IBC2015 Daily D4 Monday 14 September

www.ibc.org

theibcdaily MONDAY 14.09.2015

THE OFFICIAL NEWSPAPER OF IBC

IBC ‘must employ diversity levy’ Conference Analysis

By Ann-Marie Corvin

BBC Worldwide’s operations director Lesley Johnson has called for IBC to impose a tax on the major IBC exhibitors to fund an educational programme that encourages more females to take up roles in the industry.

During Sunday morning’s ‘Women in Broadcast’ session, the former journalist called for the industry to educate the educators at a grass roots level in order to raise the visibility of careers in science and engineering among young women, as the US is doing with initiatives like the STEM (Science, Technology, Engineering and Maths) programme. “Look at how much money there is sloshing around in the

halls. IBC could help by imposing a 0.5 % levy on all the major exhibitors to fund education tools that can be used to inspire 11-13 year old schoolgirls to study IT, science and engineering,� she said. This isn’t the first time that Johnson has been vocal on diversity issues at the exhibition: last year she criticised IBC for not having a diversity policy and vendors for deploying scantily dressed women to attract visitors to stands. This year, she added, Females in the Broadcasting Industry (FBI) has worked with IBC on guidance about appropriate dress on stands. “I’m starting to see the difference,� Johnson noted.

Ultimately the session concluded that it’s just bad business for companies not to address diversity in the halls.

Tilly Casson, a systems architect

DTT for Africa and Asia

By George Jarrett

If the industry has one group punching above its weight, it is DigiTAG. Its latest initiative has been to revise the popular Guide to Digital Switchover to cover the DTT issues around regulation, business and technology facing countries in Africa and near East Asia. Digital switchover is scheduled for 2020. “The plan is to develop

DigiTAG secretary Peter MacAvock with WYVQLJ[ Vɉ JLY 9VZLTHY` :TP[O

plausible roll out plans for DTT, independent of what technology the nations choose,� said DigiTAG secretary Peter MacAvock. “What

Immersive audio

specialist from GSTQ consulting, who is here on behalf of a big OTT client, told the panel that not one person from any of the stands she visited approached her to ask why she was there. “It was so blatant that I was interested in the product, yet I still had to make that first approach: it’s soul destroying.�

The panel, which also included Molly Connolly, a strategist at Dell’s entertainment arm and Emma Riley, head of business development at UK-studio facility we have seen in some African countries, and Kenya is probably most notable, is that where DTT is a success the percentage of DTT receivers rises rapidly and sponsors the emergence of local production and innovative services. “The big question is when will South Africa eventually launch DTT services? It has been overtaken by countries around it who have given up waiting, but when it launches, it will bring with it a lot of responsibility around the local production of receivers,�

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dock10, added that the show exhibitors as well as IBC as an organisation could address diversity in the short term by employing more female sales and marking staff or by mixing things up on the stands.

As FBI chair and industry PR supremo Sadie Groom added: “It would be refreshing to see more male receptionists or female camera ops – and it can’t be only women that are capable of scanning badge passes.� he added. “The same goes for other African, and to an extent Asian, nations, where less well developed markets face issues like receiver price sensitivity.�

According to MacAvock: “many countries are quickly becoming important multi-platform business hubs. The main driver is education, in terms of bringing the regulatory community together.

These countries sometimes don’t have the experience and expertise of other markets. It is important for them to foster a collaborative process.�

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BT Sport will add UHD extras

Walter Murch talks Premiere Pro Adobe

Conference Analysis

By Chris Forrester

By Carolyn Giardina

BT Sport is ramping up its 4K sports coverage and will also start embracing the extra image benefits of HDR, Wider Colour Gamut and even Higher Frame Rates as the technology becomes available. Delia Bushell, MD at BT TV and BT Sport, said the broadcaster would blend in the additional upgrades probably in two years time.

In the ‘Telcos Tune into Broadcasting’ Keynote session, Bushell admitted the cost of Ultra HD represented a “big, very big investment. It has been a complex set of challenges but the output has worked seamlessly, and viewers will see more. We have stolen a major march on the competition, and 4K allows us to move further ahead.”

Bushell, who is just one year into her job, said BT’s commitment to sport was for the long term, as was BT’s recent agreement with the AMC channel and carriage of Netflix. “We want to be breaking their new productions for the UK, and it was a long-term partnership.”

Academy Award-winning editor and sound designer/ mixer/editor Walter Murch thrilled IBC attendees with a standing-room only appearance at the Adobe stand, to discuss why he chose to edit upcoming documentary Coupe 53 from director Taghi Amirani, on Adobe Premiere Pro CC. Murch emphasised that he was impressed by the “tight level of co-operation between [Adobe] developers and filmmakers.” In fact, he offered a suggestion that led to Premiere Pro’s current trim window feature. “The important thing is it gives you very quick feedback to learn the rhythmic cues of the film.”

The inventive editor also gave high marks to the “analogue feel” of the system’s

Delia Bushell: “We have stolen a major march on the competition”

It also seems there will be other channels. “Since signing the AMC deal, which was a great step forward, we have had quite a few approaches from other channels. We understand that viewers want great content, and while much of our focus has been on soccer, rugby and

now cricket, we are open to new opportunities.”

Bushell explained that the EE cellular deal, should it close satisfactorily, would also represent a huge improvement for BT, and give it a Quad-play offering. “Then, it will start getting really interesting!”

By Carolyn Giardina

The Matrox M264 multichannel 4:2:2 10-bit H.264 encoder card has been released.

It’s a half-length PCIe card featuring an onboard codec for multichannel H.264 encoding/decoding from

Baseline Profile to High 10 Intra Profile up to Level 5.2.

Multichannel motion-adaptive de-interlacing and up/down/ cross scaling allow content to be repurposed into any resolution before encoding or after decoding, of note for OTT workflows.

M264 is aimed at broadcast distribution, contribution

multiCAM systems

had a human behind the [touch] screen.” Users can change the dynamics of how it does this, even as it is streaming live.

11.E40a

M264 now available Matrox Video

7.G27

RTL goes live for visual radio

By David Fox

First sale of 576 matrix: IHSE reports that it has sold its first 576 port Draco tera KVM matrix switch (K480-576) at IBC, in a deal with an estimated value of $500,000. The customer who ordered the K480576 is an undisclosed “major broadcaster in the US.” According to IHSE, a current studio upgrade required the expansion of an existing installation, and the new 576 port Draco tera KVM matrix switch “provides a hybrid (Cat X and fibre) KVM infrastructure with no performance limitations.” It offers Mix & Match functionality to allow switching freely between Cat X extenders and fibre optic extenders. The installation is scheduled for completion by 2016. Pictured: IHSE managing director Dr Enno Littmann (left) and US managing director Chani Shah. – Carolyn Giardina 7.B30

ability to scan dailies, noting “this alone would be a reason to use Premiere Pro.” Murch is the only person to have won Oscars for both editing and sound on the same film, The English Patient, which is also the first Oscar win in editing on a film cut with an electronic system (Avid). He also received an Academy Award for sound and nomination for editing on Apocalypse Now; and his additional nominations include one for Cold Mountain, the first nomination for a movie edited with Apple’s Final Cut Pro.

and production applications.

It encodes a single stream of 4Kp60 H.264/AVC intraframe 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.

Presets for Sony XAVC and Panasonic AVC-Ultra formats are provided.

7.B29

RTL Belgium goes on air today with live streaming video from its radio service. It has installed two of the newly upgraded multiCAM Radio, an automated ‘visual radio system’ that allows broadcasters to air live programmes 24/7 – it links audio and video content and permits broadcasters to deliver radio on demand without human intervention.

“We have had great success with this product. It is easy to use and is linked to the automation system in the station,” said Christophe Tomasini, head of international sales, multiCAM systems.

The upgrade now allows users to add on-air graphics (including automatic RSS or Twitter feeds) and manage all the video production in manual or automated mode. It uses AI software to identify who is talking the most, so that it can change camera angles to ensure the main speakers are in vision at any time, even if they are interrupting each other, “as if you

Tomasini demonstrates the touch-screen multiCAM Radio system bought by RTL

Conference Highlights Today at IBC IBC Big Screen Experience Keynote: Extending the Creative Palette – Vision from Pixar and ILM 09:30 – 11:00, Auditorium The Outlook for Broadcast and Media – IBC2015 wrap-up 11:30 – 13:00, Forum Immersive Cinema: Sound 14:00 – 15:30, Auditorium Cinema2020: Seeing the future business today 16:00 – 17:30, Auditorium

For the latest show news and updates follow

04

Rules of engagement

WINNER Saturday’s Touch & Connect Leaderboard winner was Michelle Nestler from Clearwater.

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.

Conference Analysis

By Adrian Pennington

IP is interoperable partnership Panasonic/Grass Valley

By David Fox

Panasonic and Grass Valley have announced a partnership working on IP-based production. “Video over IP will reduce system costs, allow easier installation, and assist the transition to 4K and 8K,� said Kunihiko Miyagi, director of Panasonic’s Professional AV Business Unit, who thinks system flexibility is the most important benefit. “Interoperability is essential for our customers to get all the gains out of improved workflows,� added Chuck Meyer, CTO production, Grass Valley. “We see video over IP working alongside conventional systems, such as SDI, but offering increasing convenience and operability and decreasing installation costs,� said Miyagi. “We have SMPTE 2022, but it doesn’t do time synchronisation, or handle compressed video, and can’t send video, audio and control data separately,� explained Junya Suzuki, software engineer, Panasonic Imaging Development Centre.

#IBCShow

“Other factors, such as codecs, synchronisation, identification, registration, discovery and connection management are required for professional networked media.

Each of them must be a common implementation for a truly interoperable system,� added Grass Valley’s senior VP, strategic marketing, Mike Cronk.

Panasonic is concentrating on ensuring its cameras work with IP, including a built-in module for its new studio cameras, and is demonstrating a Varicam working with a Grass Valley K2 server, sending 4K 50p via a network connection. However, while the infrastructure is important, Suzuki believes giving customers what they expect is the priority, and is looking for feedback at IBC. 9.C45/1.D11

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Expanding global sport production: Digital media company and international sport specialist Perform is using Dalet news production and distribution software as the basis of remote workflow operations between the lead UK operation and offices in Munich, Amsterdam and Uruguay. News desk staff in the three local bureaus log in via the Dalet web client, browse media and mark in and out points before sending the clip to a watch folder. Clips can be sent to the UK by the Aspera FASP fast transfer protocol for further editing and routed back to the overseas offices in the same manner. “We worked with Dalet as our technical business partner, building a fluid infrastructure that would respond to both industry and internal demands,� said Michael Edwards, Perform’s head of post engineering (pictured, left with Dalet COO Stephane Schlayen). “The new foundation will allow us to facilitate the swift and secure exchange of files between multiple locations as we spread our operations worldwide.� – Mark Hallinger 8.B77

Eurosport and Sky are paying millions of pounds for sports rights while golf broadcaster and journalist Stephanie Wei, has worked with the European Tour to live stream golf over Periscope as a one-person broadcaster. “For someone of my generation it’s second nature to use these apps,� Wei said as the session ‘Sports Broadcasting: Playing away from broadcasting’s home’ was streamed on Periscope. “It’s a great platform to get behind the scenes, engage with viewers and respond by asking their direct questions to players using the credentialed access I have.�

However, Periscope is no immediate threat to traditional broadcast. “Periscope is better when you’re holding it, used in a shorter time space and when you’re interacting with it,� said Wei. “It’s not great quality video but it is authentic. It’s a secondary medium to enhance the coverage.�

Cautioned Arnaud Maillard,

VP digital media, Discovery Networks International: “Periscope is a breakthrough technology that helps tell first person stories but the world sports ecosystem is attached to the value of the footage which could be undermined by piracy.�

For Richard Ayers, CEO, Seven League, the ‘shiny bauble’ approach of shooting with 360-degree cameras or Periscope “was a waste of time and energy� without a strategy. “If you don’t have reach and engagement then monetisation will be impossible,� he said.

The largest football fan network on YouTube – bigger than all English Premier League teams combined – is Copa90.

It uses Periscope as one way to reach fans. “It’s the stories outside the 90 minutes that make the 90 minutes matter more,� said Phil Mitchelson, Head of Marketing at Copa90 owner BigBalls. “We think people go to Sky Sports to see what happened and fans come to Copa90 to find out how people feel about it,� he said. “We take every single piece of content that may be seen as wastage in a normal sports production,

VR’s inďŹ nite potential

By Carolyn Giardina

Virtual Reality startups Jaunt and 3MERSIV will reveal an agreement through which VR production company 3MERSIV will be the preferred production partner (non exclusive) for Jaunt Studios, a unit of startup Jaunt that’s focused on best practices and offering production and post technology for VR content creation, during today’s ‘Immersive Cinema: Picture’ IBC session.

With an aim to become the “Netflix of VR,� Jaunt plans to launch a VR content app towards yearend to provide content to owners of new and emerging VR headsets.

The business model for the start-up, which has raised $34 million, also includes some “original programme

creation, as well as technology development, according to founder and CTO Arthur van Hoff.

Jaunt’s prototype Neo VR camera was unwrapped in public for the first time this week at IBC. “VR is here. We have a new 1H\U[ÂťZ ]HU /VɈ SLM[ ^P[O :[L]L :JORSHPY

medium with infinite potential,� said Steve Schklair, founder of VR production company 3MERSIV (made up of the folks behind 3Ality). “But the [storytelling] language is being developed.� “VR production is easy if you don’t care about quality,� added Arthur van Hoff, Jaunt CTO and founder. “We’re working on high production value content. We’ve built a system with cameras, editing tools and distribution.� 8.F18

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create a story around it then explode it into component parts across our network so that we have engaged fans weeks before the main content has even happened.�

Questioned whether this approach was reaching grass roots soccer fans better than Sky, Dave Gibbs, director of digital media at Sky Sports, said: “A traditional broadcaster says ‘I am going to talk at you and expect you to watch what I want you watch’. Copa90’s approach is about building a community and bringing them into the conversation. There’s a lot we can take from what they are doing.�

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 OfďŹ cer 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 Š 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.

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06

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Alexa Xtended for 4K

#IBCShow

Autostereoscopic TV solved

By Adrian Pennington

Arri

By David Fox

The new Alexa SXT (Super Xtended Technology) adds electronics from Arri’s Alexa 65 camera to the existing Alexa XT sensor for in-camera recording of ProRes 4K UHD (3840x2160) and ProRes 4K Cine (4096x2637).

It can also do live colour grading, avoiding the need for a separate LUT box. It can output to an onset monitor as well as doing the final grading and dailies creation, “so the people in post will know what the intended look was,” said Stephan Schenk, Arri’s managing director. It also has SXR (Super Xtended Recording) with new 1TB or 2TB capture drives. “That gives you massive capabilities to shoot without stopping,” up to seven hours in ProRes. SXT ships later this year, and “we have already a lot of orders” – anyone taking delivery of an XT

Schenk with the new Alexa SXT and Anamorphic Ultra Wide Zoom

now gets a free upgrade to SXT. Arri’s new 19-36mm/T4.2 Anamorphic Ultra Wide Zoom exhibits “virtually no distortion.

Straight lines stay straight. In an ultra-wide 2x anamorphic this is almost unknown,” he claimed.

This makes it “a perfect lens for visual effects, because there is no distortion to rectify, and no vignetting – there is a completely even light field across the image.”

Its Amira documentary camera is getting a free new software update 3.0 soon enabling ProRes

4444 XQ recording, plus MPEG-2 HD 4:2:2 to match the XDCAM workflow. It will also connect via Ethernet to a Sony box to be controlled by a standard Sony RCP-1500 for multicam capability.

A new Amira Slot developed with Ambient for wireless audio has a two-minute battery to allow hot swapping the camera battery without interrupting the signal.

The Alexa Mini will also receive a paid update later this year, adding Arriraw and 4:3 capability.

3DTV could make a come back sooner than anticipated if broadcasters follow the lead of ESPN and CBS Sports.

Both have trialled technology which extracts 3D data from a 2D image for the illusion of 3D without glasses on standard HD displays.

It is done with a technique called parallax visualisation which, in the case of live action, means adding a small lens to video cameras and shooting through a rotating iris. By moving the iris off the centre of the lens it captures different points of view at the plane of focus.

ESPN is about to begin transmissions using it along

with new technology hot from the labs which manipulates virtual cameras in the same manner to create 3D graphics.

“You can add monocular cues to create the illusion of things popping out of the screen,” explained Chris Mayhew, CEO at Washington DC developer Vision III. “We can play this back on standard mobile devices too,” he said. “High resolution even at 8K won’t give you texture like this. For textural detail you need parallax.” Up to two stops of light is lost in this trade off, he admitted.

Vision III’s lens is available in PL mount for cameras like Arri and in B4 for ENG applications.

IBC Future Zone 8.G4

Innovations for acquisition

11.F21

Geared up for growth Gearhouse

By Heather McLean

Helping to bridge the gap between IP infrastructure and UHD resolution, Gearhouse and EVS are demonstrating the transport of 4K footage from a Hitachi SK-UHD4000 4K camera on the Hitachi Kokusai Electric Europe booth. The first showcase of its kind, the solution uses EVS’ IT-based production switcher DYVI. Feeds from the Hitachi booth are being sent via fibre to the Gearhouse booth where they are cut together using Gearhouse’s DYVI production switcher, simultaneously carrying audio and comms signals.

