHF/VHF Transmitter NEC Corporation Broadcast and Media Division UHF DTU-H10 Series

7-1, Shiba 5-chome, Minato-ku, Tokyo, 108-8001, Japan Tel: +81 3 3798 5476 Fax: 3 3798 6359 URL: http://www.nec.com/en/global/prod/nw/broadcast/index.html

11.G11

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OPINION

Familiarity breeds content The challenge for broadcasters and vendors is that IP technology is not as simple as SDI, says Axel Kern, senior product manager, L-S-B Broadcast Technologies Talking about the challenges the broadcast industry is facing now and in the future, there appears to be two major trends, which are mutually dependent. On the one hand, there is a continual strong demand to streamline production workflows and increase efficiency in order to save time and money. On the other hand, the transition process from baseband to IP infrastructures in broadcast environments is rapidly gaining momentum; driven by a need to protect capital investments in futureproof technology as traditional baseband infrastructure is no longer suited for transport of higher resolution video standards. IP technology enables

broadcasters to be ready for 4K, 8K or whatever will be further ahead down the road. The demand for video content is rapidly increasing with more and more vehicles to view material. Audiences have an ever-growing thirst for more interesting and interactive viewing possibilities. This brings additional revenue opportunities for broadcasters but with the new challenge of having to create vast amounts of new video content to keep viewers attracted. Maximising the flexibility of production resources is a key topic to allow fast turnaround of content generation. This could mean utilising facility resources to produce live remote productions

directly or to quickly change a free production resource to any job function or task. Time, simplicity and speed are key drivers in the development of modern tools that broadcasters are demanding from industry vendors. The challenge for both broadcasters and vendors alike is that IP technology is not as transparent or as simple as traditional SDI technologies. For example, a cable transporting IP video no longer represents the signal quantity or format. Hardware technology is changing fast but operational production workflows are not. What is paramount is that whatever the infrastructure is

behind, it is essential to provide the users with familiar interfaces and controls that allow them to continue to work in the workflows to which they are accustomed. The underlying philosophy of L-S-B is to allow broadcasters to constantly maintain legacy investments but migrate to fast-changing hardware technologies and infrastructure without changing the production workflows, tools and interfaces for operators. The bigger picture control aspect of broadcast facilities is often overlooked but it is L-S-Bâ&#x20AC;&#x2122;s view that this is becoming more and more important. A unified control layer that maintains familiar and simplified operation independent from the technology choices behind is key to protecting investments. Even though right now the broadcast industry is hesitating whilst video IP technology matures, L-S-Bâ&#x20AC;&#x2122;s goal is to provide the industry with

tools to be prepared for any future changes. In conclusion, the broadcast industry is facing an even stronger need for increased efficiencies in operation and increased flexibility of available resources. IP technology is one game-changer in this development. Although IP is already in use in distribution and remote production, we just see the beginning of this paradigm shift. The task now is to convert the contribution side and existing infrastructure in studios or broadcast facilities to IP. We are happy to help in this transition process and to provide the tools to work seamlessly in all broadcast environments and across all infrastructures â&#x20AC;&#x201C; baseband or IP. 8.B35

YES WE CAN!

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Video storage platform updated Ericsson

By Ian McMurray

The latest update of its Video Storage and Processing Platform is being launched at IBC by Ericsson. The allsoftware platform is said to enable optimised video storage, processing and delivery applications including cloud DVR and video-on-demand (VoD) expansion for TV service providers. According to Ericsson, the Video Storage and Processing

Platform is unique in its ability to unify and maximise the performance and resources of large arrays of off-the-shelf servers. Ericsson said this latest update brings new features which give TV service providers the tools to deliver more value and better quality services to their viewers. These include support for subtitling of over-the-top content, full support for Ultra HD/HEVC services, as well as CDN assisted delivery of RTSP and CBR content. Premium content can be securely

streamed to second screen devices with MPEG-DASH and CENC while pre-packaged VoD support enhances content security for situations where the content must remain encrypted and not manipulated through the delivery path. Elisabetta Romano, vice president and head of TV and media, Ericsson, said, “The cloud is playing an increasingly important role in transforming the infrastructure of TV into a much more dynamic, agile enabler.” “TV service providers are already shifting key functions

Senior management team expanded SeaChange

By Ian McMurray

An expansion of its senior management team has been announced by SeaChange International. Paul Crann has been appointed senior vice president of product management and solutions architecture, and Mitchell Chun becomes senior vice president of business development. In these newly created positions, Crann and Chun report to chief operating officer Ed Terino. Jay Samit, CEO, SeaChange said, “SeaChange continues to sharpen its core competencies in software product creation and market delivery for our video service provider customers through top talent like Paul and Mitchell. I’m pleased to

welcome Paul to our family and congratulate Mitchell on his promotion. Their focus on optimising internal resources and expanding strategic alliances globally will strengthen SeaChange’s core market performance and enable us to establish our software innovations with broadcasters and emerging OTT providers.” Crann comes to SeaChange from BTI Systems, a softwaredriven network solutions provider for telecommunications and content service providers, where he was SVP of product marketing and business development. His career focus on product execution and business development included senior roles with Ascend Communications, AT&T, Avici Systems, BigBand Networks and Omnipoint Communications.

By Mark Hallinger

A series of live demos integrating EVS’ new IP-based solutions with third-party leading technologies is being showcased at IBC2015. On its stand EVS is presenting its IP4Live products for increased live production efficiency. Here,

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visitors are being presented with IP-based infrastructures for managing content contribution between venue and studio and remote production operations. A series of live demos integrating EVS’ new IP-based solutions with third-party leading technologies are being shown, and IBC visitors can learn both a gradual hybrid approach to the IP transition, as well as a best-of-breed end-to-end

TVU One mobile IP transmitter handed European debut By Will Strauss

Chun joined SeaChange as VP, business development upon the acquisition of Timeline Labs in February 2015, bringing the company over 20 years of technology and media business development experience. As SVP, business development, Chun’s responsibilities now span evaluation and execution of technology and distribution alliances to strengthen SeaChange’s offerings to new geographies and market sectors. 1.F70

solution on an open architecture. EVS and several technology partners are also creating the LiveIP Project, which EVS is calling the ‘world’s first IP TV studio,’ for the European Broadcasting Union and Belgian public broadcasting company VRT. 8.B90

Romano: “Shifting key functions of media architectures to cloud processing”

1.D61

TVU Networks

IP in live production EVS

of their media architectures to cloud processing, such as cloud DVR. The agility, cost efficiency and service differentiation offered by the cloud is a winning proposition. By integrating this new platform within our various solutions, we now offer the most advanced media portfolio in the industry. Our customers are reacting very positively to our capability to help them succeed commercially at a time when there are increasing pressures on them to meet rising consumer expectations and compete with new industry players.”

The TVU One mobile IP newsgathering HD video transmitter is making its European debut at IBC. Developed for live broadcasts, the TVU Networks developed device is based on the same transmission resiliency, performance and sub-second latency of a full-size TVUPack backpack transmitter, but in a smaller, lightweight and more compact form factor. Like other TVU transmitters, it uses proprietary Inverse StatMux Plus technology to transmit HD video over cellular 3G/4G LTE. Also on show is the TVUPack TM8200 with optional integrated MIMO Microwave technology. Intended for challenging cellular bandwidth environments, the Multiple-In Multiple-Out antenna technology (MIMO) allows for the portable set up of a localised mesh network for added transmission resiliency. It can aggregate both cellular

and microwave connections and combines IP-based 3G/4G LTE cellular broadcast with IP radio transmission technology that is self-forming and self-healing. TVU is also showing another version of the TVUPack TM8200, this time using Vislink hybrid microwave technology. A rack mount device called TVU MLink, designed for fixed deployment in vehicles or in a studio, is also on display as is TVU Anywhere. The latter enables broadcasters to instantly capture and transmit footage from anywhere on a mobile device or laptop. 2.B28

TVU One uses proprietary Inverse StatMux Plus technology

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OPINION

H.264/AVC is key for IP Alberto Cieri, senior director Matrox, explains why dedicated encoding hardware is the right approach The broadcast industry is once again going through both business and technology changes. At the heart of these changes is the need to move to IP-based infrastructure. There are many different codecs and standards being proposed but one that is key to this transition is H.264/AVC. It’s a good fit for end-to-end IP workflows because it provides a full spectrum of video quality and resolutions including support for low to high bitrates, proxy to 4K or even 8K, Intra or GOP formats, 8- and 10–bit depth and 4:2:0 to 4:4:4 colour sampling. It is widely used in broadcast and A/V so interoperability and compatibility

are no longer concerns. In its 4:2:0 profiles H.264/AVC it is still the codec of choice for distribution but also for providing proxies and IP-based monitoring with multiviewers. It is one of the codecs specified by SMPTE 2022-2 for transport to and from IP networks so as broadcasters design IP infrastructures; it is clearly the codec that provides the most versatility and compatibility in the broadcast chain. Many studies have shown that H.264 in 4:2:2 10-bit encoding mode provides the video quality needed in production and contribution workflows and it’s the basis of the latest HD and Ultra HD/4K cameras and recorders.

It can also be used in advanced archiving applications and, when data rate is cranked up in I-frame mode, it can even be used as a mezzanine format. It has been proven to preserve quality even during multigeneration encodes and decodes. Broadcasters are adopting H.264 in 4:2:2 10-bit for distribution of high quality content within their facilities and in live remote production situations. The main problem with H.264/AVC 4:2:2 10-bit is the tremendous processing resources required for encoding and transcoding, especially when dealing with multiple streams and 4K content. IT-based and cloud

software encoding using CPUs and GPUs requires significant rack space and power. It’s also difficult to encode many 4:2:2 10-bit streams in an FPGA-based hardware design. The ideal solution is a costeffective dedicated hardware accelerator in the workflow to save space and minimise power consumption. IBC comes at a great time for us to demonstrate to our OEM customers how the new Matrox M264 multi-channel 4:2:2 10-bit H.264 encoder card can help them add advanced IP streaming capabilities to their Channel in a Box systems, video servers, broadcast graphics systems, multiviewers and switchers or create costeffective high-density encoders, transcoders and other broadcast media equipment. M264 is a half-length PCIe card targeted to encode a single stream of 4Kp60 H.264/

AVC intra-frame at 4:2:2 10-bit, up to 10 streams of HD long GOP at 4:2:2 10-bit or up to 16 streams of HD at 4:2:0 8-bit. It’s designed for low latency and offers dynamic bitrate and GOP control to allow adjustments on the fly. When coupled with our feature-rich SDKs and our industry-leading I/O cards like those in the new X.mio3 Series, M264 lets customers create powerful hybrid solutions with baseband and IP streaming support all in one. We expect to see some of these solutions on the show floor. 7.B29

Viz Engine

Video playout and world-class graphics from one system With Viz Engine as your single-box, multichannel media server, your videos and real-time graphics play out from the same system. Using a SAN for storage, up to ten clip channels can be used simultaneously per Viz Engine, playing files as they grow. Viz Engine is the preferred solution for the world’s biggest 24/7 news channels, as well as for regional TV stations, entertainment programming and live sports.

See Vizrt at booth 7.A20

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Make.tv integration with Avid MediaCentral Qvest Media/ Wellen+Nöthen Make.tv’s Acquire is being shown to the European broadcast market for the first time at IBC. The plugin allows the functions

of the Make.tv Live Video Cloud to be added into third-party applications. At the same time, Make.tv has revealed that Avid has certified the integration of the plugin within the Avid MediaCentral Platform

ecosystem, using the Avid Connectivity Toolkit. Andreas Jacobi, chief executive of make.tv, said, “In our internet live production tool, we are bringing together all of the features essential for the cloud-based

#IBCShow

By Will Strauss

Make.tv’s Acquire is being shown to the European broadcast market for the first time at IBC. The plugin allows the fu nctions of the Make.tv Live By Will Strauss Team Spirit: Acquire plugin brings Live Video Cloud to third-party apps

acquisition, production and distribution of video content. “Live formats such as news, events, sports and conferences can now be produced more quickly, more independently and most cost-effectively than ever before. The certification for the Avid MediaCentral Platform is a significant step on our journey towards revolutionising live productions through cloudbased architectures.” Make.tv is being shown at IBC by Qvest Media (formerly Wellen+Nöthen). 3.B40

IBC Content Everywhere Powered and created by IBC, the premier annual event for professionals engaged in the creation, management and delivery of entertainment and news content worldwide, IBC Content Everywhere is a series of global events spanning Europe, the Middle East and North Africa (MENA).

‘Lightweight’ 30k lumen projector gets in the ring Christie By Heather McLean

These unique events cover rich media production, devices, apps, digital marketing, social media, content personalisation, big data, cloud services, second screens, investment and much much more.

IBC Content Everywhere Europe IBC Content Everywhere MENA 11 - 15 September 2015, RAI, Amsterdam

29 - 30 November 2015, Jumeirah Beach Hotel, Dubai

IBC Content Everywhere Europe combines a dedicated high quality exhibition with features speciﬁcally designed to help visitors quickly and efﬁciently expand their knowledge and understanding of the latest trends, strategies and developments in online TV and video. www.ibcCE.org/europe

IBC Content Everywhere MENA is an invite only VIP Conference containing carefully curated ‘Best of IBC2015’ content. The event will focus on the key topics from IBC2015 and will include contributions from the key speakers in Amsterdam plus new and fresh international perspectives, especially for the MENA region. www.ibcCE.org/MENA

Designed by 30 full-time designers and engineers based on the feedback from rental companies, Boxer 4K30 is a 3DLP projector weighing 68kg that is capable of 30,000 lumens. According to Christie, the projector offers single phase 208V and is future proofed with native 4K resolution and HD scaling. Christie said Boxer can be mounted in any 360° orientation and is fully omnidirectional, as well as offering lower shipping and handling costs. It also has extra connectivity with 3G-SDI, DVI and HDMI inputs. 9.D15

IBC, Third Floor, 10 Fetter Lane, London, EC4A 1BR, United Kingdom. T +44 (0) 20 7832 4100

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F +44 (0) 20 7832 4130

E info@ibc.org

www.ibcCE.org

Boxing clever: Christie’s projector weighs in at 68kg and is capable of 30,000 lumens

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OPINION

Strategic scheduling with ﬁngertip simulation Michel Beke, SVP product strategy, MediaGeniX, describes new tools that improve the broadcaster’s ability to choose the best strategic plan with related financial impact Crafting a schedule is an art. It appeals to the expertise, vision and gut feeling of the scheduler. To create a successful schedule you need a sound knowledge of costs, audience behaviour, competition, current affairs, and marketing. Over recent years, financial aspects have increasingly come into the equation, as commercial pressure calls for a tighter budget control. Remaining stock value is an asset for future plans, wasted content is money down the drain. This means that stock analysis becomes ever more important.