Gearhouse’s remote production

workflow solution was first introduced earlier this year where the DYVI switcher was used in a HD set up at the company’s UK HQ. The upgraded 4K version of the system being shown at IBC acts as a proof of concept in the migration from HD to 4K. They will highlight the benefits for broadcasters of remote production through IP infrastructures.

Gearhouse business development director for its systems integration division, David Phillips, has recently joined the company with a specific job remit to develop the business worldwide, working closely with Kevin Fitzgerald, systems and product sales head, and the team.

Phillips, who was formerly MD at TSL, said about his new

Fox and IBC camera crew quiz freelance cameraman Alistair Chapman about Sony’s new FS5

Conference Analysis New business development director at Gearhouse, David Phillips

By David Fox

position: “Gearhouse has an excellent reputation for rental, sales and flyaway projects and over the years it has completed many significant projects worldwide. There is excellent scope for Gearhouse to develop its systems integration business by harnessing the skilled resources within the company, and I’m excited to work with Kevin and the team to look at the business on a global basis.”

10.B39

Spidercam gears up Spidercam, a fly by wire camera system owner, and Gearhouse Broadcast have announced a new strategic partnership to accelerate growth of the Spidercam system

in Australia and New Zealand.

Gearhouse will use its live event and operation experience to drive the expansion of Spidercam through marketing,

support, maintenance and logistics, enabling many more broadcasters, producers and directors to take advantage of the system.

“We all want acquisition to be quicker, simpler and more efficient, and there are lots of products here at IBC that can do that, even for people on a budget,” said Christina Fox, broadcast trainer, UrbanFox. TV at yesterday’s free ‘What Caught My Eye’ session.

The most exciting new camera she has seen was Sony’s compact FS5 4K model, which merited a video report, with other eye-catching introductions from Panasonic (DVX200), and Canon (EOS C300 MkII). To record the output of these budget new Ultra HD cameras (or the new Sony A7S Mark II very low light camera) at full quality she also recommended the colourful new Atomos Ninja Assassin.

For action on the move there was GoPro’s tiny new Hero4 Session with the Vislinkdeveloped HeroCast wireless system.

However, acquisition isn’t just about cameras. Lighting has changed fast with the introduction of LEDs, with Rosco’s Silk 210 tuneable soft light and LCA’s very thin LiteMat catching her eye. “We now know just how good, or not, these lights really are, with anything over 85 needing no colour grading. These lights are above 90,” she said.

Other interesting products included: the £200 Syrp Genie Mini pan (or tilt) head, which is perfect for timelapse; Easyrig’s Vario 5 camera support; Sennheiser’s simple, auto setup AVX Radio Mic, which uses Dect frequencies; and Kupo’s Click Stand. One item she wanted everyone to see: NHK’s 13-inch 8K OLED display.

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.

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

08

For the latest show news and updates follow

#IBCShow

Outstanding IBC stands The winners of the IBC Exhibition Awards have been announced. Rosco (stand 11.G71) took the prize for best use of shell scheme space for its eye-catching and inviting stand.

For free designs of less than 100 square metres, the award goes to Es’HailSat (4.B74), with the judges commenting that the design reflects the heritage of their region as well

Rental house first for UHD lenses: ES Broadcast Hire hopes to be the first rental house in Europe to offer 2/3-inch 4K UHD lenses to clients, having bought 26 4K UHD Series lenses from Fujinon at IBC. It will take 13 of the new 80x EFP box lenses (UA80x9BESM) and 13 22x ENG lenses (UA22x8BERD). The lenses are due to be delivered at the end of this month with the first bookings for jobs in Europe featuring the live production lenses already coming in. “We’re very excited about the increase in demand for 4K/UHD production. We have chosen now as the time to invest as the first rental company in Europe. Lenses are just the first step in this,” stated the owners of ES Broadcast Hire, Edward Saunders and Warren Taggart.

Pictured are: Warren Taggart, Toru Takahashi (director, senior VP, general manager, Optical Devices Division, Fujifilm), Edward Saunders and Ian O’Connor (sales manager, Optical Devices Division UK, Fujifilm). – David Fox 11.C20

PTZ remote on point Marshall Electronics

By David Fox

rates with connection options that include: 3G-SDI, HD-SDI, HDMI (DVI), component (VGA), and composite. It is also offered in USB 3.0 enabled bundles.

“Over the past couple of years our Pro-Series PoV Cameras have reached widespread adoption by professional broadcasters at most major media outlets,” said Tod Musgrave, Marshall’s product marketing director.

“Adding another broadcastquality PTZ camera to our product line helps us to better serve the needs and demands of the professional broadcast market.”

The latest addition to Marshall’s range of compact remote broadcast cameras is the new CV620, which features a 20x optical zoom, 340° pan- 120° tilt, and a variety of professional adjustment settings, such as gain, white balance, exposure, auto/manual focus.

It uses a 2-megapixel 1/2.8inch sensor and is designed for use in a wide range of applications, from studio or reality TV, to commentator cameras or courtroom coverage. 11.D20 It comes with wall-bracket and ceiling mounts, and outputs 1920x1080i, 1920x1080p, and 1280x720p at 60, 59.94, 50, 30, 29.97 Another point of view: Marshall’s new CV620 comes in black or white or 25fps frame-

as clear messaging.

From the largest stands, Vizrt’s uniquely engaging design moved the judges to say “this is more than just a stand: this is artistic sculpture”.

All three collected their trophies during last night’s Awards Ceremony, held in the Auditorium.

The height of grandeur An Amsterdam must-see is The Rijksmuseum, one of the city’s grandest museums. Designed by renowned Dutch architect P.J.H. Cuypers, construction of the monumental building began in 1876 and it finally opened in 1885 as the largest museum in the Netherlands. The Rijksmuseum’s

internationally revered collection features some of the nation’s most famous works, including historic art by Vermeer, Frans Hals, and perhaps most notably Rembrandt’s ‘The Night Watch’.

For the maritime lovers, experience the hustle and bustle of the Port of Amsterdam and

its commercial activities during an official tour of the port basins – normally only accessible by commercial vessels. Between March and October, these twohour guided cruises thoroughly explore the port area.

For more information, visit www.iamsterdam.com

Inside Out – Remastered for IBC Tonight’s movie screening is a very rare treat indeed. Pixar’s Inside Out, one of the most lauded animations of recent times, has been specially remastered for tonight’s showing.

The version, which will be screened this evening, has an extended colour gamut, close to the full capabilities of SMPTE Rec. 2020. This version has been created to take full advantage of the Christie 6p laser projection system installed by IBC, to give a visual richness never seen before.

The pictures are accompanied by equally stunning sound. The

IBC Big Screen has been fitted out with a full Dolby Atmos installation, the next generation immersive audio system. More than 40 QSC speakers have been specially installed and calibrated in the Auditorium by specialists from the IBC technical team.

Inside Out won almost universal praise and five star reviews from the press when it was released earlier this summer, who hailed it Pixar’s finest to date. An 11-year-old girl moves with her family from the Midwest to San Francisco, and the

emotions in her head talk to her about the new experiences she is feeling, led by Joy, voiced by Amy Poehler. As one reviewer said, “Kids and their parents, psychologists and philosophers alike are all bound to be equally intrigued and delighted.”

With the generous support of Christie, Dolby Labs, Harkness Screens, QSC & Disney Pixar, all IBC visitors are welcome at this free screening. Doors open at 18:15 for an 18:30 start, but seats are limited so arrive early at the Auditorium to be sure of your place.

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20/08/2015 14:29

For the latest show news and updates follow

10

Immersive audio and a look forward Conference Today There is a packed programme of presentations and debates today at the IBC Content Everywhere Hub. In their different ways, they are all leading up to the final session on stage, a panel discussion on what is next in reaching the online viewer.

Each day, the theatre in Hall 14 offers two debates on the hot topics of the connected world. These debates, like all events in the Hub, are free to

Broadcast and media: IBC strategic analysis Conference Today

By Chris Forester

all IBC visitors.

Today at 13:00 there is a look at matching sound to pictures. Object-based audio is taking off in a big way in cinemas: can we replicate the immersive effect of genuine surround sound through online services?

Then at 15:30 the programme wraps up for 2015 with a look forward.

From smart TVs and games consoles to phones and tablets, and now HDMI streaming dongles: the number

Head to the Hub for ABR, streaming and multi-platform delivery

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#IBCShow

of ways to get content to consumers is still expanding.

But how can broadcasters and content owners make audiences aware of what they offer? What developments in the pipeline will help?

The day’s programme also includes sessions on ABR, streaming, multi-platform delivery and much more. As always, you can find full details of the programme at www.ibcCE.org/hub, or visit the IBC Content Everywhere Hub in Hall 14.

With three days of IBC behind us, the Outlook for Broadcast and Media: IBC2015 Wrap-up session (11:30 – 13:00), is a great opportunity to highlight and review the major strategic themes throughout the exhibition and conference.

How much weight should be given to 4K and Ultra HD for most broadcasters? Has High Dynamic Range and Wide Colour Gamut dominated panel discussions, or has the focus been on broadcasting’s neverending anxiety over threats from the ‘new disruptors’.

IBC brings together all the key indicators for the direction of the broadcast and media industry over the coming years. What can we learn from the conference sessions and a technology packed exhibition?

The session’s producer, John Ive (director of Business Development and Technology at IABM) is superbly qualified to moderate, and guide the speakers to cover as much ground as possible. He says that topics under focus will include the trend towards IT-based

The EBU’s Simon Fell contextualises the market

production and delivery systems, new video formats including UHD, the ever expanding range of devices accessing video and audio, plus the implications of social integration.

In this session IBC delegates will hear from top executives who have been watching developments and have formed views on the shape the broadcast and media industry will take.

Panellists include Richard Friedel, EVP/GM, FOX Networks; Simon Fell, director of Technology & Innovation, EBU; Marco Pellegrinato, director of R&D, RTI Mediaset Group and Michelle Munson, CEO & cofounder, Aspera.

25/08/2015 12:39

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20/08/2015 14:32

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#IBCShow

Did the EBU turn down the volume on loudness?

By Florian Camerer, ORF

The experienced IBC visitor may have noticed that the EBU is not showcasing the loudness topic as much as it did five years ago.

The reason is simple: there is no immediate burning need to do so, even though the work on the topic is still continuing and spreading well beyond the scope of the EBU Group, PLOUD. The uptake of the EBU Loudness Recommendation EBU R 128 has been an enormous success since its publication at IBC in 2010. Five years later, over 80 manufacturers support the EBU’s loudness metering and normalisation approach in their products – ranging from studio meters to quality control equipment – while broadcasters in the majority of countries in Europe have started using R 128 loudness normalisation, or are in the process of doing so.

The waves this true audio revolution created have also reached major online platforms, music production and the cinema industry, even though the implementation of loudness normalisation in these latter domains is still further away from Nirvana than in European broadcasting. Several key PLOUD Members are very active in these areas which are linked to the core business of broadcasting.

Processor religion With TV being such a success, let’s look at some of the more ‘thorny’ loudness questions relevant for broadcasters. The first has to do with a myth: ‘loudness processors at the end of the chain are magic.’

They are not. And they certainly cannot do magic when they are used in standalone mode, which means without any prior knowledge of what comes along.

12 IBC D4 2015 Issue v1MDL.indd 1

It may be tempting for stations to simply put a ‘loudness box’ at the output of their facility and not (re)educate their mixers or perform transparent offline loudness normalisation, but the practical result is most likely to be ‘sausage sound’, as the processor could heavily level the audio to be sure it fits the loudness target level (-23.0 LUFS for R 128).

This is totally against the spirit of the PLOUD work, which actually promises freedom to use more dynamics (if desired), while still sounding equally loud when compared to heavily squashed programmes. The good news is that it seems awareness on this subject is raising and the concept of ‘get/mix it right at the source’ instead of ‘fix it at the end’ is gaining traction. If an end-stage loudness processor is being used, it should at least be steered by the programme schedule so it knows when to go into ‘bypass’ mode, avoiding re-normalising and thus altering already R 128 compliant material!

short-form content the Integrated Loudness target level of -23.0 LUFS (±0.5 LU) still applies, but that additionally the content cannot go above -18.0 LUFS on a Short-term or -15.0 LUFS on a Momentary loudness meter. One could argue a single recommendation for short-form content would be even better, but the limitation of the options to the above two (quite similar) normalisation approaches already should help many short-form content creators in their mixing work. The EBU strongly recommends that these parameters (summarised below) be used for every short-form programme on the continent – and even universally.

shine more light on the optimum approach, which may pave the way for future harmonisation. The EBU Momentary Meter is the industry’s de-facto standard, by the way.

Short content = short metering

Balancing ballistics

PLOUD focus

The different ways in which broadcasters handle short form content, such as commercials, promos, interstitials, etc. is another practical point to consider. In order to avoid such short pieces of content upsetting the audience by being suddenly too dynamic, stations have specified their own additional constraints on the audio mix. In an effort to harmonise these approaches, the EBU published a supplement to its loudness recommendation: R 128s1 at the beginning of the year. The ‘s’ in its name stands for supplement, not for short, although the specification can be summarised on the back of an envelope.

The basic idea is that for

Another area where harmonisation is being targeted is the small differences between the EBU and the ITU metering specifications.

Although the two are very well aligned since the adoption of the ‘EBU Mode’ into the ITU specifications, there are still some subtle differences in the specifications, including a 400 ms Infinite Impuls Response (IIR) low-pass filter that is defined in the ITU specification, but which is absent in the EBU’s Finite Impuls Response (FIR)-based only approach.

The impact on measurements is small, but the metering ballistics is different. Ongoing research at the Luleå University in Sweden may

This year, the EBU PLOUD Group has – besides the short-form specification – published new versions of its core loudness specifications, including EBU Tech 3343: Practical guidelines for Production and Implementation in accordance with EBU R 128 which allows users to profit from the experience gained in the day-today use of loudness normalisation across the globe.

The focus of the Group has largely remained on television, although several broadcasters have started using loudness normalisation in their radio facilities, too. For instance, the German public radio stations have announced to gradually switch

over to loudness normalisation in production by the end of 2015.

Another key area that has gained loudness interest over the last 12 months is online platforms.

Earlier this year, YouTube added loudness normalisation to its platform (even though at a rather high level) and portable music players. For the latter, the introduction of a loudness-based dose measure may improve both the safety and quality of the users’ audio experience.

This could directly help broadcasters, as their streamed content is more often consumed via portable devices. A single loudness level or a simple way to automatically adapt the level to loudness-normalised platforms with a different target level would streamline broadcast operations and make the audio chain more predictable.

Several PLOUD participants are actively working on this topic.

So, even though the EBU’s work on the topic may have peaked, the loudness show is far from over as yet.

The EBU’s work on Loudness is chaired by Florian Camerer (ORF).

For more information, see: https://tech.ebu.ch/ loudness

25/08/2015 12:40

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For the latest show news and updates follow

14

Sound progress for audio Conference Today

By Chris Forrester

This early morning session (Emerald: 08:30-10:00) is always one of the very best attended, which – if nothing else – shows that audio engineers can, and do, get up early for a free session, and

with a breakfast provided!

IBC regular Florian Camerer, a senior sound engineer – and something of a recognised industry guru for all things audio – at Austria’s public broadcaster ORF hosts the session. He will present a fascinating and instructive update on all that’s happening in the audio

world. He says that audio production and broadcasting are being transformed by new technologies. The next generation of audio experiences will be more immersive and better than ever before.

Camerer is a longstanding member of the Audio Engineering Society

Big Screen Experience Conference Today

By Adrian Pennington

As digital cinema approaches market saturation it promises to deliver new, exciting and enhanced presentation options and exhibition business models ranging from immersive audio to motion simulation. Today’s IBC Big Screen Experience delves into the

implications on this for filmmakers, studios and exhibitors not to mention facilities mastering the complexities of the Digital Cinema Package.

In Immersive Cinema: Picture [11:30-13:00] you can assess innovations such as Barco’s multiscreen Escape, laser projection and Dolby Cinema which combines Atmos with HDR in the company of leading practitioners including Pete LudÊ,

senior vice president of RealD. That’s followed by Immersive Cinema: Sound [14:00 – 15:30] where there’s no debate about the merits of next-generation audio systems but considerable disagreement about whether the industry can agree on a common delivery format. IBC has gathered the biggest names from all the big hitters including Barco, Dolby, IMAX and DTS. Can they reach agreement on stage?

#IBCShow

(AES), and sits on various digital cinema and television standards committees. He is an equally long-standing critic of unnecessary loudness and with a very strong desire for audio levelling!

This ‘early bird’ session, produced with the help of the EBU’s Frans De Jong, stresses how important it is that broadcasters look at new techniques and file formats to deliver and

The day closes with a farsighted review of the state of Cinema in 2020: Seeing the Future Business Today [16:00 – 17:30].

An eclectic panel of leading industry practitioners including Ian Shepherd, chief commercial officer for Odeon & UCI in the UK and Corinne Thiebaut, international customer director, Cinema & Leisure, The Coca-Cola Company will share insights into how they are inventing the future today at your local multiplex and art-house. All sessions are held at the stunning IBC Big Screen [Auditorium] and are free to IBC

produce audio in these advanced systems.

Camerer will look at the details and status for some of the latest audio and radio formats, including audio over IP, loudness normalisation and the growing interest in object-based audio for TV production. Camerer and De Jong say that, as usual, this will be a highly interactive and informative session despite the early start.

Dean Bullock, Dolby’s director, Technology Strategy, Cinema is a panellist on Immersive Cinema: Sound

badge holders. Look out for some exclusive visual and aural experiences too!

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For the latest show news and updates follow

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OPINION

Systems integration prospects and challenges As IP pervades, the SI sector is becoming more oriented towards experience and knowledge-based services than ever before, suggests Peter Thomsen, deputy managing director, Danmon Systems Group The most endearing feature of the broadcast business, particularly television, is that the underlying technology never stands still.

Over the past two decades, the main engines of change have been the transition from analogue to digital, from discrete media to file-based asset management and of course from standard definition to high definition.

Progress creates challenges and opportunity, not only for broadcasters but also for us as broadcast systems integrators.

Broadcasters are now under increasing pressure as viewing habits move forward rapidly from traditional linear broadcasting into on-demand, targeted channels

and OTT. Another factor is that the living-room TV set has for many viewers been degraded to the status of a third screen, after personal computers/tablets and smartphones.

The broadcast industry is facing fast-paced change away from dedicated broadcast technology towards softwaredriven systems running on commercial off-the-shelf IT-based servers and software-defined network infrastructure. This transition has reached the point where IP-based infrastructure looks likely to supplement SDIbased video infrastructure on an increasing scale. Looking beyond the next two to three years, that

transition could even become total.

UHD has progressed from being a subject for discussion into a basis for real business and is planned for inclusion in new TV infrastructures. A good case can be made for early investment in UHD cameras and studio facilities since this will ensure the longest possible commercial life for new productions.

UHD offers TV producers the chance to operate on a practically level playing field with digital cinematographers in terms of the quality they can deliver to their viewers. This opens up great prospects in OB coverage of sports, live-stage music events

and high-budget drama.

Workflow orchestration is becoming the key to the effective introduction of these technologies. The next challenge will be the deployment of API (application programming interface) integration to combine systems from multiple vendors via an enterprise service bus or maybe via the FIMS (Framework for Interoperability of Media Services) project.

The impact on the systems integration sector is that our offer is becoming more oriented towards delivering experience and knowledge-based services than ever before. Success is about exploring the many

New faces: The PIX-E has the ability to record 2 HUK (WWSL 7YV9LZ ?8 LKP[ YLHK` Ă„ SLZ

New PIX record 4K in the ďŹ eld Sound Devices

By Mark Hallinger

The complete line of portable PIX-E 4K recording field monitors and accessories is making its European debut. Video Devices, a brand of video products developed

by Sound Devices, is showing the range, which includes two five-inch models, PIX-E5 and PIX-E5H, as well as the seven-inch PIX-E7.

Video Devices is also highlighting several PIX-E accessories, including its PIX-LR audio interface and the

16 IBC D4 2015 Issue v2MDL.indd 1

SpeedDrive recording and filedelivery enclosure.

The company said the PIX-E Series was designed to cater to the diverse needs of a range of production professionals – from camera operators to video assist technicians. It is equipped with a suite of precision monitoring tools, plus the ability to record 4K and Apple ProRes 4444 XQ edit-ready files to nonproprietary affordable mSATAbased SpeedDrives.

The five-inch models are best utilised for smaller format DSLRs, while the seven-inch model is

ideally suited for larger cameras.

Both the PIX-E5 and PIX-E7 models have SDI and HDMI I/O, while the PIX-E5H has HDMI I/O only.

SpeedDrive is a unique PIX-E accessory that streamlines the filedelivery process by eliminating the need for special card readers or docking stations. When connected

opportunities arising from combining technology in original ways. It is about best practice and resources to transform ideas into reality.

The increasing speed of change in technology, the need to meet competition, protect market-share and move fast to harvest new opportunities, all call for external expertise/resources.

Partnering with Danmon Systems Group in its systems integration role allows new ideas to be implemented quickly and coherently into real systems.

8.B51

to the rear of the monitor, the SpeedDrive’s USB 3.0 interface automatically switches to a SATA interface. Users can simply unplug it from the back of PIX-E and plug it into any USB computer port to transfer data at very fast USB 3.0 rates.

When incorporating the PIX-LR accessory, users are afforded

greater functionality and usability in the field. The PIX-LR audio interface brings high-quality audio to the monitor with two XLR inputs and outputs, featuring Sound Devices-calibre mic preamps, accurate LED metering, and dedicated transport and gain controls.

8.B59

25/08/2015 12:41

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20/08/2015 14:40

18

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OPINION

TICO lightweight compression explained Solving the challenge of moving live Ultra HD/4K over IP and SDI infrastructures: Gaël Rouvroy, chief technical officer, intoPIX Ultra HD data rates get astronomical for uncompressed formats. Moving to IP, we look at building cost effective and sustainable infrastructure. The growing TICO alliance that was recently created to ease Ultra HD adoption over the current SDI and the new IP-based infrastructures is a coalition of leading companies supporting intoPIX’s effort to promote TICO compression for UHD workflows, including Altera, Artel Video Systems, Embrionix, EVS, Grass Valley, Image Matters, Imagine Communications, Keisoku Giken,

18 IBC D4 2015 Issue v1MDL.indd 1

Macnica Americas, Nevion, Ross Video, Tektronix, Xilinx and more.

TICO helps broadcasters to fully benefit from a seamless, integrated and high-quality Ultra HD ecosystem from endto-end. With a visually lossless compression up to 4:1, TICO enables the mapping of a single Ultra HD/4K 2160p60 stream over a single 3G-SDI link. Over 10Gbps Ethernet, it allows the simultaneous transmission of up to three streams of 4K/UHD 2160p60.

TICO provides an extremely low latency, limited to just a few

pixel lines; preserves video quality across multiple generations of encoding/decoding; fits into the smallest cost effective FPGA devices and runs also efficiently in software. This technology is designed to enhance live IP systems by increasing efficiency and reducing cost for both HD and Ultra HD/4K video.

Early this year, the creation of a Registered Disclosure Document (RDD) at SMPTE was announced to ease the integration process of all adopters and supporters of the TICO compression. This RDD shares recommendations to

map Ultra HD/4K TICO streams over 3G-SDI or IP networked infrastructures.

The members of the TICO alliance have been closely collaborating with intoPIX on the SMPTE RDD draft document and we are glad to see first implementations at IBC this year.

I am glad to be here at IBC2015. The industry is moving on to what is sure to be one of the biggest technology trends over the next five plus years.

The smart TICO compression

technology is a great example of how we are pushing as technology provider the boundaries and contributing towards the move to full IP infrastructure supporting HD but also 4K and 8K. We are releasing several versions of the Tiny codec ‘TICO’ including HD and Ultra HD with 4:2:2 or 4:4:4 at 60 and 120Hz on both FPGA and CPU. Keep an eye on intoPIX and on TICO Alliance for more info at IBC2015.

10.D31d

25/08/2015 12:42

19

Published on behalf of the IBC Partnership by

OPINION

Cloud is not the archive panacea Cloud solutions are capacity-prohibitive, argue Shawn Brume (IBM), Terry Cochran (Quantum) and Laura Loredo (HP) Storage has long been a topic of discussion and debate in the media world, and as the volume of data in entertainment increases, so does the importance of the creation, management and delivery of digital content on a global level. Some argue that cloud-based storage services are the ultimate solution to the expanding base of content coming from industries that produce electronic media.

However, this isn’t necessarily true – cloud solutions are in fact notorious for being cost and capacity-prohibitive in many cases, not to mention vulnerable.

Data managers evaluating potential solutions for more secure, long-term data storage aren’t always educated on all the

19 IBC D4 2015 Issue v2MDL.indd 1

options available. With the current focus on disk and cloud-based backup technologies, many don’t even consider tape storage, even though tape has the cost, capacity and security measures to meet the needs of today’s media businesses.

A primary question data managers must answer is how long organisations plan on keeping data, and how often they will need to access it. Typically, the longer you seek to keep data, the more tape becomes a perfect storage solution. In addition, a tape drive or tape library is infinitely scalable.

According to Coughlin Associates, the required digital storage capacity used in the entertainment industry alone is

expected to increase by more than 500% between 2013 and 2018. This explosion of storage capacity means those responsible for preserving content are finding a need to reevaluate the safety and manageability of their systems. LTO offers its customers in electronic media and entertainment a reliable and cost-effective way to meet these storage capacity demands while increasing efficiency and security.

Cost is always a barrier to overcome when implementing new processes or systems.

With a record-low cost, LTO tape translates to just roughly .8 cents per gigabyte. And with a compressed capacity of up to 6.25TB, this makes LTO technology the most cost-effective

storage option on the market today. LTO technology also offers customers a reliable, and portable, medium for offline storage, and also uses LTFS – a method of accessing tape files that function much like accessing disk or memory stick files.

This system combats the myth that tape storage is only appropriate for archival purposes, storing a mass of cold data never again used by the organisation.

In reality, tape can function as an active archive with easy access.

As content continues to expand, so does LTO’s technology and capabilities. Tape innovation is an ongoing effort, and with successive generations consistently producing larger capacities, LTO tape is keeping

Shawn Brume, IBM

Terry Cochran, Quantum

Laura Loredo, HP

up with today’s technology and enterprise demand by providing solutions that can accommodate the vast amount of content created in today’s world of electronic media and entertainment.

9.C35

25/08/2015 12:42

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Structure-speciďŹ c FM antennas AlanDick Broadcast Ltd. (ADBL)

Video boost for PAM PiCo TSL Products

manufacturer, TSL Products, is showcasing the latest enhancements to its product range including PAM PiCo Touch Media, which adds

By Heather McLean

By Mark Hallinger

Broadcast equipment

Two new FM antennas are being showcased at IBC. The company said these antennas – a Shared Aperture FM Crossbow and a FM Spearhead – were specifically developed to meet environmental concerns and zoning and planning restrictions.

The FM Crossbow antenna provides an omnidirectional horizontal radiation pattern from an array of four panels mounted around a square structure. The FM Spearhead is ideal for triangular structures and provides an omnidirectional radiation pattern from a selection of three panels.

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

The systems were range tested to optimise the RF performance of the combined DAB/FM antennas. ADBL is also showcasing its VHF BIII mask filter/combiner and popular UHF and FM units and towers.

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a touch-controlled video waveform monitor to the PAM PiCo monitoring family, and file-based audio solution Phinix. Also on show are

enhancements to the flagship Tallyman broadcast control systems.

The company is also showcasing its Soundfield microphones and Integrated Display Systems (IDS).

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25/08/2015 12:43

22

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OPINION

Streamlining the broadcast workflow IHSE managing director Enno Littmann outlines the way broadcasters are increasing operational efficiency using KVM matrix switching KVM matrix switches are becoming an essential element in broadcast facilities. They provide operators and production staff with unlimited and highly flexible access to broadcast devices and tools; delivering ease-ofuse, economy of installation and future-proofing the installation.

KVM matrix switches connect user workstations to a bank of computer-based broadcast devices, such as editing tools, servers, audio controllers and playout schedulers. Each system can be individually accessed as though the user were connected locally, even though the device may be situated in an equipment room hundreds of metres (even kilometres) away.

The KVM matrix switch is akin to the video router: connecting sources to workstations through a crosspoint matrix with instant switching, free access and adding no inherent delay or

corruption.

We call the process: ‘Streamlining the broadcast workflow’. It enables rapid and uninhibited access to broadcast and production devices within the workflow from anywhere in the facility. The connections established by the matrix switch can be managed in a number of ways: in-band CPU selection by keyboard hotkeys, central administrator control via a network using a GUI or through integration with standard broadcast control systems such as VSM and KSC Commander.

Several major broadcast studios, including BT Sport and France Télévisions, have developed new approaches to studio infrastructure and built their new complexes around large KVM matrix switches.

Rather than being restricted by a fixed and inflexible layout, users can connect personal

workstations to remote broadcast devices as and when needed. In this way, studios and work areas can be dynamically and instantly configured to meet the needs of users. Operators can reach any device without moving and applications can be shared more easily, making more efficient use of user-application licences.

Space and power consumption are limited within OB vans so methods of reducing these are welcome. A technique that is becoming common, and recently adopted by Videohouse, VRT, NEP, Game Creek and others, is to deploy a KVM matrix switch to create universal and flexible operator consoles in place of fixed-purpose workplaces.

This delivers enormous benefits to operators. Individual workstations can be used for any function and easily

Intelligent acoustic auto-calibration Genelec

By Mark Hallinger

The Smart Active Monitoring (SAM) range from Genelec promises to offer automatic acoustic calibration for up to 25 speakers and five subwoofers.

It is thus ideal for multichannel systems, claimed the company.

SAM technology automatically optimises and aligns each monitor and subwoofer for relative levels, time of flight, subwoofer crossover phase as well as individual room response compensations Three such products are being demoed in Hall 8, in a small 3D audio set-up showcasing their potential.

The 8320A is a two-way speaker with a 4-inch bass driver and three quarter-inch tweeter.

22 IBC D4 2015 Issue v1MDL.indd 1

The 8330A is also a two-way system with a 5-inch bass driver and 3-inch tweeter. These can be complemented by the 7350A, a subwoofer featuring an 8-inch drive unit in Genelec´s patented Laminar Spiral Enclosure (LSE) cabinet.

They are controlled by the Genelec Loudspeaker Manager (GLM) software, which in turn contains the AutoCal program. The AutoCal algorithm has been designed on the basis of several hundreds of measurements made in control rooms all over the world. This system allows the user to acoustically

calibrate monitors with a few key strokes on a computer, eliminating the need to bring in experts to perform these tasks, said the company

reassigned, which is attractive to multi-purpose truck operations.

The total number of monitors, keyboards and mice and consequent desk ‘clutter’ is reduced, and equipment layout optimised; bringing massive space, weight, heat and power savings.

Post production studios and edit houses, including Sonic Magic studios, Shapeshifter Post and Skywalker, make use of KVM switching to create universal edit suites that can be assigned as required, rather than designated to a particular role. Equipment is easily shared and assets are managed centrally, leading

Integrated visual radio Lawo

8.D61

By Mark Hallinger

Flexible friend: The two-way 8320A employs SAM technology to deal with small room acoustics

to cost savings and greater efficiencies.

We expect KVM switching to become even more important throughout the industry, driving the requirement for ever-larger KVM matrix switches such as the new Draco tera enterprise 576. Greater emphasis will be placed on access and control of devices within the broadcast workflow. Higher resolution video is also being deployed, requiring high performance 4K/UHD KVM extension solutions with full frame rate and deep colour support; which has led to the new Draco ultra DP KVM extender family.

7.B30

An integrated solution for ‘visual radio’, which creates video and audio web streams in parallel to normal radio playout, is being showcased.

The system, comprised of Lawo’s video and radio/onair components, allows easy integration of cameras and video clip servers into the radio production workflow.

The touchscreen operation, via Lawo’s VisTool visualisation software in combination with customisable routines, allows visual radio-shows to be realised without any operator

intervention.

Studio participants speak into the microphones and the video follows. The participants can monitor their appearance during the broadcast as the camera signals, and the final video mix can be displayed on monitors around the studio.

In addition to visual radio, the same concept can be used to provide fully automated audio and video coverage of sporting events, parliamentary meetings, and surveillance applications.

Lawo’s Visual Radio solution includes video-over-IP coding engines for several standards including H.264 and M-JPEG. 8.B50

25/08/2015 12:44

23

Published on behalf of the IBC Partnership by

OPINION

The IP production learning curve Live IP production has got to work first time, every time says John Smith, head of EMEA, Media Links When it comes to IP for both remote and studio production, the key issues have always been and still are: latency, how to get all the signals to arrive on time and in the right order with no packet loss.

Achieving this generates cash for the complete supply chain.

Basically, itâ&#x20AC;&#x2122;s got to work first time, every time, as you canâ&#x20AC;&#x2122;t ask Usain Bolt to run twice because the kit went down!

Media Links has been working in this area since 1993 predominantly within the telco market supplying the solutions that enabled content creators to transport their product seamlessly across the fibre networks. The learning curve has been steep, as the world of technology

changes on a daily basis and it has been necessary to keep up with the changing demands of what formats are required and to where, plus the need for simultaneous multi-format capability too.

The focus needs to be on how to get the information, to the right device, on time and in a format everyone can understand. The telco market is demanding in this regard, particularly in the area of data. The solution lies in taking advantage of the falling prices of bandwidth plus the increased quality in video codecs and ultralow latency delivery across WAN network infrastructure.