As broadcasters keep launching new channels and services, it also gets increasingly complex. Also, broadcasters need to be more agile now. They have to consider more strategic options and react more swiftly to new opportunities or threats. If broadcasters are to sustain their profitability, they need to work as efficienty and flexibly as possible with the available content stock and market information. The way to go is to analyse costs, ratings and other KPIs in multiple simulation schedules

and, by comparing these, make the best strategic choice. Budget exercises are currently so labour intensive, however, that broadcasters rarely succeed in making more than one simulation. The basis for cost and stock calculations are the runs. And here is the catch: The run count in the simulations, which are limited in time, need to be judiciously combined with the run count in the limitless actual schedule, which goes way back. Since there is more than one schedule version, there is more data to be considered. Also, as content

can be scheduled on any of the broadcaster’s channels, that use must be reflected when working on a simulation of another channel. The innovation that the broadcast management system WHATS’On introduces is basically an improved way of run planning that enables the cost of a simulation to be calculated automatically. The cost is accurately updated with changes in the actual schedule and in the actual contract and finance management, and can be frozen so that the grounds of a strategic decision can be consulted later on. Content used in the simulation is represented accordingly in stock queries that

are simulation specific. An added functional benefit is that the new simulation tools allow for multiple ‘minisimulations’ on a tactical level of scheduling. With this innovation WHATS’On enables broadcasters to bridge the gap between the art of scheduling and the need for predicting costs and key performance figures in multiple simulations. The possibility to create more than one simulation and creating each simulation quicker with high precision, gives them a competitive edge in this very dynamic market where it is crucial to be as agile and efficient as possible. 3.C59

UPMAX® v4 - SURROUNDFIELD CONTROLLER Captivating, Award-Winning Sports Audio Starts Here

f 5.1-channel output from 2- and 3-channel sources f Automatic bypass of 5.1-channel sources f Fulltime 2-channel downmix output f Loudness metering per ITU-R BS.1770-3

Learn more: LinearAcoustic.com/upmax-v4

f Very low latency for live applications f HD/SD-SDI & AES I/O plus multichannel analogue outputs f SNMP monitoring, redundant power supplies and relay bypass f “Big Knob” remote volume & GPI control available

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Sky chooses OTT, mobile provider Elemental Technologies

By Ian McMurray

Sky is to leveraging softwaredefined video solutions for multiscreen content delivery from Elemental Technologies to process and deliver its OTT TV service NOW TV and mobile TV service, Sky Go. Matt McDonald, director of broadcast services for Sky, commented, “We love to give our

viewers the flexibility to choose how, where and when they watch their favourite shows. Elemental offers the platform we require for live video and VoD streaming and rapid deployment of new services that delight customers.” The Sky OTT service infrastructure is deploying Elemental Live as the video processing engine in a workflow controlled by Elemental Conductor. During live streaming, Sky channel IP inputs will be fed to Elemental Live software, which will encode original and aggregated linear

content in real time for delivery to mobile devices and the web. For the Sky VoD workflow, Elemental Server systems transcode content into multiple formats and encrypt it for high-quality, protected output to consumers’ devices, including Apple TV, over the Sky Content Delivery Network (CDN). Sky Go is a mobile television service for Sky TV customers, which allows access to live and on-demand programming on computers, smartphones and tablets. NOW TV service provides contract-free, flexible access

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Sky’s content and is delivered by IP-enabled boxes for viewing on TVs or via an app on over 60 compatible devices. NOW TV offers monthly passes to Sky Movies or Sky’s Entertainment Channels or week and day passes to watch Sky Sports. “Sky is constantly innovating new ways for customers to enjoy premium TV Everywhere content,” said John Nemeth, VP sales/ EMEA for Elemental. “Elemental’s level of quality and flexibility enables us to uniquely support Sky’s mission to delight existing customers and redefine the meaning of TV.” 4.B80

Lines drawn between music and audio post iZotope

By Mark Hallinger

A strategic decision has been taken to divide the current iZotope product line into two distinct families of products, one focused on music production and the other on audio post. Mark Ethier, co-founder and CEO, iZotope, explained, “In recent years, more and more audio post production professionals have joined our community, with unique needs

from the world of TV, film, and other media. We know we need to address each world individually.” Alex Westner, director of product strategy, said that often a ‘one size fits all’ approach to a product can result in a tool that doesn’t fit anyone particularly well: “We want to make sure everyone’s experience with an iZotope product is fluid and clear, without distractions like extra features or irrelevant settings. By designing our products to better align with the task at hand, we can help keep everyone in their

creative zone, whether they’re mastering a record or mixing for a film.” Westner added that, moving forward, the ‘Music Production’ family is being led by one of iZotope’s flagship products, Ozone for mastering, complemented by products for mixing, vocals, and creative effects. The ‘Audio Post Production’ family spotlights iZotope’s other flagship product, RX, an Emmy Award-winning audio repair and enhancement suite, and other tools. The company also recently

Star quality: iZotope’s RX suite provides tools for audio post at Belgium’s Galaxy Studios

released a new iPhone app, Spire, designed to bring a better mobile recording experience to performing musicians, even those who may not yet be familiar with audio editing software. 8.D70

576 Port KVM matrix switch IHSE By Carolyn Giardina

IHSE has released a 576 port non-blocking KVM matrix switch in one frame. The Draco tera enterprise K480-576 switch is a modular KVM switching system developed for 24/7 distribution of high resolution Keyboard, Video, Mouse (KVM) signals. The company noted that broadcast studios, as well as enterprise-sized command and control rooms, are experiencing a growing demand for larger nonblocking, hybrid (Cat X and fibre) KVM infrastructures with no performance limitations. With this in mind, IHSE doubled the maximum number of available I/O ports of its 288 port Draco tera enterprise switch. With a frame size of 25RU, each of its 576 ports can serve as an input or output. The Draco tera enterprise series provides modular matrix systems for bidirectional signal distribution of HD video, audio and data over Cat X, multi-mode and singlemode fibre. HD video signals including DVI, HDMI, DisplayPort, VGA, HD-SDI and 3G-SDI are supported, as well as analogue and digital audio formats and USB 2.0/3.0 data signals. Using XV fibre cards, the Draco tera enterprise KVM matrix switch supports Ultra HD up to 4K at 4096 x 2160. 7.B30

Switch in time: Draco tera enterprise is designed for 24/7 distribution of high resolution KVM signals

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UAV video links take off

connectors required for link setup. “With its superior performance and affordable price, Connex brings extended HD video transmission range with zero latency to a much broader group of users and

applications. It is a game changer for the aerial drone market,” claimed Ram Ofir, Amimon’s CEO. The air unit has Mini HDMI input, five SMA antenna connectors, a DC jack power connector with 7-19v input, measures 103x63.6x15.6mm

and weighs 130 grams, while the ground unit has HDMI(Type A) input, two MMCX antenna connectors, a 4-pin power connector with 8-26v input, measures 129x89x20mm and weighs 260 grams. 11.C75

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Amimon

By David Fox

Connex, Amimon’s new zero-latency HD wireless video link, is a plug-and-fly system designed specifically for use with drones. It uses robust 5.1-5.8GHz bandwidth, with 2x5 MIMO channels and automatic channel selection to ensure resilient connectivity, free from interference from the UAV controls or other 2.4GHz radio links. It includes multicasting, to support four receivers simultaneously (this does require extra ground units), while maintaining full HD video (up to 1080p 50/60) with a delay of less than 1 millisecond. Its range (line of sight) is up to 1km. Its drone-friendly features include: built-in OSD view (with MAVLInk based telemetry), and gimbal control over Futaba S.Bus. The Connex kit includes all antennas, cables and

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OPINION

Realising agile signal routing Integrated media distribution networks can provide cost-effective and flexible signal routing, explains Thomas Riedel, CEO, Riedel Communications In today’s competitive media marketplace, companies that enjoy a high degree of technical agility are the businesses best positioned to launch new services and take advantage of new opportunities. Deploying flexible, reliable, and costeffective communications and signal transport solutions, they stand to streamline their operations, reduce their costs, and improve their competitive advantage. Riedel has worked with signal network architectures for many years to provide our customers with just these types of solutions. Inherently signal-agnostic network

architectures not only support flexible cabling topographies but also enable use of built-in signal-processing capabilities in handling any signal at any node. We understand that our customers don’t want a slapped-together hodgepodge of systems; they want integrated solutions that work flawlessly together under the umbrella of a single monitoring and control system. When a solution includes key signal processing functions, the user can reduce the cost and complexity associate with using other ‘boxes’ to perform these tasks. This is why we

HD switcher debut Datavideo By Carolyn Giardina

Datavideo has introduced the SE-

700 — the successor to its SE-500 SD switcher. The SE-700 is a simple fourchannel HD switcher that uses 2x HDMI and 2x SDI as inputs.

equipped our MicroN 80G media distribution network with robust integrated processing capabilities. As far as flexibility, MicroN can serve as a breakout box for our MetroN router and extend connectivity beyond the fibre I/Os to any type of video and audio I/O required. MicroN can also stand by itself as a 12x12 router with signal processing capabilities. Fully implemented, Micron can act as a central video router or as a de-centralised router up to 192 x 192! It is exactly this kind of operational flexibility that broadcasters are looking for since every show has different

There’s also a still picture player and the ability to create freeze frames to use later. The unit has a built-in chromakeyer, in addition to a downstream keyer and a PiP functionality with chromakeying. It also include 2x XLR analogue audio inputs.

requirements. Though a relatively new Riedel product, the MicroN already plays a valuable role in leading media facilities. Ericsson Broadcast Services in the Netherlands is using 10 of the units in a point-to-point configuration to move up to 60 HD feeds between its own master control facility and the Fox Sports Holland Broadcast facility in Hilversum. Though these devices represent a relatively small part of overall broadcast operations, they have made a sizeable impact on the efficiency and flexibility with which Ericsson Broadcast Services can

handle a high volume of HD signals. Media facilities today also want to be able to choose a standard that works best for them. We deal with this demand by providing I/O for several standards — AES67/ RAVENNA or AVB — in our new Tango and Smartpanel solutions. IBC2015 gives us the opportunity to showcase how we can support multiple standards and demonstrate how they afford users greater flexibility in selecting and deploying the equipment and infrastructure that best meets their requirements. 10.A31

The list price is $1800. 7.D39

Switched on: Datavideo’s SE-700

Proudly introducing the new NRCS system

Witness the new ground-breaking features of Octopus 8 on our stand at IBC 2015. Visit us in hall 7 for a demonstration of the latest innovations in newsroom computer systems for both Mac and Windows platforms.

Go social!

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4K/60 KVM is extended

Grand scale: the 4K Draco ultra DP uses the new high resolution LICI codec

IHSE By Carolyn Giardina

Draco ultra DP, a 4K DisplayPort KVM extender with a 60Hz refresh rate in full colour depth is being showcased by IHSE. The technology uses the Lightweight Image Coding Tecnology (LICI) codec and has been developed in partnership with the Fraunhofer Institute for Integrated Circuits. According to IHSE, the LICI codec lays the foundation for a future series of KVM extenders that will enable the transmission of high resolution video streams within the available infrastructure and bandwidth capacity at very low latency, without sacrificing either image quality or dynamic range. IHSE reported that the Draco ultra DP extender allows the operation of CPUs from a remotely located workstation including DisplayPort monitor, keyboard and pointing device over a pair of fibre cables. Transfer of fully-digital video is supported in 4K resolutions up to 4096 x 2160 and 3840 x 2160 at a real 60-Hz refresh rate and full colour depth (24 bit, 4:4:4). The KVM extender also supports audio transmission via the DisplayPort interface. Integration of optional Draco vario upgrade modules for digital audio input and output as well as data signals such as USB 2.0 and RS232 is also possible. The upcoming Draco ultra extender series is developed to allow the individual combination with other video interfaces, such as HDMI, DVI and Dual Link at the workstation and source end. The Draco ultra DP extender is available in single and redundant path variants. 7.B30

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OPINION

Entry-level archive in FlashPack Archive is vital but there is no one-size-fits-all approach, says Lee Sheppard, SGL director Product Management Not long ago, the archive was perceived as back-end middleware hidden behind the automation system; but not anymore. Now the archive is a key component for managing content and workflows. Global broadcasters large and small require sophisticated archive technology that enables them to manage and store their assets. However, like many technologies there isn’t a onesize-fits-all approach. A large archive with full disaster recovery workflows may not be appealing to a smaller broadcaster in a single location with fewer assets. SGL is providing a solution to this problem with the launch of FlashPack at IBC2015 on booth 7.J15a. A complete turnkey

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archiving system designed for use with all major media and production asset management systems, FlashPack provides a cost-effective, entry-level archive system with no extra hardware, no extra software and no hidden costs. SGL FlashPack is a complete archive and content management solution that includes all the features required for a fully integrated, infinitely scalable media archive such as hardware, software, support and integration with a MAM or production system. At the heart of FlashPack is SGL FlashNet, the industry leading content archive and storage management solution. FlashPack harnesses FlashNet’s power, resilience and scalability,

in a compact entry-level solution. It is ideal for broadcasters, sports venues, post production houses, corporate communications and other organisations that need to manage their media assets. Implementation is simple and is completed remotely, linking FlashPack to the user’s MAM or PAM system. FlashPack is easily manageable by creative professionals, not requiring dedicated IT resources. The FlashPack infrastructure can be used as part of any future expansion, meaning that growth of the archive does not necessarily entail significant outlay on new hardware. Ultimately, the server and library may be incorporated as storage elements in a full FlashNet cluster

solution. FlashPack’s extensive combination of upgrade paths and hardware recyclability provides significant ROI for all organisations. The FlashPack complete storage archive addresses the need for a separate, selfcontained system providing a price versus performance ratio that lowers the cost of entry while ensuring the key business criteria of future scalability and security. As well as FlashPack, SGL is showcasing new technology and third-party integration projects for the first time in Europe at IBC2015. This includes a full archive demonstration via a GV Stratus MAM hosted by a Grass Valley presenter. SGL is showing its Direct Connect solution for Avid ISIS users. Direct Connect allows high resolution material to be quickly transferred providing significant benefits when working

with longer form content. The company is also highlighting its Asset Migration Service. The migration of tape assets from one platform to another, or from one generation to another is a costly and time-consuming process. The FlashNet Migration Service enables a whole migration to be set up as a single background task that optimises the use of available archiving equipment and speeds up processes, reducing migration times by half. 7.J15a

01/09/2015 09:45

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OPINION

IBC now and then: evolution versus growth Mid-sized companies deliver flexible solutions that customers want along with value for money, says Gabriel Janko, sales manager, Octopus Newsroom IBC is a good place to be right now; the market speaks for itself. Customers need solutions that save their staff time and allow them to be more productive. If you look at IBC2015 the visitors have changed. Some nine or 10 years ago the industry used to be all about the big names, dominant players that dictated the rules of the game. The user had to adapt to their way of doing things and visitors to IBC came to Amsterdam to get educated on how to use their new releases.

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Today some of these companies have become way bigger by absorbing smaller companies. It’s still not unusual to witness these manufacturers try to push many of their products onto their clients even if they don’t really need them. This is where, in our opinion, they have dropped the ball and where mid-sized companies that deliver flexible solutions have come to the fore. This is when it comes in handy to be small enough to hear clients’ needs but big enough to fulfil their demands.

No matter how fast paced the industry is and how many new platforms arise (radio, TV, web, social media), midsized companies like Octopus are listening to the market and getting educated by the consumer – and not the other way around. So why are there so many brands in the broadcasting industry? When you think of professional musicians, when you look at the bands on stage, they usually don’t play with the same product suite, the bass is not the same brand as the guitar. The same

is true with the keyboards and electronic consoles. Even within a drum kit, the cymbals and the drums are often from a different manufacturer. Increasingly, this is the same case with broadcasting products. The user has turned expert – and look for more than just a big brand name. Many savvy CTOs and technical staff know that IBC is the place to get to know the products, to pick the best in their field and choose the one that suits their workflow. With technologies like the MOS protocol, integrating solutions from different manufacturers (such as

playout systems, graphic systems, teleprompters and MAM) is a viable option. This allows customers to have almost complete vendor freedom when assembling a cost effective and powerful solution. This one fact enables us as a software developer to be part of an ecosystem rather than turning the industry into a monopoly. That’s what Octopus is about, we are reachable, we listen to customer demands and we focus on one product that offers more value for the money. 7.G11

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Introducing Camio 4.2 ChyronHego

By Carolyn Giardina

The BlueNet graphics workflow driven by ChyronHegoâ&#x20AC;&#x2122;s Camio 4.2 graphics asset management system is being showcased in Hall 7. A highlight of Camio 4.2 is a complete redesign of LUCI, the modular interface for producer fulfillment of graphics in newsroom computer systems, with tight integration across the entire ChyronHego product line. Mark Gederman, director of marketing at ChyronHego,

said, â&#x20AC;&#x153;Today, Camio is the broadcasterâ&#x20AC;&#x2122;s on-air graphics control centre that is at the very heart of their graphics creation and management workflow. â&#x20AC;&#x153;LUCI now offers a far more flexible and powerful interface on PCs, Macs, and tablets that connect the newsroom to the art department and the control room, which in turn lets them focus on their

primary task which is better news storytelling.â&#x20AC;? 7.D11 7PJ[\YL IV_! *(406 VÉ&#x2C6; LYZ H JVTWSL[L YLKLZPNU VM [OL 3<*0 PU[LYMHJL

Linear Acoustic By Mark Hallinger :V\UK ZVY[LK! ;OL 4; JHU IL \ZLK MVY [^V JOHUULS HUK T\S[PJOHUULS HUHS`ZPZ

generation. It is an efficient tool for end-to-end system testing and is ideal as a replacement for the original Dolby DM100.â&#x20AC;? This portable diagnostic tool provides stream composition and input envelope information, identification of the input video format and frame rate, and audio stream analysis, as well as error detection at the AES3 layer. Users can employ it for both twochannel and multichannel PCM and Dolby Digital, Dolby Digital Plus and Dolby E monitoring and analysis. The MT2000 can also analyse SMPTE 337 formatting, measure

Space+ launch booster for ďŹ le-based workďŹ&#x201A;ows GB Labs By Carolyn Giardina

T&M in the hand The MT2000 Multichannel Bitstream Analyser is making its European debut at IBC2015. Featuring a full suite of test capabilities in a handheld form factor, the MT2000 allows engineers to analyse and troubleshoot digital audio paths quickly, inside or outside a facility. Linear Acoustic said it is ideal for a variety of testing applications, including broadcast, cable, satellite and home theatre. Tim Carroll, CTO, Telos Alliance, said, â&#x20AC;&#x153;The Linear Acoustic MT2000 Multichannel Bitstream Analyser is the nextgeneration in PCM and Dolbyencoded audio analysis and

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Dolby E guard band and line position, and display all the metadata contained in a Dolby formatted bitstream. In support of ATSC A/85 (CALM) and EBU R128 recommendations, it also includes comprehensive ITU-R BS.1770-1/2/3 loudness measurement capabilities with user selectable Dolby Dialog Intelligence. A bright OLED display on the MT2000 provides a status update at a glance, while a combination jog wheel and navigation joystick provides complete control. 8.D47

GB Labs has launched a new tier 1 shared storage product for file-based workflows. Specifically, Space+ is aimed at increasing networking speeds and higher capacity online and nearline storage, with an eye toward 4K and 8K networks. Innovations implemented by GB Labs include dual 40Gb Ethernet network adapters and 8TB disks, as well as its latest generation of CPUs. This tier 1 device now features a 128TB RAID storage; as such, a single nearline volume can now exceed 6 Petabytes. At the same time, advances in central processor units means that the system can deliver files to the network at 50% higher bitrates compared with its stablemate, Space, GB Labs reported. Ben Pearce, sales and marketing director at GB Labs, said, â&#x20AC;&#x153;Next generation video formats need faster shared storage, higher capacity central arrays and greater network bandwidth.

Technologies like dual 40GbE adapters and 8TB disks are vital to give UltraHD workgroups the scope to share files and work on projects collaboratively, direct from storage.â&#x20AC;? For customers planning a transition to 4K workflows, GB Labs supplies Dual 10GbE adapters as standard. This gives users the option to install Space+ onto existing Ethernet networks, ready to upgrade in stages to faster data rates. The use of HyperSpace in tandem with Space+ enables workgroups to complete the move to online 4K workflow. HyperSpace is an SSD acceleration unit for Space HDD tier 1 storage arrays. Delivering in excess of 3000MB/s data rates to client workstations, it is designed to enable 4K project sharing without the need to replace HDD media with an all-SSD array. The system has already been adopted by the likes of Technicolor and US commercials house Drive Thru for use in its Flame and Da Vinci Resolve workgroups, GB Labs reported. 7.J15B

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Broadcasting up to UHD Rohde & Schwarz

By Carolyn Giardina

Visitors to the Rohde & Schwarz stand will see its AVHE100 headend for operators of terrestrial and satellite networks, which is scalable from SD through UHD. The encoding and multiplexing system offers enhanced

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performance in a smaller space. Up to 33 MPEG-4 SD or eleven MPEG-4 HD encoders fit into only one height unit; two height units will hold 4K/UHD with 10-bit resolution. Also on display for the headend will be a new hybrid redundancy concept that the R&D said no longer requires external switching, nor a higher-level control system. Another new feature is seamless

switching between national and regional content. At IBC, Rohde & Schwarz has also been highlighting recent contracts for its transmitter systems. Among them is ETV, Serbiaâ&#x20AC;&#x2122;s national broadcasting agency, which is using Rohde & Schwarz transmitters for the third and final phase of its transition to DVB-T2. For this project, Rohde & Schwarz is providing high-power

and medium-power transmitters as well as gap fillers. Lastly, Rohde & Schwarz is presenting a technical preview of the R&S ETL TV analyser, a reference receiver that it said would soon support the HEVC standard.

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The demo shows how the R&S ETL analyses DVB T2 signals, detects HEVC-encoded video signals and outputs them over IP interfaces for external decoding and picture display. 7.E25

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OPINION

Reinventing the video server The new Viz Engine changes the idea of what a video server should be, says Petter Ole Jakonsen, CTO, Vizrt Another year, another new format â&#x20AC;&#x201C; or ten! Broadcasters are now surrounded by a sea of formats and itâ&#x20AC;&#x2122;s an increasing challenge for the industry to handle these when distributing to the many output channels used today. Graphics and branding force us to have multiple versions of the same clip eating up storage space and increasing the need for video management. This isnâ&#x20AC;&#x2122;t new but a solution is urgently needed to deal with all these new formats. This is a problem that Vizrt has been addressing for several years. Our mantra has always been to enable a broadcaster to do as much

of a live production with as few components as possible. Through this understanding of how an efficient broadcaster should ideally operate, weâ&#x20AC;&#x2122;ve created a new video, graphics and audio workflow centered on Viz Engine as a powerful video playback system for any format. This is not some mysterious black-box that engineers will be eyeing sceptically while it resides in their server room. A highly reliable video playout server, Viz Engine functions as a multi-channel playout server for HD and 4K, while also allowing streaming IP video in and out. It allows Vizrtâ&#x20AC;&#x2122;s worldclass graphics and video to

be composited in realtime and output in a wide range of content formats. The system is expandable â&#x20AC;&#x201D; multiple GPUs can be added for complex graphics and video production. The same system is also J2K and SMPTE 2022 enabled providing solutions in the transition to IP-based infrastructure. Weâ&#x20AC;&#x2122;ve implemented this system with one of the biggest 24-hour broadcasters in the world. This allows for all ten Viz Engines to simultaneously play many channels of growing files instantly. It can be controlled from any of our applications or integrated third party vendors.

We designed the video capabilities of Viz Engine so that anyone using it â&#x20AC;&#x201D; there are tens of thousands in broadcasterâ&#x20AC;&#x2122;s server rooms right now â&#x20AC;&#x201D; can easily upgrade current systems to play back video and graphics simultaneously. Fully customisable, two Viz Engines today could be running a virtual set, then repurposed tomorrow as a video and graphics playback system. This can also be applied to video walls. Now youâ&#x20AC;&#x2122;re able to have all the graphics, video clips and live video feeds sourced into the video wall from only Viz Engine. Another important aspect of Viz Engine is its capability to be used as a live format conversion tool. If youâ&#x20AC;&#x2122;re broadcasting in 4K and you need to pair down to an IP stream for mobile phones

you can send the entire broadcast signal through Viz Engine and the system will convert content in real time to any required format. Combine this with the studio automation capabilities of Viz Mosart or the channel in a box abilities of Viz Opus and broadcasters will be set for the future of broadcasting, no matter what that may be. 7.A20

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New line of multiviewers 1000th Nvision 8500 Enterprise router sold

Apantac

By Mark Hallinger

The new T# (T Sharp) multiviewers are being launched to the European broadcast market at IBC2015. Apantac said the line’s modular architecture concept ensures a futureproof multiviewer. One of the most important new features in the T# series is that all input sources can be duplicated up to 64 times and that any input is available to any output. Three frame sizes (1RU, 2RU, 4RU) and 16 pre-configured models are available. The pre-configured models can be easily expanded by adding additional input or output boards. All boards are hot swappable and interchangeable between all three frame sizes. When fully populated (using

Futureproof: Four 3G-SDI BNCs can be combined as a single 4K/UHD input

the largest frame), the hardware accommodates eight input boards, each with up to eight video inputs supported, for a total of 64 3G/HD/SD-SDI and composite video inputs. There is also a version of the input board with four SFPs for accepting SDI signals over fibre as well as upcoming SFP pluggables from third parties for decoding SMPTE 2022-6 and more. T# is also built with 4K/UHD in mind, said Apantac. For 4K/UHD support, a user can combine four 3G-SDI BNCs as a single 4K/UHD input. For each SDI input, 16 channels of embedded audio are supported, and can be decoded to display as onscreen audio metres. Two output boards with four outputs each

provide a total of eight outputs per chassis. Output board format support includes: HDMI, SDI, fibre, HDMI extenders, and HDBaseT extenders. T# supports output resolutions up to 1920x1200P including 1080P. In addition, T# is 4K/ UHD output ready. To support an expanded range of input formats, Apantac has both HDMI and IP input boards on its shortterm product road-map, the company said. T# supports 3rd party routers and production switchers and TSL protocol, and utilises a flexible and simple skin technology that allows users to customise their on-screen display of graphics.

Grass Valley By David Fox

Broadcasters have now bought more than 1000 Nvision 8500 Enterprise routers from Grass Valley. The hybrid technology routing platform was designed to be easily adapted to support increasing levels of processing, bandwidth and even connectivity. The original NV8576 supported SDI over coax and fibre as well as Async AES. Since then, the series has added four additional frames: the NV8144, the NV8280, the NV8576-Plus and the NV8140,

By Mark Hallinger

VSM is the overall control system in China’s first 4K OB van, recently

put in to service by Jiangsu Broadcast Corporation (JSBC), one of China’s largest broadcasting and media companies.

L-S-B, together with local partner NDT, implemented VSM into this new mobile production vehicle, a 24 camera, double-side

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8.E37

VSM for China’s ﬁrst 4K OB truck L-S-B Broadcast Technologies

all with interchangeable components. The router is even ready for the transition to IP production, thanks to the introduction last year of the IP Gateway card, allowing customers to bridge the gap between SDI and IP infrastructures. “Since its inception as a coax SDI router, we’ve been able to add fibre connectivity, audio and video processing, and even IP connectivity to the Nvision platform,” said Tim Walker, senior product manager, Nvision Routing, who promised that Grass Valley will continue to add functionality to the routing platform.

www.intopix.com - sales@intopix.com

expansion van that works in full 4K and offers up to 29 workplaces. The OB works with 16 HD cameras, four 4K cameras and four wireless cameras. Coach builder ASGB and Sony China Professional Systems Group, together with NDT Group, worked jointly to develop a modern OB van with state of the art 4K technology, said L-S-B. L-S-B’s VSM is running on two separate servers in master-master configuration, with redundancy. A third additional server is used for monitoring other equipment using L-S-B’s own Ember+ protocol and the vSNMP application. In this large van VSM has full access to the Evertz Xenon router for crosspoint routing as well as to the Sony MVS 7000X vision mixers for control of Tally, UMD and crosspoints. For the audio section JSBC 4K draws on a Lawo mc266 MKII audio console with Lawo Nova Core and Dallis Frames. VSM talks directly to the Lawo equipment and handles crosspoint routing plus parameter control. 8.B35

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FORK v5.5 picks up playout tools

103

Log rolling: FORK v 5.5 enhances asset management

Primestream By Carolyn Giardina

Primestream has unwrapped FORK v5.5, the latest version of its cross-platform software for asset management and automation. The release includes updates to both FORK Production Suite and Playout, with advancements to MXF, highdensity I/O and 4K workflows. FORK v5.5 is available for Windows and Mac OS. FORK Logger, a customisable tool for logging live or prerecorded video, has an update that enables Logger sessions to optionally add new clips to Live Assist. Live Assist has been updated with more control over trimming clips in a Live Assist rundown, as well as graphic overlays with the FORK Simple Graphics Engine, a new built-in tool for Live Assist and FORK Master Control Playout. FORK Master Control Playout now supports .MOV and MXF (ProPres and XAVC) 4K/UHD playout. The new version also has additional language and Unicode support, new scripting commands and device control. FORK Media Player is now 64bit and also new is ProRes 4K ingest. Additionally, FORK can now ingest or playout four HD channels of XDCAM, ProRes or DVPRO on one PC. Primestream is demonstrating direct MXF support in the FORK client. There is additional support for craft editor workflows in FORK v5.5 with Adobe Premiere Pro, Avid Media Composer, and Apple Final Cut Pro X. Claudio Lisman, Primestream president and CEO, said, â&#x20AC;&#x153;Customers can enjoy a new level of productivity and control with this update, seeing enhancements to Live Assist, Logger, Playout and third party integrations.â&#x20AC;? 7.D21

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OPINION

Demystifying Video-over-IP Don’t get fooled by glitzy trade show signage, advises Paul Turner, VP enterprise systems, Telestream As you wander through Hall 7 at IBC this year, you might be led to believe that everyone is peddling the same wares. As vendors we all have a sign somewhere on our stand saying we specialise in IP solutions for broadcasters. While Video-over-IP is a big buzzword in our industry, it’s important to realise that Video-over-IP has different meanings depending on whom you are talking to. So, in an effort to help you ‘kick the tires’ or ‘look under the bonnet’ as you travel from vendor to vendor, I wanted to offer some guidance in defining terms and discovering exactly what’s on offer at various vendors. Video-over-IP can mean: • Live video signals pushed

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over Ethernet as a replacement for SDI; • Video signals pushed over the internet to the consumer as an alternative to cable or broadcast; • File-based media being transferred and processed on network-based computers What’s the attraction to Videoover-IP? It may seem obvious, but the fact that video can now be processed by computers means we’ve moved into a world of software-enabled solutions. Software allows engineers to use more generic IT hardware, and less proprietary hardware. This results in lower total cost of ownership and easier maintenance. But arguably

more important, software-based solutions are more agile and allow for more automation and scaling. To be competitive in today’s video ecosystem, content owners need the automation and scale only possible with computers. Is the solution you are looking at running on proprietary custom hardware? That might not be a wise investment. While generic IT server hardware can now handle video processing, fine-tuning server components for video workflows can add real value. High performance computing with GPU acceleration provides significant power to video workflows. As an example,

Telestream’s pre-configured Lightspeed servers can be twice as fast as similar off-theshelf servers because they’ve been tuned to maximise video processing throughput. Another attraction of Videoover-IP is the flexibility of Ethernet and IP-based routing technology. Computers and software provide scale and automation, but there’s no way to achieve the same scale of transmission and video routing just by adding more SDI cables to the mix. Video over IP allows you to replace SDI interconnects in a way that is more flexible and more uniform with everything else going on in the facility. When looking at the big picture, broadcasters and content owners who are ahead of the game with Video-over-IP will benefit from lower costs and greater ROI. This means more profit and more pricing flexibility, which will give them an edge

over their competitors. The good news here is that the key enabler to all this video ecosystem diversity – software – is also the solution! Software is extensible and can easily be updated to grow with an organisation. Best of all, software supports rapid innovation. So, it is clear that the time of custom hardware solutions is coming to an end. With the right software, solving problems becomes less about new proprietary systems, and more about workflow design, hardware scaling, and management. 7.G30

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HDIP level 3 components on show Guntermann & Drunck

5.1 sound from a two-channel signal Sennheiser By Mark Hallinger

Quick connection: The DP-HR-DH currently supports 300 megapixels/second

By Ian McMurray

Two topics that are gripping this year’s IBC visitors are IP and UltraHD, and both are an area of focus for KVM manufacturer Guntermann & Drunck. The company is demonstrating its recentlyannounced DP-HR-DH components, which include support for HDIP level 3. Intended to be used within a matrix, the devices include a DisplayPort connector and can be used as transmitter and

receiver to establish a direct point-to-point connection. Dual-head – hence the ‘DH’ in the product name – operation is possible. For the time being, the devices support a video bandwidth of 300 megapixels/ second allowing, for example, a transmission of 2K at 60 Hz or 4K at 30 Hz. At the same time, the devices offer a connector for a second DisplayPort source or, at the console side, a second monitor. In this case, both video signals share the

bandwidth of the transmission line, while users are able to enjoy dual-head graphics with less cabling. According to G&D, the ability to transmit two video signals via one line becomes extremely interesting when using a matrix switch. In addition to transmission lines, this way of connection also saves interfaces at the central switch. Thus, applications require a smaller and therefore less expensive expansion stage.