Using this model means broadcasters no longer need

to carry the high cost of producing live events on-site. The technology is available now, to enable broadcasters and network providers to convert and move the complete suite of broadcast signals â&#x20AC;&#x201C; whether video, audio or data â&#x20AC;&#x201C; onto their multi-service IP/ Ethernet networks. By using this remote production model, both 4K/60P, HD-SDI/3G-SDI camera feeds and data traffic can be sent from the remote venues directly to the studio, where all production and editing can take place.

The Media Links MD8000 video over IP media transport and switching solutions, and the ProMD NMS Network Management System provide an efficient and reliable way

of moving content between shooting locations and the broadcast studio.

As a result, utilisation of bandwidth is enhanced and media connectivity can be maximised over the entire IP network and over long distances.

A hitless switching technology prevents packet loss, resulting in zero dropped video packets during event and productions.

The companyâ&#x20AC;&#x2122;s solutions are deployed globally by broadcasters, and major telcos

and recently have been used to provide live content contribution for the Sochi Winter games and World Cup football, experiencing 100% uptime.

In fact, Media Links has provided the backbone technology behind many major events around the globe, learning from each one.

We are now ready to share our knowledge and expertise with the EMEA Market. Come and visit us at IBC. 1.C31

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" 23 IBC D4 2015 Issue v1MDL.indd 1

25/08/2015 12:45

For the latest show news and updates follow

24

#IBCShow

FIMS: out of the box components for interoperable media workflows

By Jean-Pierre Evain (EBU), Loic Barbou (Triskel), Richard Cartwright (Quantel) and Abbe Wiesenthal (Turner)

IBC2015 offers the perfect venue to update the broadcasting community on FIMS (Framework for Interoperable Media Services) initiatives. FIMS is a joint project of the Advanced Media Workflow Association (AMWA) and the European Broadcasting Union (EBU) with a membership of more than 100 companies.

A lot has taken place since the project first won the IBC Judges’ prize in 2012. Not only have we significantly enriched our technical specifications, but more importantly, vendors now recognise the value of the proposition and are offering FIMS-compliant products.

Why FIMS? The current media landscape mandates that companies address a constantly accelerating rate of change of technologies for media creation and consumption, with increasing consumer expectations and a proliferation of delivery platforms and formats. Business models need to be easily adaptable to sustain the change and support content creativity as well as technical innovation, such as the shift from file-based to IP stream-based workflows.

Streamlined Media Supply Chains must be put in place for generating and managing large quantities of video and audio in different formats to suit the requirements of different regulatory environments, regional and cultural audiences and distribution platforms. In the past, as these systems evolved, media flows were tightly coupled to the technologies, resistant to the changing business environment. This must be simplified to achieve modern efficiency, hence the creation of FIMS. FIMS defines open services that are loosely coupled, enabling multi-vendor services to be integrated and creating ‘bestin-class’ media systems. The bottom line is that implementing FIMS’ framework provides agility, interoperability, interchangeability and reusability of media related

24 IBC D4 2015 Issue v1MDL.indd 1

services. In order to achieve this, great attention is devoted to the decomposition of systems into business processing units that are highly re-usable if exposed as services through common interfaces.

Two services that expose the same interface can be considered interchangeable and equivalently, two services that implement the same business function must expose the same interface. This greatly reduces the number of interfaces that must be implemented to connect different components on a composite system. Another important characteristic of this Service-Oriented Architecture is to keep business process logic separate from service implementation. FIMS interfaces can abstract vendor interfaces but vendors can also natively implement FIMS.

Synchronously or asynchronously The FIMS specification has been developed for media and is aware of long-running processes. FIMS supports processes to run synchronously or asynchronously. Associated job management functionalities include control for prioritisation, status monitoring and fault management.

A job request contains all the parameters needed for its execution, optionally a description of the media content on which the command operates, and the execution parameters grouped into profiles. It also provides an extension mechanism for the inclusion of vendor/user specific parameters where needed.

The Orchestration System calls Media Services via FIMS interfaces over the IT network using a web services protocol such as SOAP, or accessing RESTful HTTP resources, and combines them in agile workflows.

FIMS supports the management of partial content and will soon support “growing” content in the context of live IP production. Beyond the service-based infrastructure, FIMS is also a strong data model for flawless management

of technical and descriptive information in the workflow. The FIMS data model is based on EBUCore (see: https://tech.ebu. ch/MetadataEbuCore).

Interfaces for basic media services FIMS follows an established process. Under the leadership of Cognizant, the FIMS Business Board, exclusively composed of users, defines the requirements and priorities and charters new FIMS Services. The FIMS Technical Board, chaired by Bloomberg/Triskel, defines and realises the specifications. The continuity and coherence in the development of successive specification is ensured by the FIMS Architecture Council led

by Quantel.

FIMS 1.2 already provides the definition of the following interfaces for basic media services: • Transfer service: to copy or, optionally, move one or more files to another location. Five different transfer protocols are permitted: HTTP, HTTPS, FTP, SFTP and FILE. • Transform service: to alter essence and container formats.

The main intended usage is transcoding or transwrapping of media files but it can be easily extended to provide other types of transformations, like cropping, filtering or colour grading.

• Capture service: to convert stream-based realtime input such as HD-SDI or RTP to one or more files. It is based on the transform service adding provision for realtime input handling, including manual start/ stop or bound-to-time events.

• Repository service: provides the basic CRUD (create, read, update, delete) functionalities needed to manage persistent assets and their related metadata. The interface also provides all functionalities that a workflow engine needs to query and retrieve media assets from storage, including job monitoring and repository capabilities.

• Quality analysis (QA): The QA interface provides the basic mechanisms to identify the capabilities of a quality control tool, control commands and also

Jean-Pierre Evain, EBU: FIMS is a joint project of AMWA and EBU with a membership of more than 100 companies

a common report format. This interface has been developed in strong cooperation with EBU QC (Quality Control). FIMS QA is the first interface that uses resources other than content, i.e. test templates and reports.

FIMS QA is also the first FIMS service providing extended service capability discovery following the recommendations of SMPTE 2071.

• Partial content: Content parts defining long varying timelines can now be combined for uses such as non-linear editing.

Mechanisms are now provided to manage the genealogy of content (where is content or part of content coming from, parent/ child relationships).

FIMS 1.3 is already announced with more: • Automatic Metadata Extraction: The AME interface allows discovering capabilities and drives automatic metadata extraction tools.

• Semantic metadata: The intention is to extend the existing FIMS data model into a semantic model to benefit from scalability and extensibility of semantic web to facilitate mapping and customisation.

• Extended discovery of service capabilities: The work on service capability discovery started for quality analysis will be extended to other services.

• IMF, UK-DPP AS-11, etc.: This is also on FIMS’ agenda and work is already in progress.

Why not join now?

With FIMS, there is now an interoperable solution for

interfacing orchestration engines and services. The main shortterm advantages of FIMS for users are: • Clean, consistent and vendor-independent design of component interfaces.

• Ability for vendors to leverage the flexible and generic FIMS interface to expose their products’ APIs as a standardised and robust interface that seamlessly integrates with other compliant products for media exchange.

• Minimisation of integration costs and system complexity for media organisations through standardising operations for storing media assets in a vendor independent way.

More substantial advantages are expected in the mid-term with a growing market adoption of FIMS. Standardised interfaces provide ease of maintenance, scalability and repurposing of systems with the freedom to always choose best of breed products.

Equipment vendors, MAM solution providers and integrators are now acknowledging the value of FIMS. Learn more on the FIMS channel (https://www. youtube.com/channel/ UChWrxCykI9mznxo3iYTonyg) with presentations from FIMS implementers and promoters.

Video guidelines are also available.

The official FIMS website provides a wealth of information at http://fims.tv. There is also a LinkedIn FIMS SOA User group periodically communicating recent news.

25/08/2015 12:45

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Io 4K utilizes AJA’s proven driver and plug-in technology for compatibility with a wide range of production, editing, graphics, and broadcast software packages for a seamless workflow solution.

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

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20/08/2015 14:41

For the latest show news and updates follow

26

#IBCShow

OPINION

Managing ‘cross platform’ workflows Chris Steele, managing director, Marquis Broadcast Managing ‘cross platform’ workflows presents various challenges due to the many integration issues. Media needs to be found, edited and delivered and each stage of the process presents its own issues.

Ideally, editors need to be able to search, browse, select and bring media into edit, without copying, transcoding or re-wrapping. However, at the moment, not every edit system is able to handle every flavour of media. This situation is getting worse as new capture formats frequently appear.

Broadcasters appreciate these challenges and many are moving towards one type of storage, format and set of management tools. Yet, creating a mammoth single media storage and MAM presents its own issues as by its nature it is a fragile single point of failure. The bigger the media store, the more critical is the metadata search

capability; there is no point having several petabytes of media online if you can’t find what you need.

The global nature of broadcasting today compounds this problem.

Washington may want to edit something that has been created in Singapore.

It might be stored on Avid but needs to be edited in Adobe Premiere Pro. With multi-storage locations and platforms how can media be stored without unnecessary duplication?

Storing and finding media is one issue, ensuring it is in a format ready for editing is another. Delivery can also present the same cross manufacturer integration issues but in reverse. There will be a set of requirements for the delivered media and metadata. For example, delivery to a news system may need to be to a precreated placeholder. Metadata needs to be sent to the MAM

but metadata schemes are unique to each facility, making multi-location workflows complex.

Comprehensive solutions are only going to become available if manufacturers of the various systems and tools support all available media formats, and can exchange and preserve metadata and rich sequence information.

For example: a sophisticated federated search – the ability to search across multiple storage platforms and MAMs – would not only allow you to find media in Singapore, but could let you know if someone else locally has recently moved it closer to you or into the format you require.

Such comprehensive solutions will require unprecedented collaboration between manufacturers, driven by considerable customer pressure. They will also have significant cost.

Until then, point solutions will have to do.

Marquis has recently developed Edit Bridge, which enables the seamless

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26 IBC D4 2015 Issue v1MDL.indd 1

nevion.com

integration of Adobe Premiere Pro and After Effects CC in an Avid Interplay environment.

Edit Bridge makes it possible to edit Interplay content directly in Adobe Premiere Pro or After Effects.

Users can search Avid Interplay from within the Premiere or After Effects interface, view thumbnails, find media and select for editing.

Content in the correct codec is streamed direct to Premiere or After Effects for immediate editing, while other content is copied and re-wrapped. Delivery of the completed story back to ISIS is achieved with Interplay ‘Check In’.

By taking care of the technical know-how, we enable editors to focus on the business of creativity.

Come and chat to us about our solutions at IBC2015.

2.A58

25/08/2015 12:46

27

Published on behalf of the IBC Partnership by

Fluid heads in Focus Cartoni

illuminated level bubble, 100mm ball base fittings, and use a Euro-style, quick-release

plate compatible with all leading tripod manufacturers, while the 1.8kg Focus 8 can

support up to 8kg, has a 75mm ball base and a sliding plate compatible with Sachtler

ACE and Manfrotto standard plates.

11.E30

By David Fox

Celebrating its 80th anniversary at IBC, Cartoni has introduced four new fluid heads for lightweight cameras.

The Focus Fluid Heads are designed for todayâ&#x20AC;&#x2122;s smaller, lighter highperformance cameras. The four heads, Focus 8, Focus 12, Focus 18 and Focus 22, accommodate payloads ranging from 0 to 22kg.

The lightweight magnesium alloy heads use Cartoniâ&#x20AC;&#x2122;s patented counterbalance system, come with a fiveyear warranty, and are intended for a wide range of applications, from news gathering and documentary production to drama and studio use. â&#x20AC;&#x153;Camera operators will be inspired by the smooth fluid feel of our new Focus range,â&#x20AC;? claimed Cartoni CEO, Elisabetta Cartoni. â&#x20AC;&#x153;The fluid sensation is one that can only be delivered by a perfect counterbalance system.

The heads are ultra light, yet, through their simple ergonomic settings, provide perfect performance every time.â&#x20AC;?

The Focus 12, 18 and 22 come with a switchable,

Meet us at IBC Stand #10.D29

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27 IBC D4 2015 Issue v1MDL.indd 1

25/08/2015 12:46

28

For the latest show news and updates follow

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Studio cameras undergo a conceptual shift in 2015

By Douglas I Sheer

The concept of the studio camera has come under extreme scrutiny and a substantial technical overhaul in the past few years and this has been accelerated by the drive to adopt 4K, 8K, cine uses and high speed applications for sports. As a result, the socalled studio camera may never be the same.

At one time it stood for a level of broadcast quality which set it apart from camcorders or field cameras and had little in common with the rise of digital cinematography cameras.

That distinction is getting quite murky and it is the quality of the desired signal and not the setting – indoors versus outdoors, for example – that is the main determining factor today.

These changes are reflected by the new edition of Studio/ Box Cameras World 2015 which was published in August by D.I.S. Consulting of Woodstock, New York. The study looked at studio and box (POV/PTZ) camera use among seven vertical segments, worldwide. Those were broadcast/cable, production/ post, mobile/OB, event video, independents, institutional sites and rental houses. In all, 1,583 professional end-users answered the online survey.

One factor that has helped reinvigorate camera sales and drive 4K adoption has been the advent a year ago of a series of studio models which can utilise 35mm sensors for Ultra High Definition yet accommodate 2/3-inch lenses, allowing legacy lenses to be mounted. That has saved stations, networks and mobile truck operators to repurpose very expensive long lenses and motorised zoom box lenses on new cameras that deliver 4K or 8K. For users this has been seen as a breakthrough in

28 IBC D4 2015 Issue v1MDL.indd 1

their desire to upgrade to 4K and later 8K and prevented them from having to dump expensive 2/3-inch lenses for new 35mm ones. Leading this charge has been Hitachi but they were soon followed

by Sony and Ikegami. Now others are planning to follow suit. Hitachi was rewarded for its innovation, last year, when 50 units of its model SKUHD4000 were purchased by Gearhouse in the UK. Cinematography cameras which produce 4K or other UHD signals have also begun to find their way into heretofore broadcast and institutional settings where their often inexpensive competitors – when compared with traditional studio models – are finding buyers.

Prices have also been a surprising factor this year, and the report showed prices in steep decreases to the apparent delight of end-users and chagrin of manufacturers.

Part of this phenomenon has been driven by Blackmagic Design who introduced what they call their Studio Camera for only $1,995USD for HD and $2,995 for 4K. The days of the $100,000 plus studio camera are numbered.

Using a micro four thirds sensor and deliverable with or adaptable to third party lenses, the Blackmagic model has set a new – low – bar for pricing in the category and driven competitors to go lower in their pricing as well, challenging their ability to earn profits in the category. The camera had a few early shortcomings, such as lacking a 720p setting, but that has since been provided.

Whether this camera will be widely adopted for true TV station use or on trucks remains to be seen, but its arrival has shaken things up considerably. And, its true application may be institutional where budgets are limited.

Proliferation of cameras and media With technical changes in the industry occurring at such a rapid pace, the new studio camera study’s responses on desired features reveal interesting clues to what broadcasters and others are seeking in their next cameras.

Among the most desired camera features considered for purchase in the next year are: HD capability, 4K/UHD, compact size, built-in settings and lens quality, respectively.

In Box/POV/PTZ cameras the main sales driver has been greater robotics use and intense demands in sporting applications, such as for overhead cameras and cameras in fixed, operatorless locations such as end zones and where multiple views are being increasingly offered as choices for viewers.

Additionally, some models are entering the market offering UHD level resolution or higher, though those applications remain the exception to the rule.

If 4K is being adopted so

quickly, can 8K be far behind?

With the relative success being enjoyed by 4K (and in cine other versions of UHD), it seems inevitable that 8K adoption could follow suit.

Some survey respondents were interested in 8K, but not many. And, the existence of actual owned/installed units remains rare. But, there are manufacturers like Sony, Ikegami and others testing the waters for the 8K level of resolution in studio models.

While the so-called studio camera is, by its imprimatur, found most commonly in a TV station or on an OB truck, that no longer defines its use.

Such cameras are increasingly found in churches, corporate studios, universities, sports use and even in wedding and events capture.

Where independents are producing episodic TV, they may more and more turn to multiple camera systems, utilising servo-zoom lenses and run things through a switcher than in the single-camera ‘filmstyle’ past. Even rental houses are now better able to rent

them out, as they have become lighter, more compact, more likely to deliver 4K and more likely to accommodate a wider range of lenses than ever before.

With the proliferation of flash media such as SD cards, solid state recorders and hard drives, recording has become almost as easy with a studio camera as it had been with a camcorder, making that traditional distinction – camcorders have selfcontained recording versus studio cameras do not – somewhat outmoded.

As studio models have become smaller and lighter, the lenses are increasingly heavier and bulkier than the cameras, a reverse of the old days.

Today, users are more likely to have a camera hanging off their lens than a lens off their camera.

Douglas I. Sheer is CEO and chief analyst of D.I.S. Consulting and may be reached at dougsheer@gmail.com

25/08/2015 12:47

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

30

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OPINION

Toward universal AoIP Does the AES67 standard guarantee interoperability for realtime Audio over IP? Mikael Vest, sales director, NTP Technology, explores the question The purpose of any new technology is to provide advanced capabilities to users.

Standardisation has proved in many cases the best way to develop new technical systems in a coherent manner. As a general rule, it ensures technical functionality and specifications are in place for equipment to work in the real world where equipment comes from a multiplicity of manufacturers.