A special focus on sports broadcasting is being spearheaded on Sennheiser’s stand by the Esfera surround sound system which creates a fullyfledged 5.1 sound from a two-channel signal. According to Sennheiser, a production team can generate and broadcast 5.1 surround sound with Esfera using two standard audio cables. Mounted onto a camera or installed in a

stadium, the compact Esfera microphone can be operated like any rugged stereo microphone. The sound can then be converted to 5.1 at any point in the workflow. Anders Laybourn, marketing manager, Sennheiser Broadcast & Media, said, “The system is very much comparable to the human ears and brain. Esfera ‘hears’ through two microphones, and its separate processing unit turns the mic sound into a surround image, very much like our brain does with the sounds the ears pick up.” 8.D50 Hearing aid: Esfera ‘hears’ through two microphones and converts the signals into a surround image

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Bridging the new skills gap By Martin Parsons, interim training manager, IABM

There is no doubt that one of the biggest issues facing the industry is the need for training. Because the broadcast and media industry is shifting fast, people need to develop new skills. This need is bi-directional. First, there are traditional broadcast companies that need to encourage their staff to get a grounding in new skills such as modern workflows and network management. Just as important are the businesses which now find themselves working in the broadcast sector, and need to take on the fundamentals of audio and video engineering, or even a basic understanding of what broadcasting is and how the industry is structured. At IABM we have been delivering courses in business and technical areas for several years. As the only association that represents the broadcast and media technology supply industry worldwide, our courses were initially designed with vendors in mind, but many have proved popular with endusers too. Typically courses have been

run over two days, giving the right balance between including a worthwhile amount of information and minimising staff time away from the office. In special circumstances we run courses of different lengths: we recently created a special three day course which was offered over several dates to allow South African broadcaster MNet to put all its playout staff through it. Our courses are delivered worldwide and include delivery with partners, for example, in conjunction with local distributor UBMS based in Dubai. To further our global expansion plans, a formal partnership has also been agreed with a leading Malaysian Direct Broadcast Satellite Pay TV service provider. The partnership will see the broadcaster roll out the IABM training programme offering courses as a key part of its curriculum from its headquarters in Kuala Lumpur. Specialist instructors from the IABM Training Academy will deliver the initial part of the â&#x20AC;&#x2DC;Train the Trainerâ&#x20AC;&#x2122; programme. The broadcasterâ&#x20AC;&#x2122;s own instructors will then use the acquired knowledge and expertise to teach three IABM

courses this year, with a further four courses planned for 2016. Another recent initiative has removed the geographical restrictions by putting new courses online. IABM is now delivering live online training, which retains the huge benefits of having an experienced and engaging tutor while still delivering the course at the studentâ&#x20AC;&#x2122;s desk. The structure allows plenty of interaction, and even permits students to go into breakout groups for exercises.

Taking training online The first virtual classroom course, on understanding modern file formats, ran twice in August, once in a timeslot suitable for European delegates, and once for those in North America. The course consisted of five separate two hour modules over four days. More live online and true e-learning courses will be added in due course. At this yearâ&#x20AC;&#x2122;s show we are capitalising on the success of our training programmes with the launch of a brand new half day workshop based around video compression, specifically looking at the High Efficiency Video Coding (HEVC) standard. The first

session will be delivered on Thursday 10 September and will cover the reasons HEVC has been introduced, where it can be implemented, and an overview of the technology involved. Following IBC, a full programme of HEVC training courses will be released in the coming months throughout the UK, APAC and North American regions. IABM is not the only body offering training, of course, and as a trade association we see our role as encouraging everyone in the industry to improve skills. Historically, when budgets are tight then training is one of the first things to be cut. But for an industry is such a state of flux, extending skills is essential to all businesses, and we are now seeing a rise in demand from those looking to bridge the skills gap.

Providing some recognition We have always thought it important that the unique skills once attained by a broadcast and digital media technology engineer are fully recognised. Created by the IABM Educational Foundation engineers in our industry can now evidence their understanding and attainment

through â&#x20AC;&#x2DC;Certified Broadcast and Media Technologistâ&#x20AC;&#x2122; certification. This Certification is open to all. There are no pre-requisites and interested parties can simply view the syllabus for each examination and decide whether to apply based on their own experience, self-study or by attending a relevant training course. The IABM Training Academy runs courses relevant to each of the certification examinations available. Examinations can be taken anywhere, at any time, at work or at home, provided there is a reasonable internet connection available and the exam rules can be satisfied. The take up has more than doubled in the last six months compared to the previous six months and there are now 64 broadcast and media technologists registered in the scheme. There are now Certificants at the Associate, Practitioner and Professional levels. We are creating a measurable skills standard for the industry to help both employer and employee alike take full advantage of the opportunities that are available. For further information visit http://www.iabmfoundation. org/CertiďŹ cation.aspx

GY-LS300 primed for cinema mode JVC Professional Europe By David Fox

New version 2.0 firmware for JVCâ&#x20AC;&#x2122;s GY-LS300 handheld Super 35 4K camcorder has added some significant features. These include a filmlook JVC Log mode, Cinema 4K/2K recording modes, Prime Zoom, which allows zooming using prime lenses, and a histogram. It can also now trigger recordings via HDMI/SDI and has JVC LUT support for the Atomos Shogun recorder.

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JVC Log allows it to deliver wider latitude and high dynamic range â&#x20AC;&#x201C; up to 800%. The free upgrade also adds 4096x2160 Cinema 4K and 2048x1080 Cinema 2K recording at various frame rates, with a 17:9 aspect ratio for digital cinema presentations, plus a full HD output via HDMI/SDI when doing 4K recording, for HD monitoring. The Prime Zoom takes advantage of JVCâ&#x20AC;&#x2122;s Variable Scan Mapping technology, which was created to electronically adapt the active area of the cameraâ&#x20AC;&#x2122;s image

sensor to provide native support of various lenses when paired with third-party lens adapters. When used with a Micro Four Thirds prime lens, the image can be adjusted between the maximum and minimum scan area using the zoom rocker, offering 2.3x maximum zoom for HD or 1.25x zoom for 4K. It can also be used as a lens extender for zoom lenses. V2.0 also adds colour matrix adjustment, spot meter for exposure, and a black paint setting to precisely adjust the colour temperature of master black. A new 70Mbps recording

mode allows 4K recording on economical Class 10 SDHC/ SDXC memory cards. The GY-LS300 includes a HD

streaming engine with Wi-Fi and 3G/4G connectivity for live HD transmission. 11.G30

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MAM integration for mxfSPEEDRAIL Masstech/MOG By Carolyn Giardina

Masstech is showing its latest offerings for advanced workflows, media asset management and newsroom systems with partner MOG Technologies. The two companies have integrated MOG’s mxfSPEEDRAIL ingest systems with Masstech’s media management

systems. The integration provides Masstech users with a single ingest point for file-based media and SD-HD/SDI capture of live and tape-based content. For media asset management,

MassStore version 8.0’s new user interface, support for unstructured metadata, search engine enhancements and other updates are designed to make it faster and easier to store, find, reuse, move

and manage content and related information. Its news software lets users archive, access, use and share content across multiple locations, directly from within newsroom system interfaces including Associated Press ENPS, Avid iNEWS, Octopus Newsroom and

Ross Inception. For 4K workflows, Masstech is showing scalable content storage management that supports storage options from disk drive based storage to Sony Optical Disc Archive and LTO data tape libraries. 7.K28

News release The PT3170 DAB/ DAB+/T-DMB/T2 Lite modulator is displayed on ProTelevision Technologies booth at IBC2015 Hall 8.C48

ProTelevision Technologies announces the launch of the DAB/DAB+/T-DMB/ T2 Lite modulator

Open API offers management ﬂexibility MediaGenix

By Will Strauss

Broadcasters will be able to configure the bidirectional data interface on MediaGenix’s broadcast management system Whats’On following the release of an open API. The move will make all data in Whats’On available to external third-party systems, and allow external partners to input information. The company says that the benefits will include, for example, the ability to enter cue sheet information without retyping. Instead, a specific form could be created that is filled in by a production company and then imported. Equally, broadcasters could create a specific web application that allows production companies or distributors to deliver information directly into the system. Also at IBC, MediaGenix has announced the opening of an office in Singapore and another in Thailand to serve growing demand in the Asia Pacific territory. The two offices will together form MediaGenix Pte. which will serve as an account management and implementation base.

ProTelevision Technologies, market leader in design and manufacture of best in class TV modulators, is proud to announce the product launch for their DAB/DAB+/T-DMB modulator dedicated to Digital Radio Networks and upgradable to T2 Lite Radio and DVB-T/T2 standards The ProTelevision DAB modulator is characterized by its high RF and MER performance and its unique ability to optimize the performance of any third power ampliﬁer being utilized with the modulator

Key features · Cost efftective · OptiPower: Optimizing transmitter eﬃciency · Ease of integration

ProTelevision Technologies highly advanced adaptive pre-correction technology, achieves substantial increase in transmitter power eﬃciency, reducing power consumption and consequently, a reduction in OPEX cost for the Digital Radio Broadcasters

· MER typical >42dB

The DAB/DAB+/T-DMB modulation core has been developed by ProTelevision on the same world recognized hardware platform PT3000, utilized for digital TV standards. Therefore with a simple software upgrade the modulator can be reconﬁgured into any Digital TV or radio standards developed by ProTelevision such as DVB-T/T2 or T2 Lite

· Seamless switching

· 2 x ETI Inputs · 2 x EDI Gigabit Inputs · Built In GPS & GLONASS · Advanced digital pre-correction · SFN and MFN Operation

This software ﬂexibility, also means that all the generic features developed for the TV standards, can be installed at the DAB/DAB+/T-DMB modulator, such as OptiPower, the most advanced state of the art non-linear signal processing technology capable of enhancing the overall eﬃciency of any DAB/DAB+/T-DMB transmitter

· User friendly web GUI · SNMP Client Get/SET/trap · Supplied as OEM Board or 1U Rack Version

The DAB/DAB+/T-DMB features redundant ETI (G703/G704) inputs, two EDI Ethernet Gigabit IP ports providing seamless switching of data inputs and two TCP/IP control ports. Advanced monitoring ETI and EDI stream check, time stamp error and deviation, Support for SFN with absolute timestamps over EDI. Integrated multi standard Global Navigation Satellite System (GNSS) receiver supporting both GPS and GLONASS satellites

About ProTelevision Technologies: ProTelevision Technologies, formerly Philips TV Test Equipment, has more than 50 years of experience and is represented in more than 60 countries around the world. With more than 25.000 units in operation worldwide. We are dedicated to provide our customers with superior cutting edge hardware and software solutions for OFDM modulation. Our professional and dedicated team provides our customers high skilled sales and technical support, service, support and in-house or on-site training. We bring value to your Digital Radio network systems.

ProTelevision Technologies A/S · Valhoejs Alle 176 · DK-2610 Roedovre · Denmark Phone +45 4470 0000 · protelevision.com · sales@protelevision.com

3.C59

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OPINION

Connected Homes 2.0: user experience revolution The revolution will be televised says Stefan Drouzas, senior engineer, Toshiba Electronics Europe The world of television entertainment has been rocked to the core by the increasing trend towards cutting the cord – be that satellite, cable or over-theair television – and replacing them (sometimes augmenting) with internet TV (IPTV) solutions. The trend is perhaps most pronounced amongst US Millennials a segment where half the group have already gone cable-free. Cable and satellite providers are mobilising quickly to revamp their offers so they stay relevant and maintain market position through hybrid offers that span multiple delivery channels. But

it is not just the route we access entertainment content that is changing, the way we consume it is too. Instead of simply interacting with one large screen, today’s viewers often have a second or third screen to hand, be that a smartphone, tablet or laptop. And this leads to more interactive experiences, with viewers not only interacting with each other through social media during TV shows and sports events, but also live TV shows routinely interacting with viewers through social media and dedicated voting platforms directly influencing the outcome of some shows. It also leads to

CANFORD

viewers wanting consistent and high quality user experiences across all platforms. But delivering consistent user experiences across multiple platforms is a real challenge. To help overcome this, Toshiba has developed differentiated silicon chips such as its ApP Lite TZ5000 SoC Application Processor for IPTV clients, that integrates state of the art Wi-Fi connectivity and 4GB of NAND Flash to enable powerful, small and efficient devices to be designed. To aid designers to adopt the latest technologies, Toshiba provides a range of reference designs and development

systems that merge hardware and software into seamless designs that can be packaged and ‘skinned’ by customers however suits them best. The devices provide native support for content protection and DRM technologies to ensure content assets are managed well. HEVC will become the standard codec not only for 4K/ UHD but will also help reduce bandwidth requirements for full-HD video streaming. As technology and content moves to 4K/UHD or even beyond, the ability to support the streaming of these ultra high-resolution video formats without crippling internal and external networks will be of paramount importance. But the disruption doesn’t stop in the living room – consumers are demanding information from increasing numbers of devices, be that smartphones, tablets, laptops, gaming boxes or wearables

and smartwatches. To deliver a unified connected experience the consumer will enjoy, an ecosystem comprising fast and efficient devices, user-friendly software and fast network access is needed. If just one of these pillars is below standard, the entire user experience can be ruined. With multiple family members accessing multiple appliances with multiple devices, the volume of data being stored, shared and streamed will continue to increase exponentially. Come visit Toshiba at IBC in Hall 6 to discuss how our commitment to innovation can help make the truly connected home a reality. 6.C23

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Media Navigator MAM launch Custom build an OLED EVF Sony Zacuto By Adrian Pennington By David Fox

Affordable, scalable and flexible are the words used to differentiate Media Navigator from the rest of the crowded media asset management pack. It’s a new software product just announced by Sony and available this month. Adam Fry, deputy vice president, Sony Professional, said, “Unlike other asset management systems currently in the market, Media Navigator does not require a deep technical knowledge for operation of the platform or the creation of workflows. Media Navigator allows customers to adapt the platform for their specific needs, be it a one-man operation or enterprise level company.” Admitting that the market is highly competitive, Fry added that Sony has studied the market and would not have launched into it if it did not believe it had a technology that would add value.

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Media Navigator: compatible with cloud platform Ci

Media Navigator is in fact drawn from the company’s existing Media Backbone Navigator, which is the content management option for Sony’s Media Backbone Conductor workflow platform. Like that option it will work with a range of popular non-linear editors and be integrated with any storage platform, not just Sony’s Memnon or ODA offerings. One differentiator is a strong compatibility with cloud platform Ci for content sharing, review and approval content and with Sony’s Catalyst suite of media preparation tools. It is 4K ready with internal encoding and

decoding features, reducing the need for external transcoders. Niall Duffy, who joined Sony Europe this year to head up its IT and workflow solutions, said, “Based on our research we know that small to mid-level production companies are often managing their media back-up on portable hard drives and using Excel as their database. This often results in displaced or lost files. Content is your most valuable asset, and now Sony is offering a truly affordable and reliable solution, that adapts to the way you work, to keep your assets safe and secure.”

There can be a lot of features in a fully loaded add-on electronic viewfinder, but if you only need a few of them, the customisable Gratical X Micro-OLED EVF from Zacuto may be a more cost-effective option. It uses the same bright 5.4-million pixel (1280x1024) micro-OLED display, high quality optics with built-in diopter, and FPGA dual core processor as Zacuto’s flagship Gratical HD, but users can select just those features they need from a software menu. The Gratical X, which recently started shipping, costs little over half the price of the HD and comes with HDMI and SDI inputs, eight programmable function buttons, display

calibration, and test pattern (colour bars and Macbeth), but users can buy additional features, such as: pixel-to-pixel zoom; false colour; full scopes; audio meters; LUTs; zebras; frame store; HDMI and SDI outputs and cross conversion. Steve Weiss, product designer for Zacuto, explained, “If you are a shooter that only uses a couple of features like a focusing tool, exposure tool and a couple of others, then the Gratical X is the way to go. But, if you start purchasing more than five features, then the Gratical HD is totally your best value.” 11.G64

Feature picked: Zacuto’s new customisable Gratical X Micro-OLED EVF

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Instream ‘pushes the envelope’ Platform update boosts appeal Vimond

General Dynamics Middleware

By Anne Morris By Ian McMurray

A HEVC-ready, ad insertion platform is the IBC focus for General Dynamics Mediaware, which specialises in compressed domain digital television technologies. On show is InStream Splice, a unified end-to-end multichannel linear TV channel ad insertion and playout software application for digital television, cable, satellite and IP networks. It inserts ads, bugs and logos, acts as a video switcher and server, and supports emergency alert systems. The company said it is capable of frame accurately splicing at all resolutions up to Ultra HD 4K, thereby reducing the operational costs involved in the launch of new and localised HEVC services. According to the company, InStream pushes the envelope

InStream Splice is an end-to-end ad insertion and playout software application

of what broadcasters can achieve when rapidly deploying additional localised channels. InStream can be used with any combination of resolutions, across the spectrum of satellite, terrestrial, cable and IP television. Among the advantages claimed for InStream Splice is that it enables a new insertion paradigm – one where service costs and break-even points are lower than for traditional baseband ad insertion solutions. Compared to the standard baseband practice of duplicating systems, General Dynamics Mediaware says that a single InStream Splice platform can support 20 HD channels or 40

SD channels at a lower cost. The company also said that InStream Splice processes video in the compressed domain, which means it can encode and distribute content in its broadcast profile. This should allow broadcasters to optimise their bandwidth, while reducing baseband infrastructure and storage costs. Demonstrations on the stand also include the regional debut of the Mediaware Technology Matrix. Matrix enables operators to unite Mediaware’s realtime stream processing technologies in a modular, scalable chassis to deliver high quality video over ASI and IP. 5.A26

SF Anytime implements eSuite MPP Global By Anne Morris

During IBC2015, MPP Global is demonstrating how SF Anytime implemented eSuite, the fully integrated identity management, CRM and e-commerce platform designed for the media and entertainment industry. Owned by the Bonnier Media Group, the SF Anytime streaming service offers customers across Sweden, Denmark, Finland and Norway access to a range of content, primarily movies, on a TVoD basis with SVoD becoming available in the near future. The solution was launched in partnership with Valtech, formerly called Neon Stingray. With eSuite implemented out of the box, SF Anytime has access to a range of features and functionality to best extract the maximum value from their

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digital content while offering an improved customer experience. eSuite will be used to incentivise, reward, retain and win-back custom, leveraging a powerful marketing and promotions module. Over the course of the show, MPP Global said it is highlighting how more

content owners across the industry have launched a whole host of digital services supported by eSuite. The company will also illustrate how eSuite has successfully worked for industry leaders, in particular innovations with Sky’s premier OTT service, NOW TV.