Standardisation is in most cases driven by organisations supported on an industry-wide basis by manufacturers, serviceproviders, research facilities and their various customers.

But there is another important factor influencing technical progress. Many manufacturers conduct research and develop new technology on their own

initiative. In some cases this technology is made available to other manufacturers under license and in that way becomes a de facto standard.

So where does this leave us with regards to realtime audio over IP? The enabling technology has been available in various forms for Ethernet Layer 2 since Park Audio’s CobraNet was introduced in 1996, followed by other proprietary formats such as Livewire from the Axia Audio division of Telos, Q-Lan from QSC and WheatNet-IP from Wheatstone. Audinate’s Dante appeared in 2006 and ALC’s Ravenna in 2010, both based on IP Layer 3.

The only actual standard until recently has been the Audio Video Bridging (AVB) set of recommendations promoted

by the Institute of Electrical & Electronics Engineers in cooperation with the AVnu alliance. The IEEE’s AVB is based in IP Layer 2.

More recently, the AES67 standard has been developed by a task group within the Audio Engineering Society. This is based on Layer 3 standards like IEEE1588 for peer-to-peer distribution and clocking via the network interface, and a number of other well defined standards for audio packet formatting and so on.

However the very important service definition information contained in service definition packages (SDPs) specifies the setting of AES67 devices in the network in order to be able to have these connected in a service. This information

is allowed to be a number of different formats which are not mutually compatible.

The current situation is that manufacturers which initially offered AoIP designs based on Ravenna have chosen one variant of the SDP which is coherent with the Ravenna specification.

Now, with Dante also supporting AES67, the SDP format chosen is in accordance with one of the other options in AES67. That option is more in line with the Dante implementation but in practice these two systems are not compatible in a real-life AoIP

Aldea wins with Kyrion encoder ATEME

By Ian McMurray

Video networking services Aldea Solutions chose the ATEME Kyrion CM5000 encoders to stream the Pan American Games to its customers throughout the Americas.

The Kyrion encoder is designed for low latency streaming over fibre, OTT and satellite networks, and features ultra-fast-boot, main screen and ABR outputs, together with integrated Automatic Repeat reQuest (ARQ).

It is based on ATEME’s 5th Generation STREAM compression engine, which the company claimed delivers

the highest video quality at minimum bitrates using ultralow latency.

ATEME described the Kyrion CM5000 as a futureproof solution, with an HEVC software-upgradeable option.

“The Pan American games is a high profile event, carried by leading TV broadcasters throughout the Americas,” said Lionel Bentolila, CEO of Aldea.

network. Similar issues exist for other proprietary formats that have moved towards AES67 compliance.

So is interoperability for realtime AoIP systems compliant to the AES67 standard guaranteed? The answer is no!

The only way to proceed towards the goal of true standardisation in this context is to continue the preliminary work so that users can benefit from the full potential of an effectively universal AoIP networking system.

8.B51

Lord of low latency: The ‘futureproof’ Kyrion CM5000 encoder

“The ATEME Kyrion ensures high quality and guaranteed proven interoperability with various decoders and transcoders used by our customers.”

“The Kyrion has become a synonym for major sports events distribution,” said Rémi Beaudouin, vice president of

marketing at ATEME. “Kyrion encoders are streaming thousands of hours of sporting events worldwide, from baseball, soccer, regional games, to the Olympics. With the Kyrion ultra low latency and high video quality, viewers are truly ‘living’ the event.”

1.D71

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30 IBC D4 2015 Issue v1MDL.indd 1

25/08/2015 12:48

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DTT localisation CMS unveiled Enensys Technologies

AdsEdge allows local content to be inserted prior to transmission

By Will Strauss

A new content management system that gives DTT broadcasters the chance to localise their output before it is delivered to viewers is being debuted at IBC. AdsEdge from Enensys Technologies allows local content, such as adverts, news and weather forecasts, to be inserted at the final stage of transmission.

It is based on the use of SCTE 35 ad break markers and enables locally targeted content to be inserted at the edge of the content delivery process – at the transmitter site – within a DTT single frequency network environment. It is compatible with any terrestrial network, including those using DVB-T, DVB-T2 or ISDB-T. AdsEdge works with Enensys’ HDc chassis platform.

The SCTE 35 signal triggers an ad break. It appears in the video bitstream and can contain data about the ads, the length of the break and other metadata. SCTE-104 is the equivalent in the broadcast realm.

Enensys is also showing OneBeam, for delivering Direct to Home (DTH) TV and DVB-T2 distribution over one satellite feed.

OneBeam uses Enensys technology at both national and regional sites, providing a single feed with no modification of the A/V stream.

OneBeam is central to Enensys’ DTH network optimisation capabilities. In 2015 the company launched OneBeam ISDB-Tb which provides additional benefits to Latin American markets.

Enensys Technologies systems sit between encoding/ multiplexing and transmission, aiding signal distribution over a wide variety of networks including IP.

The Perfect Couple Automated Playout. Quality Compression. Together At Last.

Meet FUZE-1. It merges fully automated channel origination with premium encoding and transcoding.

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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.

VISIT US @

BOOTH A10 – HALL 14

behindeveryscreen.com | thomson-networks.com

2.A31

31 IBC D4 2015 Issue v1MDL.indd 1

25/08/2015 12:48

#IBCShow

For the latest show news and updates follow

32

OPINION

Unlocking unattained value ...and the challenge of unlimited shelf space. Thatâ&#x20AC;&#x2122;s the future of content distribution according to Jay Samit, CEO, SeaChange With 64% of millennials consuming content on multiple screens at the same time, the question of where one consumes media has been replaced by how one consumes media. The so-called second screen is now becoming the primary screen on which most viewers get their news and stay connected to their world.

Proof of this disrupted landscape can also be found in who is cord-cutting, who is timeshifting, and who is demanding unbundled programming. Social media has further impacted the shifting dynamics of content consumption, allowing friends to share the viewing experience with one another and with their broader communities.

Television programming is the

number one topic on Twitter, and dozens of startups in the social space are linking second screen experiences. Multiparty video chat companies such as ooVoo and Hangouts are enabling friends all around the globe to watch videos together and chat.

Consumers are becoming rebroadcasters, and distribution of content is slipping past artificially constructed walls and borders.

People no longer need to sit on the same couch to enjoy shared experiences. The disruption in the distribution of television programming is also affecting how shows are produced, marketed, and designed. Smart TVs and second screen apps are evolving every day to more efficiently match advertisers to viewers, and

viewers to the programming they desire.

A new generation of entrepreneurs is creating opportunities for connections around the content without ever being tied to the cost of creating that content. Just as eBay mastered physical distribution without owning the products or the trucks that delivered those products, todayâ&#x20AC;&#x2122;s startups are leveraging the programming experience without owning the content.

Moreover, the social aspects pioneered by music services such as Spotify and Deezer will soon expand to video and further enable advertisers to engage directly with viewers sharing video content. The majority of

marketers, though, continue to cling to the living room to reach consumers, despite innovation across every possible screen in the home.

While broadcasters and cable networks cite increased demand at advertising upfronts as proof that nothing has changed in the living room, one should recall that 1999 was the music industryâ&#x20AC;&#x2122;s biggest year, before it saw its business model implode. â&#x20AC;&#x153;Facts are the enemy of truth,â&#x20AC;?

Quixote famously says, adding, â&#x20AC;&#x153;Every man is the son of his own works.â&#x20AC;? If todayâ&#x20AC;&#x2122;s content creators are bemoaning the fact that disruptions in distribution are reducing dollars of revenue into digital dimes, the emergence of smartphones is turning digital

dimes into mobile pennies. Six billion mobile users still have the potential to add up to a lot of pennies.

With so much content available, however, the real challenge is no longer access to that content but discovery of it.

Curation, collaborative filtering, and personalisation are all paths for entrepreneurs to cash in on digital distribution without having to invest costly dollars on content creation. As internet writer Clay Shirky points out, â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s not content overload. Itâ&#x20AC;&#x2122;s filter failure.â&#x20AC;?

Excerpted from DISRUPT YOURSELF Š 2015 Jay Samit.

Excerpted by permission of Flatiron Books, a division of Macmillan Publishers.

YES WE CAN!

! '#% '%&*#

"

#'*( #'*) ! #

# $ #

32 IBC D4 2015 Issue v1MDL.indd 1

25/08/2015 12:49

IBC template.indd 1

20/08/2015 14:47

34

For the latest show news and updates follow

#IBCShow

Live to VoD in quick time Anvato

By Anne Morris

A showcase of live-to-VoD syndication for over-the-top (OTT) and mobile services by Anvato at IBC2015 will demonstrate how content owners, broadcasters and programmers can create videoon-demand files from their live linear streams and syndicate these files to MVPDs and multiple online destinations such as Netflix and Hulu in near realtime.

Anvato recently introduced a new live-to-VoD capability to its TV Everywhere/OTT platform that enables the delivery of TV programmes and other premium

video assets such as sporting events and concerts as VoD files to MVPDs as quickly as possible after the show has aired live.

Alper Turgut, CEO, Anvato, said the new capabilities expand the company’s cloud DVR and social syndication functionality.

“The new live-to-VoD service is a software solution that automates asset creation and requires no human intervention.

This simplification of the workflow offers outstanding value by acting as a bridge between live and ondemand, and provides benefits including lower costs, faster distribution, and convenience to programmers and MVPDs,” Turgut added.

Anvato’s live-to-VoD solution

automates the asset creation workflow and performs functions such as partitioning live signal using SCTE markers from broadcast automation system.

It is able to automatically cut entire shows in a frame accurate manner, associating shows with the right upstream and scheduling metadata and syndicating to the right destinations.

In addition, it produces clean assets by automatically removing commercials, resyndicating to the correct destinations at the right time and reporting on syndication status.

Anvato’s TV Everywhere/OTT platform is 100% software-based and uses off-the-shelf hardware.

The company said this approach provides customers with a flexible

Alper Turgut: “New live-to-VoD service requires no human intervention”

service that is not only more costeffective, but also easier to deploy and manage.

14.L20

New tool for repurposing media Netia

By Mark Hallinger

Debuting at IBC is the integration of Netia’s multipledevice interface for audiovisual media management.

It sports a Radio-Assist radio automation module via a

34 IBC D4 2015 Issue v2MDL.indd 1

secure, cross-platform, webbased interface. The portable, lightweight web-based interface not only enables convenient content editing and repurposing of professional branded multimedia, but also automates publishing to any platform, claimed the company.

According to Netia, with this tool for multimedia content creation, journalists and field staff can use virtually any mobile device (laptop, tablet, or smartphone) and operating system (iOS, Windows, and Android) to gain remote access to the content and subsequently search, browse,

Field work: Journalists can now use mobile devices to access and work on content

ingest, and edit video and/or audio; segment a video; and then export and publish the media on any CDN platform.

8.B36b (French Pavilion)

The changing role of cable TV Now a long-established and popular feature of IBC, this afternoon the Benelux group of the Society of Cable Television Engineers (SCTE) holds its annual technical meeting.

The SCTE extends a warm welcome to all visitors: you need neither an IBC Conference pass nor SCTE membership to join in the debate.

This year the conference is looking at the technical issues surrounding the changing nature of CATV networks.

The opportunity now exists to deliver IPTV and streaming video over cable, with the hybrid fibre-coaxial network providing a potentially powerful platform.

A number of industry experts will lead the debate. The afternoon is divided into four sections: how we can keep up with the ever-growing demand for capacity; video distribution; the challenges and benefits of IPTV over cable; and a blueprint for the future OTT delivery platform.

The session will end with a closing discussion, drawing all the threads together, followed by networking drinks. If you are involved in cable technology, in online and OTT services or delivering content to the home, this is an important session, brought to you by IBC and SCTE. All visitors are welcome: it starts at 14:00 in room E102.

For more information on the IBC Conference, including sessions descriptions and times visit www.ibc.org/ programme.

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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

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Transmitters

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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

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r Service Centre, yer Room

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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

35-46 IBC D4 2015 Centre Section v4.indd 4

For the latest show news and updates follow

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

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35-46 IBC D4 2015 Centre Section v4.indd 5

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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

35-46 IBC D4 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

35-46 IBC D4 2015 Centre Section v4.indd 7

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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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

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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 11:30

47

Published on behalf of the IBC Partnership by

Q&A Robert Lisman, director of marketing, Primestream Has IBC come at a good time for the electronic media industry? Why? Content producers need to fill the ever-increasing amount of distribution outlets with great content – faster and with superior quality. Asset management and automation has become a large focus for all the right reasons – it’s impossible to envision a future where a media company can be successful without

a comprehensive system to manage and control its assets.

IBC comes at the perfect time for customers to see the important new workflows we have.

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

Today, operations face the complex task of managing all kinds of hardware and

software, such as video switchers, video servers, graphics systems, routers, newsroom systems, NLEs, VTRs, tape formats and file codecs. FORK and Xchange enable professionals to maintain complete control.

FORK high-density I/O enables the ingest or playout (4x HD channels of XDCAM, ProRes or DVPRO) at the same time on one PC – reducing required

Magic AoIP codec debuts AVT Audio Video Technologies

By Mark Hallinger

The new Magic ACip3 Audio Codec is being launched.

47 IBC D4 2015 Issue v1MDL.indd 1

AVT said the system is signal processor-based, which guarantees high availability and low power consumption and provides three LAN interfaces.

The codecs can be used flexibly for AoIP transmissions, for system control via the Windows

management software or for integration into a network management system via SNMP. The line interfaces can also be configured freely as a main or backup connection. With a ‘Secure Streaming’ feature, a backup can be realised via two

hardware while increasing I/O performance.

Why should delegates visit your stand at IBC? The same characteristics that make FORK and Xchange suite the most comprehensive solutions, also make them the most flexible. FORK and Xchange are openarchitecture, client-server, script-based systems. They can control everything,

independent IP connections. It supports the coding algorithms G.711, G.722, MPEG Layer 2 and PCM in standard delivery.

Optionally, the system can be extended with the Enhanced apt-X 16/24 Bit, AAC-LD and AAC-LC+V1/V2 coding algorithms. The system encodes one stereo programme in the standard version and can

precisely because they are versatile enough to embrace anything — hardware from all major manufacturers, all major tape and digital formats and Mac, PC and web environments. FORK can even be set up to control the office coffee machines.

7.D21

optionally be upgraded to a second stereo programme. The audio programmes can be fed in or given out via an analogue and two digital stereo interfaces.

A further benefit of the MAGIC ACip3 Audio Codec is that it can be integrated in the control user interface of AVT’s MAGIC THipPro Talkshow System.

8.E76

25/08/2015 12:51

48

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OPINION

More than another form of transport Satellite communication has a long and healthy future, argues Jan Molter, managing director, Hiltron A curious aspect of modern life is the appearance of everstranger forms of transport.

Perhaps the strangest this year was the free-flying hoverboard that recently carried its inventor a distance of 275 metres before pilot and craft subsided gently into a Quebec lake.

Satellite communication systems are themselves a form of transport, sending signals rather than passengers or cargo. Hiltron operates both as a satcom systems integrator and, when we can’t source the solutions we need from other companies, as a manufacturer.

Among Hiltron’s most successful innovations was the HMAM motorised antenna mount that continues to form a basis for new development.

The HMAM is being shown at IBC2015 in a compact form

supporting dish antennas or up to 2.7 metres diameter. We have a second version which is suitable for antennas of up to 4 metres diameter. The combined head and drive form a highprecision 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. This allows satcom service operators to reduce their financial overheads by exploiting an aspect of satellite technology of which most people are unaware.

Geostationary satellites are kept in place for much of their operational life by guidance motors.

These motors operate very efficiently and can be designed

to keep a satellite within a tightly defined location for many years. 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 advanced tracking capabilities enable the antenna to follow these variations in position. It is very accountant-friendly.

HMAM systems have been supplied to clients in many countries, notably SES for integration into a Passive Correlation Ranging (PaCoRa) project. PaCoRa involves the analysis, design, implementation and validation of a fully passive and highly accurate ranger for geostationary satellites.

The goals are to develop a

system that provides highly accurate orbit predictions of geostationary satellites, allowing dense co-location with up to eight satellites in one orbital box.

Another Hiltron innovation is the Hiltron Control System version 4 (HCS4), the latest evolution of our HCS3 satellitecommunications controller.

The HCS4 provides a wide range of facilities including easy switchover between main and backup devices such as downconverters, high-power amplifiers, waveguide switching systems, MPEG digital video broadcast encoders/modulators and integrated receiver/ decoders. It can also be used to power, control and monitor

optical-fibre transceivers.

Returning to the transport theme, Hiltron has developed an automatic system to switch between Ku and C-band feeds in a project for the Airbus Group. Standard feeds for both bands are moved into the focus of the antenna. Depending on which feed is in the focus, the antenna receives signals in Ku or C band. This system is universal and can be used for all kind of feeds including broadcasting.

Satellite communication has a long and healthy future, offering the high degree of reliability demanded by major broadcasters and telco service providers.

4.B89

Big update for little monitors SmallHD

By David Fox

The latest firmware update for SmallHD’s 500 Series 5-inch monitors adds image capture and overlay, HD waveform, audio meters and more.