Version 1.8 of the Vimond Platform for online video services is being launched, with new features designed to enhance capabilities for largescale multi-language regional operation. Together with extended language support and multilingual versioning workflow, version 1.8 includes the ability to populate multiple sites from the same content store, to target differentiated audiences. Version 1.8’s new multitenancy capabilities allow Vimond Platform operators to use a single installation to power online video services for multiple clients, with secure separation between content and administration for each client. Vimond Platform’s API facilitates any level of integration with the operator’s management system for multi-tenancy scenarios. For increased robustness, version 1.8 offers easy integration of multiple CDNs into primary and fallback

configurations. For content aggregation, the Vimond Platform now includes support for multi-publishing, enabling individual content contributors to curate their own content. A Flagging feature lets viewers notify multi-contributor Vimond Platform operators in case of sub-standard content. Miguel Silva, EVP for marketing and sales at Vimond, said the new features were designed to meet customer demand for a more extensive toolset with ‘great potential for growing OTT businesses’. The Vimond Platform provides a comprehensive environment for managing and delivering multi-format, over-the-top (OTT) services, with full facilities for all creative, logistical, and business aspects of the operation, said the company. It offers a modular architecture, with tools and controls to address every aspect of an OTT service, from ingest and encoding, through conditional access to business intelligence reporting, said Vimond 14.E26

Speaking your language: the update to the Vimond Platform enhances multi-lingual capabilities

14.K01

Shortening time-to-market Netgem By Ian McMurray

IBC is the venue for Netgem to demonstrate how strongly it believes its #TelcoTV platform and latest innovations enable operators to shorten timeto-market. The company claimed it can allow operators to add new revenue streams, reduce operational costs and most importantly, satisfy their end-users’ needs with

a personalised viewing experience, leading to greater loyalty and increased ARPU. Having recently announced the addition of Netflix in the list of services provided by the Netgem TV platform, Netgem also demonstrated how one of its major customers in the United Kingdom has successfully launched what the company said was the most advanced set of personalised and enhanced multiscreen features. Joseph Haddad, CEO,

Netgem said, “With the recent addition of Netflix in our list of services, together with other major OTT brands such as BBC, YouTube or Now TV, we are making #TelcoTV the new indispensable service to provide to end-users. Our strategy is to become the video entertainment services provider of choice to fixed and mobile operators and content owners around the world.” The demos presented on the booth show what Netgem described as ‘best-in-class’

Haddad: “Our strategy is to become the video entertainment services provider of choice”

social TV features within its 4K-optimised UI, with unique features such as content ‘flick’ and ‘fetch’ from one screen to another. 5.B44

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OPINION

Quick Start Guides for broadcast Our equipment comes with full instructions and lots of helpful resources so please use it, pleads Ian Prowse, director, Vortex Communications We’ve got a new oven – and it’s a steam oven! How on earth were we persuaded after 31 years of using our faithful fan oven is hard to fathom but there it is. We had heard here-and-there that steam cooking is better/ healthier/more economical/and so on and so forth; it is pyrolytic too and not that much more than the standard model – so why not? In it went, looking much like the old one and for weeks, it did what the old one did – maybe keeping us better informed about how long it has been switched on and just how its temperature is doing. It has three knobs instead of two which pop-out when you push them – but basically it works – and

works very well. So far though – no steam – and no clue as to how to do it and why and with what. The manual is in 40 languages with the first 30 pages covering safe operation but on page 56 is a short paragraph about the ‘third knob’ which when you push it in, pops out to reveal a water funnel. Other secrets are revealed – you can plug in a special temperature probe inside the oven and there is a pipe that connects inside somehow to distribute the steam – but nothing actually about cooking. The only other clue we see is a reference web link which when carefully entered into the browser takes you to YouTube

where the real secrets start to be revealed. Then we notice the square pattern beside the Steam paragraph and scanning this QR codec downloads the ‘steam cooking’ app onto both Android and iPhones with descriptions, examples and recipes demonstrated step-by-step. Now, as they say, we are cooking with gas. So what has this to do with IBC and broadcast? Looking back at our own products, when we began back in the 1980s we would always include a manual about what the thing did, how it worked and how to use it – often with sufficient information to fully adjust (even re-build) the entire

piece of equipment. The manual was a significant part of the product and took time, effort and not-inconsiderable expense to produce. Then as time moved on and there were fewer maintainable parts, the technical part of the book became smaller and the book became more an ‘Operations Manual’ but still with sufficient information to fully understand and work the device. Along came the CD and as we prided ourselves on intuitive operation and that a ‘Quick Start Guide’ would be sufficient, this became the norm with the full Operations manual – now in a distributable electronic format – sent out on CD in the box, and now downloadable from the net. Of course we provide other resources – YouTube demonstrations, operational tips and so on, probably more information than ever before – but after the ‘steam oven’

experience I wonder how many customers realise this. So our mission hereafter is that the statutory information does not become the main part of our Quick Start Guides and that these provide sufficient clues to make things do more than just work. And having gone to the lengths of providing all the other resources and software tools, that we make them easier to track down – and that we keep them up-to-date. And for the user, to get the best out of the kit, please be aware that there is much more stuff than in the quick start guide; we’ve gone to a lot of trouble to produce it, so please use it! 11.G11

Don’t let pirates run rampant Protect your media assets NexGuard, a Civolution Company, is the leader in forensic watermarking technology. NexGuard’s solutions are used worldwide every day to protect operators against illicit redistribution of premium content. To ﬁnd out more, please meet us at IBC, booth 2.B41, September 11-15 (contact us for a complementary ticket), or visit our website: www.nexguard.com

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Portable RTM 3G on show Video Clarity

#IBCShow

Hybrid IP on call JK Audio

By Will Strauss By David Fox

A smaller, rack-mountable version of the RTM 3G realtime monitoring device is on show at IBC. The RTM 3G Portable is a 2RU version of the Video Clarity product that, like the original, can be used to scrutinise the quality of live and pre-recorded 3Gbps content and detect subtle or intermittent errors To make it smaller and improve reliability, the Portable incorporates SSD technology. Using it, engineers can test the quality of any delivered service they deploy from either a broadcast interface or an IP network. One of the key features of RTM 3G is DMOS, a fullresolution, full-reference-quality human perceptual measurement that is performed in real time. It

Mini monitor: The RTM 3G Portable incorporates SSD technology to make it smaller

allows users to view a channel’s quality without the complexity of setting up one or more recordings first. When video or audio runs outside of pre-set quality measurement thresholds, RTM 3G will automatically record the unacceptable clips and log the quality scores. Also on show at IBC is Video Clarity’s newly engineered RTM Manager, the central management appliance for the RTM monitoring products. The updated version has a redesigned interface, is quicker and now includes operational scheduling functions.

In addition, a new Server option within RTM Manager replaces the FTP function and takes the load off of the network in order to make the application faster and easier to expand. Blake Homan, president and founder of Video Clarity, said, “We’re passionate about making broadcasters’ jobs easier, and that passion will be our focus at IBC this year. Our testing products generate invaluable data, so we’ll show how our new log-graphing tools put that data into visual context – making it easier to use it to its greatest potential.” 2.C57

The new AutoHybrid-IP2 dual VoIP/AoIP Codec from JK Audio is being touted as a reliable cost-effective solution for IP contributions. Costing less than £800, it should offer a smooth transition from POTS to IP, as it can work both with traditional phone networks and IP, and is an ideal partner for CallMe, Vortex’s browser audio codec (which Vortex is bundling with it as an introductory offer). The desktop/half-rack design provides one button access to the common features of a phone line hybrid, including call control, auto-answer and conference. Advanced call control features and VoIP line setup are provided through an internal web server, which allows the setup of SIP

accounts, call monitoring and management. In VoIP mode, line-level XLR jacks provide mono send and receive audio for lines one and two. It also functions as a 24-bit Audio over IP Codec, for mono or stereo, narrow to wide-band audio. Initial codec options include the OPUS algorithm running at sampling rates up to 48kHz stereo. It supports SIP and RTP for call management and comes with a variety of codecs. In AoIP mode, the XLRs provide stereo send and receive audio, allowing connections to many IP-based devices and conference of the two callers plus host. It has a low-voltage DC input and is also compatible with Power over Ethernet – and several units can be connected to one PoE data switch without problem because of its low consumption. 11.G11

Antenna upscales Guam Radio Jampro

By Mark Hallinger

KZGZ radio, known regionally as Power 98 FM Top 40 radio, along with its sister stations KGUM and KPXP, recently got a major upgrade when parent company Sorensen Pacific Broadcasting changed its Jampro Antennas from a twofrequency system to a threefrequency system. The upgrade, which involved the purchase and installation of Jampro’s JSWB high-power, super broadband FM antenna, now allows the station to broadcast three frequencies, ultimately extending its reach to listeners throughout Guam. The Jampro JSWB broadband FM side mount antenna is designed for multiple frequency broadcast applications that require moderate to high power capability. Each element is fabricated with high strength thick wall brass and copper. Capable of handling 10 kW

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to 100 kW, the JSWB is one of the highest power broadband side mount FM antennas available on a single frequency, said Jampro. The JSWB is a circularly polarised antenna ideally suited for HD Radio digital broadcasting simultaneously with the user’s analogue signal. Alex M. Perchevitch, president, Jampro, said, “Jampro has been working with Sorensen Pacific Broadcasting for a number of years and we were ready

to help its stations upgrade as soon as they said the word. The antenna – which is 0.8RFR lambda to minimise downward radiation – was customised to meet the customer’s requirements. Jampro also delivered an RCCS three-frequency Starpoint Combiner, transmission line, and Proline Rigid Line and accessories. I am very happy to report that Sorensen says the new antenna and support gear has exceeded expectations.”

More frequency: The JSWB super broadband FM extends KZGZ’s reach throughout Guam

Phone in: JK Audio’s new AutoHybrid-IP2 dual-channel VoIP/AoIP interface

Iris aims to Inspire Mirada

By Ian McMurray

Celebrating its 15th birthday at IBC, Mirada has launched a new product, service and new image. IBC2015 marks the first appearance of the company’s new corporate identity. It is also presenting the newest release of its Iris end-to-end multiscreen solution and OTT platform. Mirada’s newest release of Iris is, it claimed, more than a TV Everywhere solution. It described it as an ‘innovative concept of content discovery’ with features such as virtual channels, a personal weekly planner, and moods magazines.

Inspired viewing: the new version of Iris, with its personalised UI, is being showcased at IBC

Designed with a user-centric approach, Iris includes the Inspire user interface which offers, among other things, personalised recommendations, remote recording and a smart search engine. Its primary aim was to highlight and promote an operator’s rich content library. Iris is based on a modular architecture; all of its components, including OTT apps and back-end Iris Service Delivery Platform, were developed to work independently. 4.C50

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7-inch on-board monitor sees the light of day

Nice view: SmallHD’s new 702 monitor has both HDMI and SDI I/O

SmallHD

ONE NAME. ONE COMPANY. WORLDWIDE.

By David Fox

A new series of daylightviewable 7-inch full HD onboard monitors has been unveiled by SmallHD. Based on a new cost-effective platform, the 700 Series monitors come in a very slim, lightweight form factor and promise to provide an accurate 1080p display of focus, exposure, colour rendition and framing, even in broad daylight. The 323 pixels-per-inch, 1920x1200 display boasts 1000 NITs of brightness plus a bonded glass protector with an anti-reflective coating, offering improved contrast. Its aluminium housing and an optional acrylic screen protector are designed to survive harsh shooting environments. Features include 3D LUT video output to downstream devices, built-in dualpurpose battery slots than can hold either Canon LP-E6 or Sony L-Series batteries, as well as AC adapter or P-Tap power inputs. Custom 3D lookup tables can be imported via the monitor’s SD card slot, which also allows importing JPEG images of background plates to be overlaid with live video to help match angles. Various exposure and focus assist features (such as waveform, RGB parade, peaking, HDMI/SDI signal conversion, and image capture) are accessible via a convenient joystick and back button. For less than $1500, the 701 has HDMI I/O, while the 702 has both HDMI and SDI I/O and provides cross conversion between its inputs and outputs.

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OPINION

Laying the groundwork for IP By using cloud technologies to easily create new channels, linear TV broadcasters can fight the onslaught of streaming and VoD argues Gatis Gailis, CTO, Veset That streaming and video on demand will soon sound the death knell for traditional TV has been repeated over and over in recent years. While younger generations do indeed consume most of their content on portable devices, the appeal of linear TV is far from disappearing. In fact, it is linear TV that still drives much of the content discovery for online consumption and remains the go to place for a core, high quality TV experience, especially in emerging markets. So rather than predict a world where video

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on demand usurps TV, we are likely to see a convergence between the different forms of video content delivery that will allow for broader monetisation opportunities for content owners. Similarly, we have heard much about IP and cloud technologies bringing about a revolution in content production, broadcast infrastructure and distribution. Although a few forward thinking broadcasters are already transitioning to IPbased workflows, the move to the cloud has not occurred in a large portion of the media industry.

Leveraging the agility and cost efficiency that enabled IP and VoD platforms to get a stronghold in the industry, our clients, the linear TV broadcasters, can now use these very same technologies to their advantage. By using cloud technologies to easily create new channels that cater to larger and more diverse audiences linear TV broadcasters can fight the onslaught of streaming and VoD mediums. As global sales of Ultra HD TV sets attain a critical mass, there is less skepticism about the formatâ&#x20AC;&#x2122;s ability to

become a new standard. We see our clients producing 4K content and looking for ways to monetise that content. Adoption of Ultra HD will inevitably bring substantial opportunities for new workflow automation and IP-based solutions, which will inevitably be at the heart of this new wave of TV technology. As Ultra HD becomes the norm, the need for storage and bandwidth will increase and in turn drive the transition to IP and cloud based workflows. New entrants such as telcos and assorted cloud and related software providers that can offer flexible commercial and service models will drive the change into worlds of 4K and 8K. It will certainly be a time to watch the tides slowly turn at IBC this year as the

media industry prepares and braces with self for all things internet. It is a time to take stock of where we are visĂ -vis the previous years and chart out a roadmap to the future. While we might be a few years away from realising a fully IP-driven world, we are at the crucial stage of laying the groundwork at IBC2015. Veset pioneers a true cloudbased software solution for linear TV broadcasters and we are confident that this IBC we will come away with a few more converts to the cloud. 8.A21

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Simplifying studio automation control Display prowess increased four-fold

Telemetrics

LYNX Technik

By David Fox

The new RCCPO-1-STS controller with studio software provides a flexible architecture for studio automation, said Telemetrics. The company added it was designed for ease of use: joysticks control the pan/tilt/zoom, with dedicated knobs for focus, iris, and master black, plus six dynamic camera control knobs, and six LCD and 16 dual coloured keys. There is an integrated 5.6-inch touchscreen, plus an external 22inch widescreen touchscreen, and Ethernet connectivity. The studio software provides unlimited shots/shows/cameras and can support multiple control panels across numerous studios. Access to cameras is instantaneous, enabling the ability to pick up where the last controller left off. The RCCPO-1-STS has direct camera control, eliminating the need for an external camera shader.