The 1920x1080 501 (HDMI) and 502 (SDI and HDMI) monitors can now capture 1080p raw images from the

48 IBC D4 2015 Issue v1MDL.indd 1

live camera feed, while Image Overlay lets users load any JPEG (including an image capture) from the SD card and display it at varying opacity levels over the live feed, providing an instant comparison between two shots.

New analysis tools include HD Waveform, which displays monitor luminance or individual RGB levels in HD resolution, and on-screen

audio meters accompanied by audio line headphone output.

There is also an Auto Image Flip that automatically orients images right-side-up when the monitor is mounted up-sidedown, plus Anamorphic Desqueeze to display a normal image when shooting with anamorphic lenses.

Users can now access the Display Calibration LUT (lookup table) within each monitor and replace the

HD Waveform is one of the new features for SmallHD’s 500 Series monitors

standard Rec.709 colour calibration with another 3D LUT file from a colour

management application like Lightspace CMS. 11.E55

25/08/2015 12:53

WE'VE BOOKED YOUR SEAT Now experience the journey, lens to screen, live with Canonâ&#x20AC;&#x2122;s end to end solutions.

See 4K at its best.

Extend your horizons for dynamic range, exceptional image quality and complete output control.

It's all here - showcased for the ďŹ rst time in Europe.

Come and be part of the future today.

Visit us on Stand 11.E50

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20/08/2015 14:48

For the latest show news and updates follow

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#IBCShow

TBN playout leads SI showcase

Q&A

ATG Danmon

Serge Buechli, marketing manager, Lemo

By Mark Hallinger

Has IBC come at a good time for the electronic media industry? Why? With more than 50,000 visitors each year IBC is the main place to meet suppliers and customers for the broadcast business. For Lemo connectors, audio and video technologies remain a key market.

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

One of the major trends in connector development over the last few years have been miniaturisation and increased contact density. Camera and accessory

manufacturers are looking to design smaller and more compact equipment.

Naturally, this requires connectors and cables to be available in reduced size.

Why should delegates visit your stand at IBC?

A range of broadcast systems planning, design, installation, commissioning and post-installation support capabilities is being showcased at IBC2015, with several ATG Danmon officials on stand to discuss what the company has recently accomplished for its customers.

Systems integration projects currently in progress or recently completed include playout facilities for Trinity Broadcasting Network UK and Europe and a playout system for a major playout service provider on behalf of a Middle East based media and entertainment organisation.

In the ingest area, ATG Danmon is discussing a file-based ingest, transcoding and quality-control system for Arqiva and an ingest and transcoding system for a broadcast production facility in Ireland. Other recent projects profiled on stand include an archive quality control system upgrade for a European national and international

public service broadcaster, a transcoding and file playout system for ABS Broadcast in the UK, and a 50-channel broadcast media compliance system for a Middle East transmission service authority. â&#x20AC;&#x153;ATG Danmon has a long history of success in designing and delivering systems that match each customerâ&#x20AC;&#x2122;s current business level while being easily scalable to accommodate additional channels or new content delivery platforms,â&#x20AC;? said managing director Russell Peirson-Hagger. â&#x20AC;&#x153;With 4K on the horizon and the introduction of 8K just a few years away, the need for format flexibility in system design is becoming more important than ever.â&#x20AC;?

In addition to discussing its systems integration role and projects, ATG Danmon is also promoting third-party products which the company offers as a distributor. These include the Dalet AmberFin range of broadcast file management tools, plus the latest Vidcheck software for automated quality control and correction of file-based video and audio.

8.B51

At IBC2015, Lemo will be presenting a SMPTE cable to complement LEMOâ&#x20AC;&#x2122;s broadcast solutions. Since 1995, Lemo has been providing SMPTE compatible connectors to the industry and is now enhancing its range by providing complete cable and cable assemblies to broadcasters.

11.D42 Playout power: ATG Danmon provided ingest, media storage, and compliance recording facilities for TBN UK and Europe

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50 IBC D4 2015 Issue v1MDL.indd 1

Emergency update for digital radio Fraunhofer IIS

By Mark Hallinger

ContentServer R6 technology is being debuted in Hall 8. Fraunhofer claims this is a revolutionary step in encoding and multiplexing for the terrestrial digital radio standards DAB and DRM. R6 enhances the established predecessor technology ContentServer R5 and supports IP-based remote control and operation Support for Emergency Warning Functionality (EWF) is an integral part of the ContentServer R6 release. By combining existing core features of the digital radio standards, it enables authorities to alert the public in the event of disasters with audio and detailed

multilingual text instructions on standard digital radio sets.

Other highlights include a new monitoring system that closely controls all system functions including all IPbased provision lines. The system offers full support for the latest DRM features, including MPEG xHE-AAC audio coding.

Thereâ&#x20AC;&#x2122;s also local backup audio encoding in cases of failing external audio provision and advanced data provision (JSON API) and AES67 audio-over-IP support.

Also supported is Extended STIC, a solution for regionalised DAB networks where all common programs are autonomously encoded/scheduled by a central service multiplexer and simultaneously fed to all regional ensemble multiplexers.

8.B80

25/08/2015 12:56

51

Published on behalf of the IBC Partnership by

VidiU Pro comes on live stream Teradek

Going live: The VidiU Pro can stream via Wi-Fi, Ethernet or plug-in modem

By David Fox

VidiU Pro is a new easy-to-use live-streaming H.264 encoder that sends video to any content delivery network over dualband MIMO Wi-Fi, Ethernet, a single plug-in 3G/4G USB modem, or smartphone hotspot.

Topher DeLancy, brand manager, Teradek, said the VidiU Pro was aimed at the prosumer-level, live-streaming community.

“This is for people who are making money with their services, or plan to jump into that arena by acquiring this product. The VidiU Pro will also be ideal in markets like church production and education,” he explained.

“It’s only $1,000 and provides high quality live encoding [up to 1080p, up to 10Mbps], plus some other cool pro features like SD proxy recording [for editing and redistribution], and multi sourced bonding.”

It can use ShareLink (a subscription plan accessed through the VidiU App), which bonds multiple internet connections to create a robust connection ‘for failsafe operation in the most challenging environments’.

This was expensive broadcast technology until recently, and allows users to combine media, connecting up to four smartphone hotspots or use Ethernet and add a few smartphones as a backup.

VidiU Pro is compatible with virtually every streaming platform, such as Ustream, Livestream, and YouTube Live, or use a manual RTMP address to services like Wowza. Thanks to its Bluetooth connection, users can prepare a broadcast quickly on a smartphone or tablet.

A rechargeable Li-Ion battery allows cable-free roaming for up to 60 minutes.

11.E55

51 IBC D4 2015 Issue v1MDL.indd 1

25/08/2015 13:31

52

For the latest show news and updates follow

Automating camera ingest

Q&A Peter Poers, CEO, Jünger Audio

Telestream

By Carolyn Giardina

Has IBC come at a good time for the electronic media industry? Why? Regardless of the distribution method employed, what will really matter is the quality of the audio and video that is delivered. At the end of the day, what counts is that this is delivered with no compromise. In my opinion it is more important than ever to check that the products and technology solutions the industry uses gives us quality.

I don’t want immersive audio if it is distorted and I don’t want 4K with compression artefacts.

What do you think are the key developments in, or

#IBCShow

threats to, your market sector at the current time?

Why should delegates visit your stand at IBC?

The key developments are Audio over IP and Immersive Audio Formats.

Also important are efficient production workflows and ensuring higher grades of automation for audio (and video) production. At IBC we are showing answers and solutions in this area, ones that will guarantee the highest sound quality, which is what you would expect from Junger Audio.

Because they can see the latest features in our product range, all of which are about sophisticated audio control. The keywords are automated audio production, multichannel monitoring & authoring and AoIP. Plus all of our products will be delivering new application solutions to the Dante community. And we have the best coffee on the show floor!

10.A49

Presented as a new option within its flagship media processing and transformation platform, IBC has provided a European debut for Telestream’s Vantage Camera Ingest capability. This includes support for cameras that use multiple files such as those from Panasonic P2, Sony and Canon.

Telestream’s software-based system is aimed at creating time savings for post production and news users by enabling ‘handsfree’ batch ingest, processing, time-alignment, and stitching of camera media. Telestream noted that in doing so, these workflow automation capabilities remove the processes of manually browsing, linking, importing and transcoding clips, which all take

away from editing time.

According to Telestream, the option allows users to create camera-specific hot folders, which can watch either card readers or folders on hard drives.

These hot folders understand complex camera file formats, and allow users to prescribe rules for shot detection, stitching and ingest. Software running on servers then automates ingest, transcoding and import of shots into the editing system.

The company added that Vantage detects shots, and automatically links spanned clips; when a complete shot is available, it is automatically transcoded and prepared for editing. For Avid Interplay environments, multi-resolution clips can be created automatically in Interplay while allowing frame chase editing.

7.G30

Implementing Media Technology

We think globally and act locally

Come and meet us at stand 8.B51

www.danmon.com

52 IBC D4 2015 Issue v1MDL.indd 1

25/08/2015 13:32

53

Published on behalf of the IBC Partnership by

OPINION

Workflow islands seamlessly connected Adaptability has created infinite opportunities for the broadcast industry says Roland Ollek, CEO sales and marketing, Guntermann & Drunck Looking at the state of our industry today from G&D’s point of view, I believe the best description is absolute adaptability. The ability to keep pace with technology and take advantage of almost limitless opportunities is what is driving the broadcasting business.

Examples of absolute adaptability can be seen in the almost instant switch from HD to 4K in the move towards ever increasing resolution. With new ways of distribution, there’s a nearly unlimited reach in playout. In fact, with traditional broadcast technologies merging with high performance IT, there are virtually no

technical boundaries.

There is a prosperous future in store for all those who are preparing to take advantage within the right parameters. The key is to create an infrastructure that provides enough flexibility to allow the organisation to develop.

It goes without saying that adaptability and compatability are at the heart of every G&D KVM system. A KVM system can often become the backbone of a complete infrastructure so it is important our systems provide a wide range of options to upgrade. Future proofing can start with pointto-point extenders that can be

Versatile app crosses platforms Wiztivi

By Anne Morris

Timelesstouch, Wiztivi’s new application dedicated to web browsers, mobile phones and tablets, is on display in the IBC Content Everywhere zone.

The app combines EPGs, live TV, VoD, catch-up TV and remote control of the set-top box user interface in order to manage the user experience across multiple devices.

Timelesstouch is designed to optimise navigation specificities to the device being used. For

example, it uses a vertical approach on mobile devices and a horizontal approach on tablets.

Key features allow users to have access to both linear and non-linear content wherever they are and from whatever device they are using. These include replay, notifications for future programmes and interacting with content.

The app is also built on web standards to improve time to market and is designed to perform equally as well as native apps.

14.L01

connected to a matrix later on if growth of the installation is accompanied by a demand for shared system access.

Brilliant image quality is another area where we look to the future. G&D’s R&D team have put enormous effort into developing cutting-edge compression algorithms that provide superb image quality even with high bandwidth video.

At IBC, we are presenting ‘level 3’ – our latest stage of high dynamic image processing, making our existing systems look even brighter.

When installing a futureproof installation, size also needs to be considered. A disparate

and cluttered range of systems operating in isolation can easily be a trap to fall into through meeting different broadcast applications – from acquisition via ingest and post to playout.

For such system architectures, we have developed the new G&D matrix grid for complex infrastructures.

This allows interconnecting such isolated and individual ‘islands’ into one homogenous KVM network. To enable bidirectional communication, a number of matrix switches can be linked together, allowing any connected user to access any connected computer system,

independent of their individual location.

With this constant flow of new products and innovation, I believe KVM technology is the epitome of the absolute adaptability required by today’s broadcasting industry. It is living proof of how many common IT technologies have merged with broadcast-specific technologies to the point where our working life cannot be imagined otherwise. To see our very latest adaptable innovations, please visit our stand at IBC. And don’t miss our SDI applications while you’re there!

1.B10

Flexible fan-free Fresnels The CN-100F with a soft box - just one option for the CN-F series

Shantou Nanguang Photographic Equipment

By David Fox

A new range of passively cooled LED Fresnels is being introduced by Nanguang.

The CN-F series lights include both Wi-Fi and DMX control, have no fan (for silent operation) and boast a CRI of 95.

The initial range includes: the 30W CN-30F, 60W CN60F and 100W CN-100F (all of which require 12-16v DC or 100-230v AC power), and the 200W CN-200F, which takes 54v DC or 100-230v AC power.

The high output lights all offer 5600K and 3200K colour temperatures, use Fresnel lenses that can be adjusted to change the light angle, take

battery and AC power, and can be used as more than just a Fresnel LED light, as users can fit an adapter that allows the mounting of flash accessories, such as a soft box, to control the light effect.

Options include diffusing hood, Bowen-mount adapter, 2.4G remote controller, Wi-Fi control box for smartphone app control and a soft box.

A Nanguang CN-400F model is in development, and higher brightness models are promised.

11.E10

The eyes have it: Timelesstouch promises a seamless media experience on every device

53 IBC D4 2015 Issue v1MDL.indd 1

25/08/2015 13:32

For the latest show news and updates follow

54

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OPINION

Practical management of Ultra HD Michel Rudelle, EMEA regional manager Apantac, explains the current Ultra HD/4K monitoring options Ultra HD and 4K formats are gaining momentum. Large events such as the Olympic Games, World Cup Soccer and other major sporting events are perfect showcases for TV manufacturers to promote the sale of Ultra HD TV sets, which are now widely available. This creates a demand for Ultra HD production and Ultra HD/4K or Ultra HD/4K capable OB vans and studios.

Studio solutions for carrying Ultra HD/4K signals over a single wire whether it is over coax, fibre or IP are emerging; however none of them have become the de facto standard so far. With current technology, Ultra HD/4K signals are most often transported as four 3G-SDI @ 50/59.94 Hz signals.

What are the options for monitoring 4x 3G-SDI Ultra HD/4K signals? * Use Ultra HD/4K reference monitors (QFHD). These monitors provide the best results both in terms of resolution and colour reproduction. However, they are quite expensive and often only one of these monitors is used at the output of the production switcher. * Use a converter that will turn 4x 3G-SDI Ultra HD/4K signals into HDMI 2.0 or Display port 1.2 to drive a consumer monitor with a Ultra HD/4K panel.

Although the colour reproduction accuracy may not compare with reference monitors, this approach is used in various positions of

the production chain where native resolution and frame rate preservation are critical. * Convert Ultra HD/4K signals down to 1080P/i and use regular HD resolution monitors. This approach is the cheapest of the three and is used whenever preserving UHD/4K resolution is not mandatory. Multiviewers that accept 4x 3G-SDI Ultra HD/4K signals, such as the Apantac ones, also use scaling to display several Ultra HD/4K sources on a monitor.

There are several 4x 3G-SDI to Ultra HD/4K converters with an HDMI output on the market and some of them have an HDMI 1.4 output. With HDMI 1.4, the maximum output frame rate

at UHD/4K resolution is 30Hz, which is not acceptable in many production situations. Other converters offer an output format of HDMI 2.0b: 3840 x 2160p, 8 bits, 4:2:0 at 50, 59.94, 60Hz. This means that the chrominance has HD, not Ultra HD resolution.

Display Port 1.2 is an alternative display interface to HDMI 2.0. It carries Ultra HD (3840x2160P) and 4K (4096x2160P), RGB 4:4:4 and YUV 4:2:2, 10 bits, at 50, 59.94, 60Hz, thus preserving the Ultra HD/4K signal quality up to 60Hz. Several inexpensive monitors supporting Display Port 1.2 SST are now available. When

combined with the Apantac Micro-4K-DP, 4x 3G-SDI Ultra HD/4K to Display Port 1.2 SST converter, you have a cost effective solution for monitoring Ultra HD/4K signals without signal degradation.

The Apantac product range also includes the Micro-4K, which accepts 4x 3G-SDI Ultra HD/4K signals up to 60Hz and down converts them to 1080P or 1080i, HDMI and SDI. The Micro-4K-DP, the Micro-4K, and many more products are showcased on the Apantac stand. Please stop by and see for yourself.

8.E37

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Support for 4K on Mac OSX Bluefish444

By Carolyn Giardina

A Q4 2015 Mac driver update is bringing an Adobe Transmit plugin from Bluefish444 to the Mac platform.

Bluefish444 has supported Adobe video applications on Windows for a decade and had a large installed Adobe customer

base asking for cross platform support.

The forthcoming Mac OSX driver will support Adobe Premiere Pro CC, Adobe After Effects CC, and all other Adobe Transmit applications with all Bluefish444 4K/2K/HD/SD SDI I/O video cards.

New features include multi-card support enabling 4K workflows, including 60fps high frame rates and 12-bit RGB modes to Adobe, Assimilate Scratch,

and Avid software.

The Mac driver will be compatible with Thunderbolt 2 and certified with a range of thirdparty expansion chassis from Sonnet, Magma, Netstore and others.

Bluefish444 4K/2K/HD/SD I/O video cards will be even more accessible for Mac users, said the company, compatible in both traditional PCIe Mac Pro towers and PCIe Thunderbolt 2 expansion chassis.