By Mark Hallinger

Touch and go: Telemetricsâ&#x20AC;&#x2122; new RCCPO-1-STS controller with studio software

Also new is Telemetricsâ&#x20AC;&#x2122; RCCPO-1 LGS robotic camera control panel software, which is ideal for legislatures and other government bodies. It provides unified remote control for robotic camera pan/tilt/ zoom/elevator/trolley and includes camera shading, interface to the legislative conference microphone system, a production switcher and character generator. The

touchscreen can display a seating chart and enable up to 16 cameras to automatically pan, tilt, and zoom to active speakers. APTS is Telemetricsâ&#x20AC;&#x2122; new automated presenter tracking system based on magnetic field telemetry and computerised tracking. This allows simultaneous multiple-camera tracking of one or several presenters.

monitor multiple SDI signals, said the company. Each SDI input has several configurable overlays available, including waveform monitor and vectorscope, 16 character IMD (text ID), 4, 8 or full 16 channel audio metering and centre cross markers. All controls are located on the quad-split itself, and module settings are configured on the HDMI output using a rotary control and on-screen menu. The PMV 1841 is also yelloGUI compatible, allowing for remote configuration.

The new SDI Quad-Split yellobrik is being introduced. This new yellobrik (model PMV 1841) is a compact, portable processor that supports the display of four 3G/HD/SDI-SDI inputs on a single HDMI display. In addition to its quad-split capabilities, this new unit includes an integrated 4K downconverter, for applications that require 4K (12G, quad-link) HDMI monitoring. Lynx said this 8.C70 product is ideal for monitoring multiple 3G, HD, and SD-SDI feeds as well as 4K monitoring. When coupled with an HDMI monitor, it provides an affordable way to Four square: All controls are located on the quad-split display display, view, and

11.C21

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Addressing fan demand with digital delivery Levels Beyond

By Adrian Pennington

The volume of sports videos has exploded over the last decade. Leagues and teams are expected to deliver packaged highlights to mobile phones and tablets while enhancing on-site experiences in realtime and expanding the delivery and components of live events. The Levels Beyond solution, on show at IBC, is a content platform that serves as a single hub to manage and deliver sports content anywhere. Art Raymond, CEO, Levels Beyond, said, “The sports video market has

changed forever as fans demand more and more content on a variety of platforms. This puts pressure on content owners and their distribution partners for more and deeper programming on branded applications like mobile and tablets and television networks.” Users are performing their own title and metadata searches to find the content they want and can create their own clips, browse video and export that content. “Fans want to interact with leagues and teams and athletes online, at a live event, and after the live event on their personal devices,” he added. The company says its Reach Engine addresses this for sports rights owners and live event producers. 13.MS38

LED Celebs go wireless Kino Flo Lighting Systems By David Fox

The Celeb 201, 401 and 401Q now have a built-in Lumen Radio DMX wireless link. They also boast new colour temperature presets and programmable 2700K to 6500K colour control. The LED lights’ high output soft white light doesn’t flicker or shift colour temperature when dimmed, and light levels don’t change when selecting Kelvin settings.

The universal power input fixtures come complete with moulded accessory holders, removable gel frame, focusing louver and are available with centre mounts for the 201 and 401 versions, and in a yoke mount and pole-op version for all three fixtures. Kino Flo’s fluorescent lights have also been improved, including the new Image 87 and 47, the new Imara S100 and S60, and the new ParaZip 415 and 215 fixtures, all with power factor correction and universal power input. 11.E33

Radio stars: Kino Flo adds wireless control to Celeb range

Setting time for production IPE Products By Heather McLean

The IDS Production Timer, which forms part of IPE Products’ centralised IPbased information and control system, is being showcased at IBC. It provides users with a familiar interface including all the traditional Up, Down and To functionality, enhanced by a progression

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of displays to make the operation more intuitive. It does all of this using a single ergonomic desktop touchscreen, which reduces the footprint on technical desks and stacks. By implementing a touchscreen instead of separate controller hardware, operating an IDS Production Timer is faster and more intuitive than other designs, claimed the company. 9.D18

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OPINION

Breakthroughs in video transport Race toward high-resolution formats is driving extreme transfer performance and processing power, outlines Michelle Munson, CEO and co-founder Aspera, an IBM company Today’s broadcast and media industries are undergoing rapid, yet fundamental transformations. These are driven by the demand for global inter-networked content supply chains, the rise in large digital data due to ultra-high resolution formats, and the gargantuan volume of data that needs to be analysed to constantly create and deliver improved viewer experiences. In a nutshell, there is an explosion in volume and quality. Media companies urgently need to deploy solutions that allow them to quickly exploit the most cost-effective, profitable and secure placement of their content on a global scale. These fundamental changes are made possible by the growth in commodity internet connectivity and the wide availability of vast, cost-

effective cloud infrastructure. However they also require flexible, easy-to-deploy, scalable software innovations to facilitate fast, efficient workflows and satisfy viewer demand for live content on any device. Live and near-live streaming of broadcast-quality video content over IP networks with low start-up delays and glitch-free experiences has traditionally required expensive, specially provisioned infrastructure: live satellite feeds from the streaming source or dedicated terrestrial networks with high quality of service to ensure low latency and packet loss to maintain high playout quality. At both ends of the spectrum — broadcast-quality ingest and remote playout, and consumer web streaming — media companies pay a heavy

premium to minimise network round-trip time and packet loss. The ability to deliver high-resolution video over commodity internet is an industry breakthrough. It’s not just a fast and secure path for delivering high-quality content to viewers. It’s a way to collect and process a live data stream in highly scalable cloud computing and clustered file systems from ‘any’ location, enabling realtime data processing such as simultaneous, live transcoding for immediate delivery to multiple viewing platforms. As media companies create more high-resolution content with shorter turnaround times, high-frequency content sharing across organisations is critical. Yet to date, media companies have had to build their own piecemeal solutions

Latest HCS4 satcom controller demonstrated Hiltron Communications By Ian McMurray

The latest version of its satellite communications controller is being showcased at IBC by Hiltron Communications. The company is demonstrating the HCS4 (Hiltron Control System

version 4) which provides a range of facilities including easy switchover between main and backup devices such as downconverters, highpower amplifiers, waveguide switching systems, MPEG digital video broadcast encoders/ modulators and integrated receiver/decoders. The HCS4

can also be used to power, control and monitor optical-fibre transceivers. The controller is housed in a 2 rack-unit high 19-inch chassis which can be equipped with dual AC or DC power supplies for redundant protection. The HCS4 can be operated locally via a front-panel touch-sensitive

Universal Diva-Lite makes early entrance Kino Flo Lighting Systems By David Fox

The new Diva-Lite 415 Universal has started shipping ahead of schedule after sales of the company’s popular Diva-Lite 400 and 401 models

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sold out earlier than expected in August. The lighter weight 415 replaces both the 400 Universal and the nonuniversal 401, and comes with newly designed electronics to operate worldwide on 100v to 240v AC. Like the previous model, the portable

softlight features 100-5% dimming and four-lamp/twolamp switching. It uses 55W compact fluorescent lamps that run cool and flicker-free, and is energy efficient at only 1.4A on 120v AC, .8A on 230v AC. The Diva-Lite 415 Universal comes with removable gel

to the file exchange problem, including managing their own file exchange software on their own cloud and onpremise systems. This results in constant struggles to increase transfer throughput and storage capacity to meet user needs, to support ever larger formats even within the cloud, to achieve security within and between media organisations, and to keep up with the demands of shrinking production cycles. Aspera Files is a single software-as-a-service offering that allows any media organisation of any size to establish a branded web-based presence for fast, easy and secure exchange of file-based

LCD display, or remotely. Two communication card modules (type HCS3:PSC) housed in slots A1 and A13 each provide a RS422 serial interface for remote control. Alternatively, slot A1 can be equipped with a network interface card module (type HCS3.PSN) providing both an Ethernet interface and a serial interface. The remaining 11 interface connection slots (A2 to A12) can be equipped with different

frame and 90° honeycomb louver. A 60° honeycomb louver is available as an accessory. The fixture will be available in single and double fixture kits. The companion Diva-Lite 201, a compact ENG version of the Diva-Lite 400 series, continues as a 120v AC or 230v AC power product line. 11.E33

media content between end users. Content can be stored and accessed in multiple cloud and on-premise storage systems. Next-generation file transport technologies are now capable of performing single-stream WAN transfers at well over 60 Gbps, and transferring very large sets of small objects and files at the rate of one million items per minute. Looking to the next two to five years, we’ll continue to see performance gains in single transfer speeds, per file processing, and architecture to serve the Terabit-per-second and Exabyte workflows that media industries will no doubt require. 7.B27

hot-pluggable card modules such as switch cards and I/O cards, which are programmable. They include monitoring, control and power supply for fibre optic modules; fibre optic switchover systems; LNB redundancy systems for C band and Ku band; HPA redundancy systems; redundancy systems for DVB MPEG encoders/modulators/ IRDs; and other applications for monitoring and control. 4.B89

What a Diva: Kino Flo’s new portable softlight goes worldwide

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Socialising MAM and more Dalet Digital Media Systems

By Mark Hallinger

Enhancements to the Dalet Galaxy,

Brio and AmberFin platforms for media management, processing and I/O are being showcased in Hall 8 at IBC. Work orders are now integrated within Dalet Galaxy, rather than being contained in a third-party

system. By importing work orders into Galaxy, supervisors can now work directly within Dalet systems to see media progress. Dalet Galaxy will directly take this order and orchestrate all the manual and automated steps, reporting

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progress as it does so. Also new at IBC, Dalet Galaxy users can now publish directly to social media outlets such as Facebook and Twitter. Dalet is also developing and implementing a cross-platform standards-based strategy for facilitating captioning and subtitling workflows in Galaxy, Brio

and AmberFin. Additionally, when dealing with legacy or proprietary caption file formats, Dalet has developed a close partnership with Screen Subtitling Systems. Also new, Dalet AmberFin, combined with the new Dalet Workflow Engine, improves the orchestration of media workflows. 8.B77

deFlicker makes sportsnight ﬂicker free Seewald Solutions

By David Fox

Flicker is ubiquitous in night time recordings with highspeed cameras because the lighting systems in sports arenas flicker at high frequency, which shows up at higher frame rates. Seewald Solutions’ deFlicker system plugs directly into the broadcast workflow with HD-SDI input and output connections. It starts automatically and instantly deflickers input video in real time using default or previously stored settings. The default settings usually work well for a large variety of settings. Settings may be changed via on-screen display or on a separate monitor. The latest free update includes much improved deflicker quality for 1080i video and a low-motion-blur mode. It is now possible to deflicker high-speed video down to 150fps recording speed. 11.A48 High-speed helpers: 19-inch rack and tower versions of Seewald’s deFlicker

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Steadicam offers modular support Polecam By Heather McLean

Tiffen International is demonstrating the top of the

range M-1 Steadicam on the Polecam stand. The company claimed the M-1 is the strongest and most robust Steadicam so far. The â&#x20AC;&#x2DC;Mâ&#x20AC;&#x2122; stands for modular, allowing users to

start with the simplest post and upgrade to the full rig when it is required. The company said the G-70x Elastic Arm on the M-1 is highly durable, performance adjustable, and offered smooth operation with a 70lb lifting capacity and a 29inch boom range.

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Also on the Polecam stand is the Lowel PRO Power LED. It is a compact focusing model available in hi-CRI tungsten or daylight colour, with a wide fresnel 8:1 focus range. The Lowel PRO light is useful for on-the-go shooting and small location studio setups. 10.C49

RAI Amsterdam Conference 10-14 September : Exhibition 11-15 September

The IBC2015 Big Screen Experience The IBC Big Screen Experience is the ultimate showcase that explores the art, science and business of cinema and how current developments in these areas are defining cinema and the wider industry for the 21st century. The IBC Big Screen Experience is free for all IBC attendees and features an editorially led programme, technology demonstrations and complimentary screenings.

Sponsored Session- ACES: The problem solver for production, post and archiving

EDCF: Global update

HDR: From zero to infinity - part 1

HDR: From zero to infinity - part 2

IBC Big Screen Experience Keynote - Extending the Creative Palette: Vision from Pixar and ILM

HDR: From zero to infinity - part 3 Sponsored Session - ARRI: Complete solutions for breath-taking images IBC Big Screen Saturday Night Movie: Fantastic Four - Exclusively in Dolby Atmos and Christie 6P laser projections. Courtesy of 20th Century Fox.

Immersive Cinema: Picture Immersive Cinema: Sound Cinema 2020: Seeing the future business today IBC Big Screen Monday Night Movie: Inside Out Exclusively in near-Rec.2020 extended colour gamut, Christie 6P laser projection and Dolby Atmos. Courtesy of Christie, Dolby Labs, Harkness Screens, QSC & Disney Pixar.

Pole position: Garrett Brown, inventor of the Steadicam, with the Steadicam M-1

Multi-function video and audio processor on show at IBC Evertz

By Will Strauss

A product that can perform multiple processing, conversion and utility functions across SD, HD and 3G SDI signals has been introduced by Evertz. The 7815VPDA covers up/ down/cross conversion, frame synchronisation, video/audio processing, coaxial/optical signal distribution and streaming encoding. Darren Ward, senior product manager at Evertz, said, â&#x20AC;&#x153;In the past, multiple products would have been needed to perform all of the functions of the 7815VPDA. â&#x20AC;&#x153;By packing this much advanced functionality into a single module we reduce cost, power consumption and rack space requirements while vastly simplifying interwiring.â&#x20AC;? Frame synchronisation capabilities allow re-timing of signals while audio processing capabilities include stereo to 5.1 upmix, downmix, shuffling and Evertz IntelliGain audio loudness processing. An on-board adjustablebitrate MPEG2/H.264 encoder generates IP streams ideal for in-house IPTV and other monitoring applications. 3.C20

Space saver: The 7815VPDA reduces power consumption and racking requirements

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OPINION Passive entertainment for active people Thereâ&#x20AC;&#x2122;s a gap in the market to be filled with scheduled linear channels streamed via the internet says Josef Vasica, CEO, Provys In our daily endeavour to develop more and more sophisticated software for the broadcasters, we sometimes have to stop and think about the reality behind the scenes of our daily visible business landscape. I do not mean just forecasting the future needs of the media industry but rather recognising everyone who joins the industry food-chain, including all the masses of entertained consumers. Who else but Provys, or any other broadcast management system developer should know? I hear you ask. Oh yes, we control statistics evaluation; we gather and analyse all as-run-logs; outputs from people-meters and other

market research data. But are we able to recognise where the market is really heading? The IT industry has a clear answer: the TV industry is just at the end of its life; the younger generations do not use television sets any more; they watch recorded programmes when they want on their computers or handheld devices. The broadcasting industry still enjoys masses of viewers who want to be entertained in the original passive TV way, ie. by precisely scheduled programmes served to taste in accordance with the published menus. But there is a catch: modern broadcast technology allows the launch of

many more channels than ever before but the advertising revenues crumble into smaller and smaller pieces. So the broadcasters create more channels, and of course, holding a huge amount of content, they also wish to hit the tubeless people and compensate for the shrinking earnings by sharing incomes from the ever growing internet advertising sector. For a moment, letâ&#x20AC;&#x2122;s forget the older generation watching TV as the main source of home entertainment. Today, the computer-literate generations, including the youngsters, are much busier than their predecessors. They get home in the evenings

and for them, theoretically, an endless choice of entertainment is available, because the amount of content online today is unprecedentedly huge and is growing exponentially. But in all honesty, who from this active generation would schedule the evening sequence of videos while preparing dinner? The most usual requirement from these people would be to simply select a genre and get passively entertained. Or maybe, just to turn on some favourite audiovisual background to relieve the stress of the day. Our experience indicates that there is a clear gap in the market to be filled with a range of scheduled channels streamed via internet in a linear manner. This is why we have developed and launched a new cloud-based service named Stream-Circle for broadcasters or any other organisations that need to cast their media content or live video

enriched by graphics and social media messages into the internet, while keeping control over the content composition, timing, and delivery. Stream-Circle is a smart add-on to standard streaming and VoD services such as YouTube where the viewers have to actively search in order to play the content. The Stream-Circle service builds on top of this concept and gives users control over what will be presented and when to the viewers. It combines traditional linear broadcast planning (where we have strong expertise) with internet delivery at a very low cost. 2.B49

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DVI KVM extenders get face lift Guntermann & Drunck By Ian McMurray

Announced just before IBC are face-lifted versions of G&D’s DVI

KVM extenders, DVI-Vision-CAT and DVI-Vision-Fiber. The company said DVI interfaces are likely to be the standard for many applications for a long time, despite numerous new video formats - so G&D has

completely overhauled its systems. The basic functions of the extender series DVI-Vision-CAT and DVI-Vision-Fiber remain the same: depending on the existing infrastructure or the distance to be bridged, transmission is

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carried out using CAT cables or optical fibres (previously called FIBREVision), bridging distances up to 10,000 metres. G&D claimed the full video resolution is provided without any latency across the entire transmission distance. The new DVI-Vision extensions come with G&D’s premium monitoring system. The devices offer the possibility to use two network interfaces to communicate with the outside. This way, users are not only able to configure system parameters via the integrated web interface, but also read out the device status. To operate and configure the plug and play devices more easily, they now offer an onscreen display in addition to the new web interface. 1.B10

Updates to QC tools veriﬁed Venera Technologies By Carolyn Giardina

New enhancements to its flagship product, the Pulsar automated file-based QC system, are on show. This includes new audio/ video baseband checks such as 3:2 pulldown verification, flash frames detection, enhanced colour gamut detection and dual mono detection. Additional updates include DCP package verification and AS-02 support. Venera is also showing Pulsar PPU (Pay-Per-Use), which makes the functions of the QC system available as a software-as-a-service (SaaS) cloud system. 7.G43

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Vizrt changes the game for sports advertising

Viz Eclipse Virtual ad replacement technology At IBC 2015 Vizrt is previewing a new tool to replace field-side banner advertisements with virtual graphics. The technology utilizes Vizrtâ&#x20AC;&#x2122;s pioneering image-based tracking capability for digital ad insertion.

See the tech premiere of Viz Eclipse at booth 7.A20

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Multiview 3D from a chip New HMAM makes ﬁrst IBC appearance Disney Research Zurich

By Adrian Pennington

3D hasn’t died – it’s merely resting. Or at least waiting for the day decent quality glasses-free displays arrive. With a new approach to the problem, Disney’s Zurich R&D team has devised a hardware prototype which is able to convert stereoscopic 3D video into content appropriate for multiview autostereoscopic displays in real time. “Today, most commercially available 3D display systems require the viewers to wear some sort of shutter or polarisation glasses which is inconvenient,” explained the group’s digital circuit and systems expert Michael Schaffner. “On the other hand it is difficult to create content for multiview autostereo displays. Moreover, storage and transmission of HD content with more than two views is costly and even unfeasible in some cases. In order to bridge this content-display gap, so-called multiview synthesis (MVS) methods have been developed over the past couple of years, which are

Hiltron Communications By Ian McMurray

Put a SoC in it: Disney’s FPGA/ASIC chip

able to generate several virtual views from a small set of input views.” The Disney team devised a complete MVS pipeline, which is able to synthesise content for an eight-view full-HD display from full-HD stereo 3D input at 30fps. “Our hybrid FPGA/ASIC prototype is the first complete realtime system that is entirely implemented in hardware,” said Schaffner. The prototype uses a conversion concept

developed at Disney Research, which is based on image domain warping (IDW). This development paves the way for a completely integrated ‘system on a chip’ (SoC) for TVs and mobile devices where it would serve as a powerefficient hardware accelerator. “We estimate that our IP would consume less than 2W and occupy around 9mm2 of silicon area in 28nm CMOS technology,” added Schaffner. 8.F05

The latest version of the HMAM high-precision motorised satellite antenna mount is being showcased, designed for twoway VSAT communication or receive-only downlink applications. It can be used for a wide range of applications including broadcast and telecoms downlinks. The HMAM is being shown in compact form for up to 2.4m diameter dishes. Making its first exhibition appearance is a new motorised feedchanger which allows the head to be moved quickly to a new position for switching between two different frequency bands. The system comes complete with drives for azimuth and elevation plus a high-accuracy polarisation drive. The combined head and drive form a three-axis motorised system with 180 degrees of

azimuth adjustment, 90 degrees of elevation adjustment range and fully adjustable polarisation. The HMAM-IOT variant incorporates inclined-orbit tracking. To conserve guidance propellant, older satellites are allowed to drift further from their nominal target position than during their main service life. Operators therefore offer greatly reduced transponder capacity pricing. The HMAM-IOT’s tracking capabilities enable the antenna to follow these variations in position. 4.B89

The HMAM-IOT variant incorporates inclined-orbit tracking

Funbox opens in UHD SPI International

Plug in to broadcast compliance Eyeheight By Mark Hallinger

A major promotion of the BroadcastSafe compliance software for Adobe Premiere Pro, Apple Final Cut and Avid Media Composer has been announced. Fullfunction versions of all three plug-ins are downloadable from the Eyeheight website for free-of-charge evaluation until the end of September. BroadcastSafe is a complete plug-in legaliser, safe-area generator and graphic measurement toolset. It allows users to verify and conform content prior to submission to any file-based quality control

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system. BroadcastSafe can perform composite, RGB, RGB-plus-Y and simultaneous compositeplus-RGB legalising, all with user-adjustable soft clipping at high and low thresholds. Precise chroma-space conversion and accurate limiting ensure compliance while keeping the full gamut available for creative use. Editors can select from an

extensive range of presets, or work in custom mode which gives full access to 15 configurable parameters. Facility administrators can assign which built-in presets are available to users, create new presets or disable the custom option to ensure that only approved configurations are implemented. 8.B97

Test drive: Full-function versions of three new plug-ins are downloadable for evaluation

By Anne Morris

SPI International, a global pay-TV channel operator, is presenting its recently unveiled worldwide native 4K TV channel. A first for the company, the freeto-air demo version of the Funbox 4K UHD channel is broadcast from the Hot Bird satellite. Berk Uziyel, executive director for Filmbox International and SPI International Group, said, “The response has been overwhelming. We’ve been in serious talks with a number of platforms in the US, the UK, France and Russia but we are also working on several distribution agreements with potential partners in Indonesia, Portugal, Thailand, Latin America, Switzerland, Turkey and Canada.” FunBox 4K UHD is designed to enable viewers to experience more nuance and detail, faster frame

Cool customer: SPI said its 4K TV channels promise greater picture clarity for viewers

rates, contrast dynamics and extended colours. “We are becoming one of the largest native 4K/UHD content aggregator in the world,” Uziyel added. “In addition to wildlife documentaries, some of the eyepopping content on our channel also presents the San Francisco skyline, the amazing study of cloud movements and skylight as well as the UHD footage of Asian cities by night.” The full commercial version of the channel will debut this autumn as an encrypted offer for cable and IP headends in Germany and across Europe. 14.H09

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“Great, big product will succeed,” says AMC boss Conference Analysis

By Ann-Marie Corvin

Reports of cable’s death have been greatly exaggerated, but the theoretical challenges that have been facing pay-TV operators for decades are starting to take hold, according to AMC boss Bruce Tuchman. The president of the channel responsible for global TV hits Mad Men and The Walking Dead shared his concerns with chair and broadcaster Andrew Neil during the Keynote, ‘The Big Question: Is TV facing up to the Internet Era?’ “Consumers can now pay under

$10 a month for Netflix and binge watch their favourite TV shows, or $20 a month for a pay-TV channel where they might be watching the same thing. You can buy basic channels from Sling TV and supplement them with Netflix and HBO On Demand and you have replicated an expensive bundle at a smaller price.” Tuchman – also president of Sundance Global – argued that more quality TV in this environment “was the only solution. “People will pay for quality but not for bundling or packaging – no one wants to watch a bunch of mediocre programming but great, big product will succeed.” Yahoo’s head of partnerships

Tom Toumazis meanwhile saw the “collision course” between traditional media and 21st century digital tech as an opportunity for all players to “build on something better.” Toumazis indicated that The X-Factor creator Simon Cowell will launch his new format, The Ultimate DJ, exclusively on Yahoo in early 2016. “It will be a live, ad-funded format and we will use Tumblr (which Yahoo owns) for the voting by viewers,” says Toumazis. “We are connecting a TV format with digital and social interaction.” Next month Yahoo is also set to become the exclusive global broadcaster of an NFL

Rising Stars into The Heart of Hell Conference Preview

By George Jarrett

Scot Barbour, VP of production technology at Sony Pictures Entertainment, here at IBC to present the Rising Stars session ‘The Heart of Hell – Craft Skills’ (Sunday, 12:00-13:00 Topaz Lounge) sees a good future for content creation, but worries about the demise of mentoring. “You will still see the majors seeking talent with a professional level of understanding and use of traditional techniques, and at the same time see great success in talents who utilise less traditional techniques in emerging genres,” he said. ”The beauty is that talent will be able to cross the bridge between the two more readily

than ever before.” Going forward with new technologies, what will happen in terms of the engineer and artist? “There is an intersection once on the horizon that is now emerging in full view. Artists have always used technology to tell stories. Yet over time they desired to tell more and more complex stories, which initially led them to collaborate with others who could help share the burden of production by allowing each to focus on their own trade and create a more rich result,” he said. “From there it seems that artists and engineers alike spread out even further in order to seek the influence and collaboration of others like themselves,” he added. “Yet as technology advances and operations become easier for each the artist

and the engineer, they are once again merging back to the point from which they began. We just happen to be living in an amazing era to be able to witness it.” Barbour spent quality time with editors during his time at Apple in its FCP team. “There are a lot of tried and true techniques that are indeed fading away in a sense. Younger editors can be well versed in how to use the software to achieve results, but not versed in the aesthetics of editing creatively and collaboratively under pressure.” He sees similar issues with cinematography. “Some of the ability to ‘paint in light’ has gone away in the younger generation. It’s not to say that their work is bad, but that it might be more effective if some of the older techniques were employed. “

Encoding power Cubed Teradek By David Fox

The Cube 600 series is an update to Teradek’s flagship H.264 encoder, and now includes onboard bonding (up to four network interfaces bonded into a single robust bandwidth link) to allow more data to be sent over multiple channels. It also has both HDMI and HD-SDI inputs and outputs

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(which previously needed two different versions). It will ship later this year for $2490. For movie production, users have been using it to feed iPads, so the 600 series has 802.11ac Wi-Fi, for longer range, which will allow five iPads to be used with it at once. Teradek is now offering integration with the Frame.io cloud-based review platform. Also new is Bolt Sidekick, a

Encode warrior: Ng with the new, more powerful Teradek Cube 600

universal receiver for all Teradek Bolt Pro 300/600/2000 zero-delay wireless video transmitters. “It can pair with any current generation Bolt system, and is very light [255g] with 3G-SDI or HDMI output for plugging in to a director’s handheld monitor,” explained Andrew Ng, Teradek’s marketing manager. 11.E55

American football game in London, between the Buffalo Bills and the Jacksonville Jaguars. For the first time, this will be OTT, live, free, global, adsupported, and not available on TV outside of local TV markets in the

US and the UK. It’s a move that Toumazis hopes will further Yahoo’s mission to become a top destination for premium content and live events, and for the NFL to tap into a global audience.

Sony and Evertz dovetail for IP Evertz

By Will Strauss

Evertz’s Software Defined Video Networking (SDVN) technology is being shown at IBC working with Sony’s IP Live Production System and Network Media Interface (NMI). Each demo includes MAGNUM, the SDVN Orchestration and Control product, and Sony’s IP Live Production switching Sony NMI working over Evertz high capacity switch fabrics. Eric Fankhauser, the vice president of product development at Evertz, said: “It’s great that two industry innovators can work together to deliver an integrated IP solution from production to playout based on Evertz SDVN and IP Infrastructure solutions and Sony’s IP Live Production System. This collaboration will certainly help smooth the transition to IP-based facilities and workflows.”

Sony’s Networked Media Interface turns HD and Ultra HD video, audio, and metadata into packets, transmits and clean-switches, in realtime over standard network infrastructures. Meanwhile, AMC Networks has gone live with a 10GbE playout facility that uses Evertz Software Defined Video Networking (SDVN) technology. Based around the Evertz OvertureRT-LIVE 10GbEenabled playout server and Mediator MAM/automation software, the system is delivering a portfolio of channels from AMC Networks International Latin America. The multi-channel playout facility, considered to be the first of its kind in the world, uses Evertz file-based workflows and 10GbE IP infrastructure including two 46Tb/s EXE-VSR IP routing cores, multiple 10GbE enabled OvertureRT-LIVE integrated playout severs, 570IPG media gateways and 3067VIP10G 10GbE multi-image display processors. 3.C20

The art of Amsterdam For the art lovers out there, pay a visit to the Van Gogh Museum, which houses the largest collection of works by Vincent van Gogh – more than 200 paintings, 500 drawings and 700 of his letters. If you’re looking for a day tour, why not set off for an Amsterdam city tour. Uncover Amsterdam’s

history with a customised walking tour. Immerse yourself in the world of Dutch food and drink on a culinary and brewery tour. Marvel at the city’s dazzling waterways with a canal cruise, or experience Amsterdam the Dutch way and take a bicycle tour. For more information, visit www.iamsterdam.com

11-09-15 16:49

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Taking the IoT opportunity Flexible and secure Conference Analysis

FAST LTA By Chris Forrester

By Mark Hallinger

The Internet of Things (IoT) is likely to be a major disruptor, a source of concern and an opportunity for broadcasters, said Paul Robinson (director, Creative Media Partners) while introducing Muthiah Thangarajan, senior vice president and head, broadcast business at Tata Elxsi, India. Thangarajan told IBC delegates that the cost of IoT technology and machine to machine connectivity is tumbling. “The cost of processing has fallen 60-fold over the past 10 years. Storage costs have fallen 40-fold in the same period, as has bandwidth costs. IoT sensors have not fallen as fast but the applications are growing.” He said while some MSOs and satellite broadcasters are already tapping into home

The Silent Brick Library is a flexible storage architecture based on commercially available hard disks, which FAST LTA contends stores data so securely that no further backup is necessary. The Munich-based successor to FAST Multimedia said it has combined an entire array of technologies in order to keep pace with the low marginal costs still afforded by tape, without having to pass up the advantages of fast hard disks. The result is a portable storage medium, the Silent Brick, able to store up to

Muthiah Thangarajan: “Does Intel qualify, or Microsoft?”

security and health monitoring of their subscribers, they were “only beginning to” and that the various existing vertical silos needed breaking down. “Abandon the silos and instead of the car, or the fridge, or the health car, think of ‘me’ and how all these elements can serve ‘me’ where I am at the centre of an eco-system. This calls for a trusted supplier, an organisation that can bridge all these silos and upon whom you can depend,” he

remarked. Thangarajan admitted that there were any number of large organisations that wanted a slice of this business, but perhaps the fridge manufacturer would not be top of the list. “But does Intel qualify, or Microsoft?” The opportunity for broadcasters and those who were already putting trusted home gateways into the home were considerable, especially for health and security.

European UHD trial reference BBright

By Will Strauss

The French infrastructure and video compression start up BBright is using IBC to reveal how its UHD-Play server has been used in a number of Ultra HD trials around Europe. The appliance has been tested as a reference uncompressed baseband source on numerous live 4K encoders from Allegro DVT, Ateme, Envivio, Harmonic, Thomson Video Network and Vislink.