7.J07

Multi-format transcoder at a ‘fraction of the price’ VideoPropulsion

By Ian McMurray

Launched not long before the show opened, VideoPropulsion is showcasing its XC10 MPEG Transcoder PCIe card. The XC10 now powers the company’s FG-5000 Series Transcoder appliances to support over 300 streams in 3U of rack space.

In addition to high-density MPEG transcoder solutions,

55 IBC D4 2015 Issue v1MDL.indd 1

the company is also showing its line of EdgeQAMs, 128 channel DVB-C QAM modulator and other DVB PCIe cards for OEMs, and content security solutions.

VideoPropulsion has created a scalable line of PCIe MPEG transcoder cards with its XC2, XC4, XC6, and now XC10 cards, enabling it, along with OEMs and system builders, to create MPEG transcoding solutions that support from as few as eight streams to as many as hundreds

in a single appliance.

The XC10 is a multi-format transcoder capable of delivering up to 40 streams in broadcast environments and up to 80 for adaptive bitrate applications.

It supports trans-rating and trans-scaling of HD bitrates and resolutions down to smaller formats suitable for delivery in mobile video playback applications like OTT and TV Everywhere.

Cockpit aims to pilot live coverage EVS

By Mark Hallinger

The LSM Cockpit is being showcased on the EVS stand, aimed at live production. It consists of LSM Connect, MultiReview and Epsio products, in a single, cohesive environment. EVS claimed this family of products lets operators manage live productions with a new version of its server software engine, called Multicam.

It allows for even more in-live capabilities, including

two 6x SuperMotion camera ingest and output. EVS said this update gives broadcasters the ability to generate more compelling, emotional content.

It also means two LSM operators can work side by side to increase efficiency and flexibility.

With its latest Epsio FX Reveal mode, operators can enrich live replays through the addition of synchronised data to create scoreboards and biometric graphic displays.

Epsio FX Reveal integrates into any LSM live environment.

8.B90

Graphic replay: Operators can create more compelling content using synced data and biometric displays

4.C73

25/08/2015 13:33

For the latest show news and updates follow

56

#IBCShow

OPINION

Extending workflows to meet broadcast needs While broadcasters want IP for ease of deployment they don’t want it to change the way they actually use the system, says Clear-Com president Bob Boster Any keen observer of modern broadcast trends, particularly on communication needs for production, will tell you customers want to do more, more efficiently, across more locations, and with gear that allows them to operate in a familiar way but without any infrastructural limitations.

While broadcasters want IP

for ease of deployment, they don’t want it to change the way they actually USE the system.

While they want wireless for freedom of movement around a facility, studio, or venue, they don’t want to have to manage frequency allocation or complex antenna distribution schemes.

And while they want

dynamic configuration tools to be able to manage assignments and groups within a communication system flexibly, they don’t really want to dedicate a staff member to achieve that dynamism. Overall you can characterise this trend as ‘doing the same things with fewer resources, but in more ways’.

This trend, believe it or not, has been guiding our development for the last couple of years. Our efforts have yielded some amazing product and technology breakthroughs, especially in the areas of IP, workflow automation, and wireless intercom. At IBC2015, you can see us demonstrating these

new capabilities with both brand new products and recent introductions that are already impacting the market.

We look forward to understanding your workflow challenges and showing you what solutions we have to address your communication and/or connectivity issues.

10.D29

Build your own App Store Metrological

By Anne Morris

Appy talk : Operators can launch and manage a branded TV App Store on any device

Key features of Metrological’s Application Platform on display this week are designed to help operators deliver branded TV app stores that are integrated with live

TV viewing The company’s Application Platform includes App Store, App Manager and Dashboard and provides operators with lifecycle support to launch, monetise and manage their own App Store on any device independent from its middleware or browser type.

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intoPIX delivers compression, cryptographic, Ethernet-AVB and SMPTE2022 FPGA IP-cores, reference design and software tools to build smarter, networked and future-proof media workflows.

Take IMAGING to the NEXT LEVEL

56 IBC D4 2015 Issue v1MDL.indd 1

www.intopix.com - sales@intopix.com

The Real Time App Dashboard provides business intelligence and analytics for operators to maximise revenue opportunities. The App Store is a digital distribution platform that enables operators to launch a device independent operator branded TV app store to STBs and other connected devices. Metrological offers more than 250 apps ready for publication and an open SDK so operators benefit from an end-to-end, device and software agnostic, app store solution.

Contextual App Experiences merges live TV and OTT content, enabling operators to present a unified app experience that merges all content in one screen. For example, while watching sports, contextual apps can display related content such as realtime scores integrated with the live TV experience.

Mobile Pairing enables viewers to link their TV viewing to their mobile devices, while App Manager enables operators to manage app store content and the user interface of their TV App Store in an intuitive way, claimed the company.

14.E25

25/08/2015 13:34

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Quad-view engineering LED monitor

Put to the test: Marshallâ&#x20AC;&#x2122;s new V-R173-DLW monitor

Marshall Electronics

By David Fox

A feature-packed new desktop/rack mountable 17.3-inch 1920x1080 LED engineering monitor with waveform, vectorscope, 16-channel audio and CEA-708B closed caption decoding, has been released by Marshall Electronics.

The V-R173-DLW QuadView test and measurement monitor also supports SDI, HD-SDI, 3G-SDI and Dual Link SDI. Selectable multi modes enable the monitor to break into four quadrants and display signal input information (link status), embedded audio levels, a waveform monitor, a vectorscope and live video simultaneously. A DVI input supports all HDMI modes and DVI to 170MHz. It also supports inmonitor display (IMD) protocol support for TSL, Nvision, Image Video, and proprietary tally control systems, remote firmware update via RS-485, tricolour hard and soft tally, and safety marker configurations. Embedded time code and embedded audio presence indicators can be displayed on the screen in a variety of configurations. It also offers full CEA-608-B and CEA708-B closed captioning.

Four user-definable function buttons allow quick access to numerous settings, including aspect ratio, monochrome mode, colour temperature, and more. The V-R173-DLW has an all-digital LED display offering 400 cd/ m² brightness and 600:1 contrast ratio.

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

EDCF: Global update

HDR: From zero to infinity - part 1

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11.D20

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For the latest show news and updates follow

#IBCShow

Agent-IC makes connection Clear-Com

By Heather McLean

Agent-IC, a new mobile app that provides users of Eclipse-HX (EHX) Matrix intercom systems with access from an iPhone or iPad over 3G, 4G or Wi-Fi / IP networks, is being showcased by ClearCom. The app provides capabilities similar to an intercom control panel for connecting studio staff and OB teams in remote locations, or crew spread across wide areas for live events. Agent-IC fits in a shirt

pocket and connects users from virtually anywhere in the world.

The Agent-IC app is both cost effective and easy to deploy, providing global access to a host Eclipse-HX matrix intercom system. Users of iPhones or iPads running iOS 8.0 or later can install the app directly from the App Store.

Accessing the app requires proper authorisation and system pre-configuration from the broadcaster’s system administrator using EHX. Peter Stallard, senior product manager at Clear-Com, said, “Current Eclipse-HX users who have received the new Agent-IC system are pleased with the

global on-demand access to Eclipse resources. Now, as Agent-IC hits the streets, any authorised mobile user can enjoy high quality, full featured access to their Eclipse-HX system from anywhere around the globe using their tablet or smartphone.”

Managed under central administration control from the host Eclipse-HX system, the Agent-IC app is fully featured with point-to-point calling, point-to-multi-point group calling, partyline, PTT, local cross-point audio level control and notification functions.

Access to the host Eclipse-HX matrix is secure, using NSA-

Who’s listening?: The mobile app enables remote access to Eclipse-HX

approved audio encryption.

Remote users are provided with an ergonomically-designed user interface configured like a dedicated intercom panel, which enables them to monitor and/or contribute to assigned matrix resources.

Agent-IC also provides excellent audio quality based on the G.722 codec, claimed the company and is accessible via multiple IP networks, with user selectable optimisation for network conditions.

10.D29

Keeping on the rights track RSG Media

By Anne Morris

The digital revolution is creating massive headaches for media companies regarding talent payments, royalties, and residuals. Huge volumes of increasingly complex deals,

each with different payment terms, span every conceivable platform. And, it’s getting worse every day.

It’s got to the point where it is no longer humanly possible, even for a medium-sized media company, to ensure timely and accurate payments and compliance with all contractual

terms. RSG Media aims to help companies manage these tasks automatically with its RightsLogic Distribution Finance technology, which is being showcased at IBC. By integrating financial accounting features with its business rights management, programme planning and

scheduling, consumer products licensing, and reporting modules, RightsLogic can now help managers project content-related profits and make decisions that optimise their company’s bottom line.

Combined with RightsLogic’s Cross Platform Reporting system, which ingests

information from all linear, on demand, and digital platforms automatically, RightsLogic can now track usage and calculate receivables and payments.

And, it helps ensure SOX and other regulatory compliance, which makes audits and month end close much easier to manage for finance teams.

Most importantly, it ensures that different business silos share the right information seamlessly.

There are many consumers of financial information – from the obvious (executives, finance, business and legal affairs, and sales) to the less obvious, such as programming – that strive to ensure that every airing or play is profitable.

CEO Mukesh Sehgal said the company helps its clients to understand revenue, royalties, and residuals by programme, talent, and media type, all at a glance.

“Not only do they get more accurate financial reporting, they also make more timely payments to talent, which is huge in today’s talent-driven industry,” he added.

14.H04

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

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

IBC template.indd 1

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Pre-packaged MAM systems for broadcasters under the spotlight TransMedia Dynamics

By Will Strauss

The capabilities of the Mediaflex asset management platform are being discussed and showcased

by TransMedia Dynamics (TMD) at IBC where the company is also leading a case study seminar on an implementation at MTG in London.

On its stand TMD is outlining the benefits of its range of recently released pre-configured MAM products as well as Chameleon, an update that allows an individual’s workstation to show just the relevant MAM information and fields.

“One of the paradoxes of the capabilities of Mediaflex is

that it can incorporate so much information and functionality, it can be daunting to get your head around,” said Tony Taylor, the chief executive of TMD. “It means that, although broadcasters are aware of the huge benefits of comprehensive asset management and automated workflows, they can be reluctant to take advantage because of the perceived disruption through implementation.

“Our view is to make each user’s interface so tailored to their needs that it becomes a zero-hours training proposition,” he added. “If each user can instinctively play their part, then the whole process becomes very powerful indeed. That is when broadcasters will truly gain from the power of metadata.”

TMD offers three prepackaged MAM options: ‘Transform’ is for broadcasters who want to move towards a multi-platform delivery model, using metadata to manage encoding and distribution workflows. ‘OnPoint’ is designed for the post production industry, providing secure access for multiple clients. And ‘Paragon’ is for those starting an archive.

Using the open LTFS format, it ensures that content is preserved for future use.

Representatives of TMD and some of the other 11 vendors involved in the MTG project are speaking on the IBC Content Everywhere Technology in Action stage (Hall 3) on Sunday 13 September.

2.B59

Compact 3-CMOS HD camera Ikegami Electronics (Europe)

By David Fox

The new Ikegami HDL-57 is a compact HD camera designed for use on remote controlled pan/tilt heads in applications such as parliamentary television or robotic studios.

The camera head and controller are housed in a single, robust unit measuring 90x103x180mm and weighing 1.5 kg.

It uses three advanced 2.5 megapixel 2/3-inch CMOS

sensors, each incorporating active processing circuitry, in a small device with low power consumption (18W or less, using 12-volt DC power at 11 to 16v). The sensors have both native progressive and interlace modes: 1080/59.94i, 1080/50i, 720/59.94p, 720/50p and (optionally) 1080/23.98p.

The camera is fully digital, from imagers to the two HDSDI outputs. Master gain is processed through a highgrade low-noise amplifier with negative feedback, while video noise cancellation delivers

wide dynamic range images even at high gain level (there is a six-position switchable gain from 0 to +30 dB).

It also offers six electric shutter speeds (1/100 to 1/2,000 second), optical filter (100, 25, 6.2 and 1.6 per cent) and a two-position electronic colour correction filter (3,200 and 5,600 K).

The four-position optical filter wheel (100, 25, 6.2 and 1.6%) is motorised for remote operation. The camera can also be operated via its rear control panel.

11.A31

#IBCShow

Enterprise class hybrid router offers scalable power Grass Valley

By Ian McMurray

The NVISION 8500 hybrid routing system combines exceptional resilience with cost-, space- and power efficiency to make it an ideal enterprise-class routing solution, according to Grass Valley.

Designed for production and playout applications from trucks to the largest engine rooms, the company claimed it offers the convenience of integrated audio processing and simplified cable management.

The routing system is available in five frame sizes, with matrices from 144x144 to 1152x1152 and larger.

Grass Valley said that the new NVISION 8500 Router IP Gateway card provides broadcasters with the ability to ensure their facilities are ready for the coming transition from SDI to IP infrastructures.

By packetising realtime, uncompressed, baseband video using SMPTE 2022-6, the IP Gateway gives enables broadcasters to transport video over 10 GbE networks.

Also featured at IBC by Grass Valley are its Kayenne K-Frame switchers, which the company claimed deliver the highest level of performance available

Big cheese: The NVISION 8500 is available with matrices from 144x144 to 1152x1152 and larger

to live productions with innovative features and complete upgradeability.

The modular Kayenne control panel can be mounted flat or in a banked curve, offering operators an ergonomic work surface.

The system’s video processing engine, K-Frame, delivers full multi-format support, including 1080p level A and B and 4K. When needed, the Kayenne K-Frame can adapt to offer up to 192 inputs, 96 outputs and up to nine M/Es with six full keyers in every M/E. The switchers now offer SMPTE 2022-6 connectivity for more streamlined videoover-IP infrastructures, with greater scalability as well as less cabling and faster installation.

1.D11

DVB-T and T2 in low power Plisch

By Mark Hallinger

The T2V low power transmitter for DVB-T/T2 is being showcased by Plisch The company said the modular unit has a very compact design and features enhanced adaptive precorrection and ETI/ASI/

IP seamless switching.

Quality monitoring of MER and shoulder attenuation is another feature, while Plisch claimed the unit is easy to install, with simple service and maintenance.

The T2V also can employ Doherty technology as an option at power levels above 200 W, and booster and various reserve concepts are standard.

8.D32 Power option: Doherty technology is available on units greater than 200 W

Remote opportunity: The new Ikegami HDL-57 box camera

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LED lighting on the bounce Alphatron Broadcast Electronics

By David Fox

The Alphatron TriStar 4 oncamera LED light â&#x20AC;&#x153;can be thrown on a concrete floor, just bounce and still work,â&#x20AC;? according to Richard Payne, technical presales manager with its distributor, Holdan. â&#x20AC;&#x153;We threw it a few times, and the only damage was a slight dent in the metal barn doors, which (like its metal ball joint) is a rare feature in this price bracket (about ÂŁ180).â&#x20AC;?

The bi-colour light is tuneable between 3200K to 5600K, doesnâ&#x20AC;&#x2122;t change its intensity when you change colour, and uses 96 long-life, high-brightness three-chip surface mount diodes (with three times the output of non-SMD lights using the same

61 IBC D4 2015 Issue v1MDL.indd 1

number of LEDs), and promises 100-10% dimming without noticeable colour shift. It is powered by Mini 4-Pin XLR or Sony NP-F Battery, draws 12W, has a beam angle of 120°. It comes with a built-in diffuser.

In testing, it achieved a Television Lighting Consistency Index daylight score of more than 85, which means that it doesnâ&#x20AC;&#x2122;t need correction in colour grading.

11.C36

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â&#x20AC;&#x2DC;Bots extend operating range Camerobot Systems

By Heather McLean

Proprietary linear axes for Camerobot Systemsâ&#x20AC;&#x2122; high speed camera robots are being showcased at IBC. This extends operating range to new levels and opens up the businessâ&#x20AC;&#x2122; camera systems to novel applications, the company said.

As advertisers, directors and cameramen are increasingly making use of slow motion and time-lapse photography in commercials, action movies and sports broadcasts, and high speed recording techniques are delighting viewers, robotcontrolled cameras have been limited to tabletop shoots focusing on smaller subjects due to the reach of the robot.

However, Peter PĂźhringer, division manager at Camerobot Systems, said that with the introduction of the linear axes, the company was able to meet

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the demand expressed by purchasers of its high speed robots for significantly enhanced operating ranges. â&#x20AC;&#x153;Traverse rails are now available in virtually any desired length and allow the use of our camera systems in all kinds of productions, whether in a studio setting, in automobile commercials or in outdoor filming,â&#x20AC;? he added.

The linear rail has been integrated as a fully synchronised supplementary axis into the Camerobot Motion Control software which has now been extended by several new features. All functions and

all possible positions of the camera can be used without any restriction.

In practice, this means that the programmed settings are repeatable in exactly the same configuration for as many times as the operator wishes.

The control of the robot in high speed moves can be made as before by means of the optional Target Tracking software which automatically enables the camera to track the subject. â&#x20AC;&#x153;Users are impressed by how easy the axes are to assemble, dismantle and transport,â&#x20AC;? added PĂźhringer.