It was also selected in a trial led by Orange and France Télévisions to compare the consumer visual experience of watching UHD 50p tennis content with and without High Dynamic Range (HDR). BBright contributed two UHD-Play servers for the demo, one to supply uncompressed 4K video footage in HDR and one for SDR (Standard Dynamic Range). The company also supplied both live encoding and playout to France Télévisions for 4K streamed coverage of the 2015 French Tennis Open. In this case BBright’s SLED-4K Live encoder

was used to provide HEVC 10-bit encoded UHD streams at 16 Mbps to a local IPTV network serving multiple 4K STBs and TVs in lounges and the park of the tournament site. “Our strong presence at these trials confirms our status as the leader in UHD reference source as well as a significant force in HEVC encoding,” said Guillaume Arthuis, chief executive, BBright. “We are delighted to be playing such a major role in 4K trials around the world which are already accelerating UHD adoption in many countries.” 2.B39a

Eutelsat and SES link for 4K boost SES/Eutelsat

By Chris Forrester

SES and Eutelsat, normally tough competitors, are linking in an “industry wide Future Video Initiative” to promote nextgeneration video technology. The announcement is designed

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to support existing initiatives and standards but also to increase the reach of HD and UHD “with the highest quality” and including interactive services. The initiative also wants to see satellite services received on all large and small screens, “and in public spaces”. “Through this initiative, we want to send a clear signal to the industry and public that we

need to drive digitalisation and the evolution of our broadcastbroadband ecosystems,” said Karim Michel Sabbagh and Michel de Rosen, CEOs of SES and Eutelsat Communications, respectively. “The Future Video Initiative is open to all stakeholders and is a catalyst for digital development.” 1.D59, 1.B51

16TB of user data secured by erasure coding at quadruple redundancy. Data is stored on these self-contained storage containers, each having 12 hard disks and protected against data loss by three advanced security technologies: Erasure Coding, Digital Audit and Disk Mix. The Erasure Coding technology ensures that up to four of the 12 hard disks can fail without any data being lost. Digital Audit independently and regularly checks the stored data, while mixing disks from three different hard disk models adds an extra layer of protection against data loss due to epidemic failure. 8.A01

Analytics acquisition to accelerate development Verimatrix

By Ian McMurray

The multi-screen video analytics business of Concurrent Computer Corporation has been acquired by Verimatrix. Concurrent’s video analytics and monitoring solution, development team and commercial relationships will, said Verimatrix, help to accelerate the development of the Verimatrix Verspective Intelligence Center. The acquisition also enables Verimatrix to tap into a base of existing customer relationships that includes top tier pay-TV operators. “We are excited to advance our Verspective platform and services to deliver more competitive value to our pay-TV operators through this highly strategic acquisition,” said Tom Munro, CEO of Verimatrix. “Big data analytics are becoming a game-changer in the pay-TV market for operators to continually push the innovation envelope and increase average revenue per user. Maintaining security of that data can help enforce privacy rules while also ensuring integrity of the systems

Tom Munro: “Big data analytics are becoming a game-changer in the pay-TV market”

involved, making the combined offering a win-win for service providers and their subscribers.” According to Verimatrix, the acquisition has a natural synergy with the recent introduction of the Verspective Intelligence Center, a cloud-based platform that the company says significantly extends the value of its Verimatrix Video Content Authority System (VCAS) revenue security solutions. 4.A59

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Ace delivery for wireless monitoring Paralinx By David Fox

The new Paralinx Ace is a compact, lightweight point-topoint wireless monitoring system

that comes in either HDMI or SDI versions. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s the most affordable and lightest SDI wireless system,â&#x20AC;? claimed Greg Smokler, co-founder, Paralinx. The SDI transmitter, which comes with a D-Tap cable (7-17v),

weighs 150 grams, while the HDMI model is just 126 grams. Both deliver uncompressed HD video over a maximum range of 100m. Ace offers numerous improvements over Paralinxâ&#x20AC;&#x2122;s original Arrow products, including improved signal robustness and a tougher physical design. It will allow camera operators, focus pullers and directors to integrate

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Wireless weighs in: Smokler with the new Paralinx Ace

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wireless monitoring into their setups â&#x20AC;&#x153;with the smallest and lightest possible footprint, while keeping the price point accessible to a wide array of usersâ&#x20AC;?, added Smokler. The HDMI 1-1 Kit (with both transmitter and receiver) will cost â&#x201A;Ź1200, while the SDI 1-1 Kit will be â&#x201A;Ź1650. Both will be available this month, and are interchangeable - either transmitter will work with either receiver. All the units can accommodate a wide variety of integrated mounting accessories and battery plates. 11.E55

HDMI connection signals Mini expansion MultiDyne

By Heather McLean

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Expanding its new line of compact and affordable Mini eXchange converters, Multidyne is displaying HDMI (copper)-to-fibre as well as fibre-to-HDMI models. With broadcasters making the transition to video file delivery over an IP infrastructure, MultiDyne claimed it was poised to make that migration smooth and familiar to veteran engineers. The company is showing its EOS 4000 and 5000 optical electrical switches, and the companyâ&#x20AC;&#x2122;s full line of signal conversion units (analogue video, HD and DVI-to-fibre, and back again), frame-accurately controlled over a single fibre-optic cable. MultiDyne is also showing a new version of its SMPTE Hybrid Universal Transmission (HUT) Extender that works with any SMPTE-Based HD Camera. It claimed that no other system in the industry can accommodate so many different camera models. D.940

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In Brief AudioTools connector for Avid Interplay|MAM Minnetonka Audio came to IBC with a series of announcements. Among them, Avid Interplay | MAM will now have an optional connector for Minnetonka Audio’s AudioTools Server. The connector gives Interplay | MAM customers access to Minnetonka’s file-based audio processing options. Next, the Linear Acoustic UPMAX upmixing plug-in is now available for AudioTools Cloud. UPMAX produces a 5.1 channel audio file that could be used for eventual transmission via Dolby Digital to all consumers. The company is also announcing AudioTools loudness control for Harmonic’s file-based ProMedia Carbon transcoding software. The Harmonic plug-in provides loudness measurement and loudness adjustment in a single package; Version 1.3.1 adds support for up to 24 audio channels represented by a new set of preset program configurations, including up to four custom profiles. 7.J40

4K tech under spotlight Addressing the issue of bringing 4K quality to monitors, Osee is showcasing its SV-4K multi viewer monitoring system that can improve the quality of a signal at an affordable price. The SV-4K solution comprises of 1 x 16Ch multi viewer plus 1 x quad link (both SDI and HDMI) 4K monitor, the LMW-550-4K. This bundle offers high flexibility in layouts and can fit into space-constrained applications, said Osee. 10.D59

Getting the edge Video delivery networks specialist Edgeware will be in hall 14 this week to demonstrate how its video consolidation platform can deliver next-gen video services, create new monetisation opportunities, and offer enhanced customised analytics. The company claims the VCP creates possibilities for broadcasters to stay relevant, take back control and release untapped revenue resources. 14.B20

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Multicast: Key to UHD over IP DVB Project By Geroge Jarrett

Globally respected for its satellite, cable and terrestrial delivery standards, the DVB has now focused its consensus based development powers on a standard for delivering UHD content services over IP networks using Unicast and Multicast protocols. “We have already completed some standards work on the use of IP to support the distribution of media content, and this has adopted profiles of MPEG-DASH,” said Graham Mills, chair of the DVB Commercial Module. “Tuned and with supporting service information it means it can be used by broadcasters in standardised

and open ways. “What we are announcing here is the start of some really interesting additional work that takes us into the area of efficiently delivering UHD/4K services using DVB standards,” he added. “The two particular and crucial areas are adaptive bit rates and multicast.” The flexibility to change bit rate enables the best quality service to reach consumers given the broadband speed they enjoy, or via a mobile network. “The detailed work on multicast is extremely valuable as it is an efficient way of delivering live content. You can have high demand for live sports over IP networks, and if you can adopt multicast techniques in a standard way then it dramatically reduces the amount of capacity required,” said Mills. “It makes the network

Agile, efﬁcient environments Huawei

Graham Mills: “What we are announcing here is the start of some really interesting additional work”

much more robust and resilient.” An open standard through the DVB processes for delivering over broadband networks has one challenge. “Some organisations are already doing this but they are using proprietary technology or doing things in ways that are

By Ian McMurray

Showcasing a range of ICT solutions that it believes can revolutionise the media and entertainment industry, Huawei said that its aim is to develop agile, efficient, all-IP media production environments to improve the efficiency of ingest, editing, transmission and distribution. Featured are the company’s Omnimedia HD Production Solution, together with support technologies for 4K video production, the OceanStor 9000 big data storage system, E9000 servers, inTouch content distribution platform and the cloud-based Video Application Aggregation service. “Thanks to our very comprehensive product and solution portfolios, as well as our service teams available worldwide, we are well placed to support media entertainment industry partners as their industry undergoes deep changes,” said Mr Yang Tao, CMO of the WEU region at Huawei. “Our large-scale R&D activities and our commitment to innovation represent a key asset for our customers aiming to meet the

Translation solutions provider OOONA is demonstrating its web-based subtitling toolkit on the Screen Subtitling Systems stand. OOONA, which develops professional management and production tools for the subtitling industry, has launched a suite of online applications for subtitle creation, review, and QC and file conversion. “Time efficiency is crucial in this competitive industry and

digitisation challenge. Huawei’s solutions enable customers to develop agile production environments, converge ICT resources and boost content asset value.” Huawei noted that its E9000 server is already supporting studios in the creation of feature films. The company said it can render animation materials, to create life-like images on-screen and has a direct impact on the quality and timely delivery of such films, helping produce the results that are often the difference between success and failure at the global level. The E9000 has, according to Huawei, been shown to improve rendering performance by up to 80%, save up to 50% on equipment room space and shorten time-to-market by 30%, as well as generate impressive operational and maintenance benefits. 4.C70

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OOONA online creative Screen Subtitling Systems

Yang Tao: “R&D activities and our commitment to innovation represent a key asset for our customers”

not applicable across broad international standards,” said Mills. “We have really strong support to take the IP work we’ve done already into this important new area. It represents the level of confidence that broadcasters and content providers have in UHDTV.”

having rapid access to workflow tools and minimum set-up times for the applications is vital,” said OOONA’s managing director, Wayne Garb. “All the online tools are incredibly easy to learn how to use because they are specifically designed to perform just the task you require and are not complicated by unnecessary functionality.” The OOONA Toolkit includes elements from Screen’s MediaMate product for the conversion and repurposing of subtitle files, and is completely web-based, eliminating the need to install any software. 1.C49

Platform-agnostic MAM is the future Elements By Will Strauss

The future of media asset management is fully integrated platform-agnostic systems that consolidate necessary workflow processes. That is the verdict of André Kamps, the CEO of Elements: “Broadcast and post production facilities don’t need more gimmicks and gadgets, but faster and easier manageability of assets, and purposeful features that simplify and accelerate their

daily business.” As a result, the company has launched a web-based MAM tool for managing and organising files across many platforms. Called Media Library, it features a full-text search engine, an intelligent task manager and an editing tool. “When we learned from our customers that a quick rough-cut, conducted on-set or at home, with a simple and intuitive tool that anyone can operate, would save them so much hassle, we got busy developing just exactly that.” 3.A27

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‘Programmatic’ ad-insertion goes ‘live’ for TV Conference Analysis

By Chris Forrester

The UK’s Channel 4 is just one of many European broadcasters who are making heavyweight changes to how TV commercials are sold. While many of today’s broadcasting ad-sales confirmations can still frequently be faxed into the broadcaster, this is rapidly changing, said Jonathan Lewis, C4’s head of digital and partner innovation,

speaking at IBC’s ‘Advertising Meets Big Data’ session. Delegates learnt that today’s typical digital usage on computers, consoles and smartphones would carry about 40% of their commercials from dynamically generated ads and via realtime bidding to appear on the web page. “TV is very different,” said moderator Rob Ambrose, “not least because of quality issues and compliance.” Lewis said C4’s demographic skews younger (16-34), “so it is in our interest to drive innovation

with this premium programmatic platform which we are calling our Automated Ad Allocator”. Lewis said that C4 now had some 12 million registered users, drawn from its various channels and platforms and was already supplying around a half-billion streams via its All 4 service to around 25 different platforms, and were thus a ready and willing market for personalisation. “Remember, we launched a year earlier than the iOS and even the BBC’s iPlayer service. “Test users of our dynamic ad-

Short form means business

insertion include brands such as Coca-Cola and Burberry. Coke saw a 59% boost to sales (and a Cannes ‘LION’ award), and Burberry a 55% uplift for their use of the system and using highly personalised ads.” He explained that the technology was now moving into mainstream TV starting this October on consoles, iOS and Android platforms and then using Freeview, Freesat, YouView and Sky’s Adsmart options, as well as being available on Samsung ‘smart’ TVs.

Rules-driven B2B multi-format delivery IBM

Conference Analysis By Adrian Pennington By Adrian Pennington

With YouTube gaining 6 billion views a month and 8-second clip apps like Vine gaining traction it is clear that digital consumption is changing. But are video shorts the new format for TV? The answer from panellists at this conference session was ‘No - but ignore short form at your peril.’ “The world of short form video is intrinsically different to the way TV is seen,” said Will Saunders, creative director of digital, BBC. “Those who run TV are not literate enough to understand this.” TV may have the vast majority of views, he noted, but “the worlds of TV and online are merging” evidenced by the migration of BBC3 into a digital only channel. Showing a clip from the Australian version of The Voice, Talpa, head of strategy Joost Galjart said short content

worked when it creates “tension loops” that keep the viewer engaged. “We structure our series and individual episodes by embedding short form into the longer format leaving it up to the viewer to decide how to consume it,” he said. “Short clips work for digital distribution.” Talpa has 2 million YouTube viewers of its The Voice channel. As part of its rebrand as All 4 last year, broadcaster Channel 4 launched an online channel dedicated to short form. It has invested £1 million this year to make over 40 series from 28

Drones get makeover Shenzhen Wingsland By Heather McLean

Showcasing its latest invention here at IBC is the Shenzhen Wingsland Technology Co with Minivet, a drone with a high-

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performance integrated camera onboard. The Wingsland Minivet includes support for 4M pixel static picture shooting, with1920x1080 30p HD recording, as well as a high accuracy remote control with 10 channels, making it easy to operate. This includes a

indie producers, half of which are new to Channel 4. It expects to spend the same in 2016. “Shorts fit with our remit,” said Owain Rowlands, All 4 channel manager. “It’s about taking creative risks and investing money in the creative community.” He shared tips for creating successful short formats. “Don’t waste time, get straight to the story. On Facebook you’ve got three seconds to entice people to click and watch. The most successful shorts have an image you’d put on Instagram and a synopsis you can Tweet.”

super anti jamming, automatic frequency hopping function that increases flight safety. Through more than 1000 hours of flight testing, the Wingsland industry-grade intelligent FC system, with its strong stabilisation plus high and reliable flight performance CPU, makes operation easy, claimed the company. 9.A30

Jonathan Lewis: “Remember, we launched a year earlier than the iOS and even the BBC’s iPlayer service”

France Médias Monde (FMM), the group in charge of French international broadcasting services, broadcasts from Paris to the world in 14 languages. The content is not only broadcast as a linear TV channel, but is also made available via new media platforms and syndicated to more than 130 partners, attracting 24 million visits a month. FMM faces the challenge of distributing content to all partners according to each partner’s specific contract and requirements in terms of the type of content, media format,

metadata and delivery interfaces. The definition of ‘which content is distributed to whom and how’ changes constantly and requires input from various departments including programme planning, partner agreements and technical operations. Together with IBM, FMM implemented a solution to manage the distribution process based on user-defined rules. Instead of building more than 130 different workflows, the distribution workflow is created dynamically, based on various rules which the different groups of users define for their scope of responsibility. IBM is demoing the IBM Archive and Essence Manager in its meeting suites. 13.MS22, 13.MS40, 13.MS41

Unlocking the value of data Kantar Media By Will Strauss

Kantar Media is showing the Return Path Data (RPD) and Synchronised Experience technology SyncNow at IBC for the first time since acquiring its developer, Civolution’s Watermarking Unit. RPD is a form of TV audience measurement that retrieves inhome viewing data from either settop boxes or operator services. It also integrates viewing from other devices such as tablets or PCs, to measure and report all channels and types of digital viewing activity.

SyncNow gives a ‘second screen’ smart device, such as a tablet or smartphone, the ability to become ‘content-aware’ and know what content is being watched on the main screen. The device can then deliver synchronised content associated with the viewed show, film or advert. According to Kantar Media: “RPD services allow pay-TV operators, channels, advertisers and their agency partners to fully understand subscriber viewing across all activities and devices.” SyncNow increases the impact of TV ad campaigns and drives revenue with individual viewing data for audience targeting. 2.B41

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