10.D30

25/08/2015 13:38

For the latest show news and updates follow

62

#IBCShow

Running out the Devin Graham Signature Series Glidecam

By Heather McLean

In association with Devin Graham, the international, internet and YouTube sensation, whose staggeringly popular videos now have more than 540 million total views,

Glidecam is announcing the release of the Glidecam Devin Graham Signature Series.

This is a professional, handheld camera stabiliser designed for low profile cameras weighing from two to 12 pounds.

Jointly developed by Glidecam and Devin Graham,

the Devin Graham Signature Series combines many of the features of Glidecamâ&#x20AC;&#x2122;s HD-Series with the high end professional features normally found exclusively on the camera sleds of the companyâ&#x20AC;&#x2122;s more elaborate body-mounted systems.

The new stabiliser is

designed to transform the userâ&#x20AC;&#x2122;s hard to watch, shaky camera footage into smooth, professional footage. It allows users to shoot graceful shots even while going to extremes like running up and down stairs or travelling over rugged terrain.

10.B20

Looking smooth: the professional, handheld camera stabiliser is KLZPNULK MVY SV^ WYVĂ&#x201E; SL JHTLYHZ

Euro debut for IP transport stream monitoring device Evertz

By Will Strauss

An IP-based multi-image display and monitoring product for digital head-ends and IPTV networks is being given its European debut at IBC. The MViP-II monitors audio and video from an IP transport stream and includes features such as loudness monitoring,

MViP-ll: streaming output support makes it an option for remote monitoring

Marcoblock detection and fault-based recording.

With support for simultaneous decodes of up to 64 MPEG/H.264 SD, 32

MPEG-2/H.264 or 16 H.264 HD streams in a 2RU chassis, Evertz considers the MViP-II to be â&#x20AC;&#x2DC;one of the most powerful and flexible IP monitoring

devices on the market todayâ&#x20AC;&#x2122;.

The MViP-II can be used to monitor both main screen encodes and over the top streams including HLS, LSS,

HDS and MPEG-DASH on top of standard MPEG-2 transport streams.

As well as HEVC, the MViP-ll also supports streaming output, making it an option for remote monitoring.

Working with Evertzâ&#x20AC;&#x2122;s VistaLink SNMP system allows the MViP-II to support Source Cycling, Penalty box, fault logging and reporting under a single management system.

3.C20

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Multiscreen from the cloud Amino

By Anne Morris

IPTV and hybrid devices, as well as a cloud TV platform capable of delivering 4K UHD entertainment to any screen inside or outside the home, are being showcased by Amino.

Visitors to Amino’s stand in hall 14 can see a range of newly designed devices spanning both IPTV and hybrid in addition to the latest innovations in multiscreen delivery via the company’s Booxmedia cloud-TV platform.

The company will also demonstrate a range of complementary services that operators can add to their offerings to reduce churn and increase revenue.

These include the Home Reach home monitoring and control solution and a range of value-added content services, including pre-integrated YouTube capability and the Amino TV App

Store that delivers up to 750 ‘made for TV’ apps.

Amino CEO Donald McGarva said, “IBC2015 marks a pivotal step in Amino’s ability to address new market segments – including cable operators for the first time – with full 4K UHD cloud-TV multiscreen delivery.

Customers can now see the benefits of our recent acquisition of Booxmedia and its marketproven cloud TV platform, which

has been integrated into an enhanced range of new devices to deliver 4K UHD content across multiple screens for both IPTV and cable operators.”

Also being showcased is Amino’s recently launched H150 enterprise and hospitality IP device, which is now widely deployed in a range of hotels and digital display installations in sports stadia.

14.K20

Booxmedia cloud TV platform enables operators to deliver content on multiple screens

Screen Cross transforms DVB Novel-Super TV

By Ian McMurray

Offering customised and end-to end solutions for content security and operational support – including single-way and two-way CAS, DRM, subscriber management systems, business operation support systems, EPG, Screen Cross, Cyber Cloud, IPQAM and smart terminal systems, Novel-Super TV has plenty to talk about to IBC visitors.

It is showing its Secure Max (CAS+DRM), Screen Cross, Magic Cube, IPQAM and Tethered Aerial Signal Transmission Unit.

Novel-Super TV is focusing on Screen Cross, which it says has been successfully

deployed in China. Screen Cross provides the ability to transform DVB to IP, making full use of operators’ existing DVB broadcasting network to distribute content to smartphones, tablets and second screen devices, allowing operators to reduce their investment in the head-end. It is claimed to provide a better experience without delay, buffering and consuming internet bandwidth.

The current implementation of Screen Cross is based on DVB-C. However, NovelSuper TV said it is developing products based on DVB-T/ T2, DVB-S/S2, DTMB and so on, to cater for a range of carriers in different regions.

The DVB-T/T2 gateway is expected to launch soon.

4.B51

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For the latest show news and updates follow

64

Realigning for reliability Belden

By Ian McMurray

Having recently refocused its range of coaxial video cables and connectors for professional applications, Belden is taking advantage of the opportunity presented by IBC to demonstrate the change. The company says this realignment reflects the broadcast industryâ&#x20AC;&#x2122;s increased demand for reliable HD video transmission and need to deliver excellent picture quality over extended distances.

Belden says its professional video cables are available in three different ranges to help broadcasters achieve excellent picture quality and consistency in a variety of current and emerging applications.

The Belden Easy Connect Pro with Belden Duobond II shield technology is designed to enable faster broadcast

deployments while maintaining optimum tensile strength, while the Belden EMC Pro is described as being the first and only in the professional broadcast market with Class A+ screening performance thanks to Beldenâ&#x20AC;&#x2122;s Duobond Plus design. The Belden Classics Pro was, said the company, the worldâ&#x20AC;&#x2122;s first digital coax for SMPTE-compliant SDI interfaces, and has a proven 25year track record of quality and consistency.

All three ranges are supported by a choice of HD Brilliance Connector platforms designed specifically to maximise broadcast signal integrity.

Theo van Rijn, product marketing manager at Belden, said, â&#x20AC;&#x153;Belden cables are setting the standard in HD applications around the world, from major sporting events to daily newscasts. With guaranteed return loss performance, these coaxial video cables offer extended transmission distances and future proof capabilities for complete peace of mind.

They are physically robust for maximum reliability and feature simple easy-to-use connectivity for faster, easier installations and cost savings.â&#x20AC;?

#IBCShow

Going further with Ronin Polecam Systems

By Heather McLean

An innovative Polecam remote head is being shown here at IBC2015 by Polecam Systems.

The new remote head is a combination of Polecam and gimbal, extending the range of remote head options for the companyâ&#x20AC;&#x2122;s lightweight, portable single operator crane system.

The Ronin M gimbal is fully interfaced to the crane system, offering a new dimension to operators and extending

Polecamâ&#x20AC;&#x2122;s shooting capabilities even further. Polecam stated that this innovation would bring further benefits when using zoom lenses on a rig and when operating in difficult weather situations.

UK Polecam DOP, John Gillan, has already been testing the unit on the latest rounds of the Red Bull cliff diving event with great results. He commented: â&#x20AC;&#x153;Whether itâ&#x20AC;&#x2122;s a Jimmy Jib or a Polecam, strong wind is always tricky for a jib, but I knew that with the recent developments of gimbal technology this could be the answer. The results were brilliant.â&#x20AC;?

Polecam Systems also offer bespoke interfaces for other major gimbal manufacturers.

10.C49

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20/08/2015 14:50

For the latest show news and updates follow

66

Unifying ingest in the cloud thePlatform

By Anne Morris

Visitors to the IBC Content Everywhere zone this week will be able to sample the new cloud-based Unified Ingest Service from thePlatform that is designed to simplify pay-TV operators’ multiscreen video

offerings by centrally managing how video and its associated metadata is ingested and managed on set-top boxes and other devices.

While video file ingest provides greater simplicity for dealing with content providers and the versatility to shift more towards IP-delivery in the future, metadata ingest

centralises and normalises metadata from multiple sources. thePlatform’s Unified Ingest Service provides pay-TV providers with a foundation to leverage their existing infrastructure investments while migrating towards an all IP-based architecture. It is currently used to support

#IBCShow

more than 20 million pay-TV subscribers, and is available as a standalone service or as part of a broader suite of video publishing services powered by thePlatform’s mpx system.

Companies that rely on thePlatform as their cloudbased, central hub for managing, monetising, and distributing shows, movies, and other videos include the majority of the top 50 mostwatched cable programming networks in North America,

including USA Network, History Channel, A+E, E!, Syfy, Travel Channel Media, and others Broadcasters including CBS, FOX, NBCUniversal, CBC, Bell Media, Shaw Media; pay-TV providers including Liberty Global, Comcast, Time Warner Cable, Cablevision, Cox, Rogers, BT, Telstra and OTT subscription services such as shomi, Stan, Viaplay are also customers of thePlatform.

14.C20

Bringing a shine to coaxial connections Cambridge Electronic Industries

By Heather McLean

Cambridge Connectors, the specialist connector division of Cambridge Electronic Industries, has been working in partnership with leading OEMs to develop a wide range of standard and custom

66 IBC D4 2015 Issue v1MDL.indd 1

connectors to meet the needs of the broadcast industry and the requirement for increasing transmission speeds.

At IBC2015 Cambridge Electronic Industries is showcasing its 12G-SDI BNC and Micro BNC ranges available in a variety of mounting styles including right angle, PCB edge, PCB top entry, two-part mounting and

also surface mount options.

Cable ended socket plug mounting styles can also be offered for Belden 1694A and 1855A. To overcome inter-series mismatch situations, Cambridge Electronic Industries has also developed a wide offering of 12G-SDI patch leads and cabling systems.

9.A36

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67

Published on behalf of the IBC Partnership by

Sawn-off shotgun mic Azden

By Mark Hallinger

The SGM-250P shotgun microphone has been released.

It is a shorter, 8-inch version of the established SGM-250

Keeping in sync with changing times

mic and runs on phantom power only. Azden said it features excellent sound quality and a feature set for audio professionals in the TV, film and video production industries.

A newly-engineered

microphone element produces broadcast sound quality with true wide band 20Hz-20kHz frequency response, while a new rugged all metal barrel has tightly spaced vertical slots that provide superior rejection to the sides and rear.

Additional features include a two-step low-cut filter, goldplated XLR output, shockmount holder, foam wind shield and zippered case.

The mic is handcrafted in Japan and backed

by Azden’s 10 year warranty.

8.E81

New Ka band TX/RX components launched Elite Antennas

Masterclock

By Ian McMurray

By Heather McLean

Meeting the demands of an interconnected world requires ever-higher levels of accuracy and traceability, according to Masterclock, manufacturer and provider of precise timing applications, which is discussing its portfolio of products here at IBC. Masterclock, which has recently undergone a rebranding, is providing the timing equipment for this year’s IBC Hack-a-thon and other presentation areas using its RC600 countdown controller combined with various digital displays.

While Masterclock’s origin and main focus is within the broadcasting industry, the company has found a wide range of applications for its products.

John Clark, president and CEO at Masterclock, said the company’s countdown systems do everything from keeping doctors on schedule during surgeries, to timing launches for space missions.

The RC600 can distribute count signals either to existing Time Code displays or onto a network, allowing any number of network devices and displays to receive and display the active count.

Clark added: “Our expertise in all things timing allows us to develop solutions specific to customer needs regardless of industry.”

Shorter shot: This version of an established shotgun mic features a newly engineered mic element and 8-inch length

A range of new Ka band TX/RX components has been launched

by Elite Antennas to complement its existing Ka RX-only feed chain designs.

The new components include a wide band TX/RX polariser, OMT and feed operating over the full operating band 17 - 22 GHz, 27 - 31 GHz. Ka satcom receive/transmit polarisers are required when the antenna is to operate with circular polarisation simultaneously at the receive and transmit frequencies which are widely separated, as in the case of the Ka satcom band.

Elite also provides polarisers for circular polarisation for specific

Star player: Elite has announced a range of new Ka band TX/RX components

portions of the band. If improved performance is required over a specific portion of the band, additional tuning can be added.

The company has also designed a full band TX/RX OMT and feed to match its range of high quality reflectors in diameters from 0.9 to 4.5m diameter.

The feed chain components are said to be suitable for many other prime focus and offset reflectors available in the market, dependent on the f/D required of the reflector. If variations on these items are required for a customer’s project, Elite stated that it will be happy to offer its design and engineering services.

The company said that it offers a fast, flexible range of solutions to meet the vast majority of prime focus applications.

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For the latest show news and updates follow

Premium OTT SaaS on show SeaChange

By Ian McMurray

Among the range of its software solutions for multiscreen and OTT services being demonstrated at IBC, SeaChange is highlighting its rapidly-deployable SaaS platforms for premium-OTT and social media-driven content.

Developed for fast timeto-market on a large scale, SeaChange claimed that its Rave premium OTT platform comprises every component required to build an OTT business with the integrity and quality defined by premium subscription television – from multi-device consumer experiences and storefronts to content ingestion.

The SeaChange Timeline platform is designed to enable television news organisations and other media companies to analyse social media messages across Facebook, Twitter and Instagram in real time, and identify newsworthy trends and insights

68 IBC D4 2015 Issue v1MDL.indd 1

to create content for television, mobile and desktop.

The SeaChange Adrenalin multiscreen television platform, combined with the SeaChange Nitro subscriber experience software, can enable service providers to deliver advanced linear, time shifted, VoD and nPVR services via a single, unified back office for individualised subscriber experiences.

With the industry Reference Design Kit, the SeaChange Nucleus video gateway software is integrated with leading SoC and set-tops for hybrid (QAM & IP) and IP-only implementations. An early RDK licensee and developer, SeaChange said that its significant

contributions of software components last year helped extend the RDK’s applicability for use in Europe and other markets using the Digital Video Broadcasting standard.

Also in demonstration at IBC, SeaChange’s linear broadcast software solutions are used by service providers globally.

According to SeaChange, their flexibility and ease of use empower cable, terrestrial and satellite broadcasters to fully realise the advantages of DVB-SI, such as service discovery and selection, populating EPGs with schedules, and signalling PVRs to record shows.

1.F70 Party player: Rave is designed for multidevice consumer experiences

#IBCShow

Proprietary peerto-peer platform Streamroot

By Anne Morris

Video delivery provider Streamroot has announced the release of its peer-to-peer portal for IBC2015.

Streamroot claimed its patented technology has helped broadcasters around the world cut bandwidth costs, improve quality of service and better manage traffic spikes. Broadcasters can use this proprietary peer-to-peer technology in a comprehensive software-asas-service product.

The portal is a broadcasters’ one-stop shop for managing their video platforms, said the company. Complete traffic analytics allow broadcasters to focus in on peer-to-

peer performance during a specific event or zoom out for an overview of traffic patterns over time.

Realtime tracking of the number of viewers and most popular videos, meanwhile, helps broadcasters better hone in on traffic spikes.

In addition to its traditional peer-to-peer delivery offering, the Streamroot portal also features a number of quality of service analytics for a more complete picture of their audiences.

Broadcasters can optimise user experience by understanding if their streams are rebuffering during playback, seeing the speeds and resolutions viewers are experiencing, and ensuring that quick start-up times keep viewers tuned in.

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Virtual hardware probe launched Bridge Technologies

By Ian McMurray

The newly-launched VB330V is described by Bridge Technologies as a virtual counterpart to the VB330 hardware probe for core networks. Like the VB330, the VB330V is designed for high-traffic monitoring but the VB330V operates on any standard high-performance server blade.

With the same feature set and capabilities, the VB330 and VB330V can be mixed and matched to achieve the most convenient configuration, depending on the user’s requirements. The VB330V has been developed for data

centre deployment, where Bridge says it can be installed almost instantly on standard blade servers to allow rapid scaling of capacity, appearing identical to any hardware VB330s installed at other points in the network – for example at a point of presence (POP). The virtual VB330V is addressable by the Bridge Technologies VBC central controller-server in exactly the same way as the hardware probe, and through its Eii (External Integration Interface) can be integrated with third-party management and data systems.

Simen Frostad, chairman of Bridge Technologies, said, “Being a hardware manufacturer gives you total control over the design and performance

of the box, but we always think outside the box too.

Virtualisation of the VB330 functionality for data centre applications provides the best of both worlds, spanning the requirements of operators in the IP and broadcast domains.”

Designed for extremely highdensity applications at points of maximum data throughput in today’s core networks, the VB330 and VB330V are said to offer telcos, network operators and digital media organisations a monitoring solution with the potential for scaling to match any level of traffic, and delivering monitoring and analytics of thousands of streams and a multitude of technologies in real time and in parallel.

1.F68

Blade runner: The VB330V is designed for deployment in data centres

Content descrambler and reorganiser on show

The Luminato digital headend platform is designed for live content processing

Teleste

By Ian McMurray

The Luminato digital headend platform being showcased at IBC by Teleste is designed for live content processing. It receives content from various sources and descrambles and re-organises this content into an operator’s network for either CATV, OTT and/or IPTV delivery.

The chassis has been divided into six processing module slots. The module slots can be equipped with any combination of available Luminato receivers and output modules depending on the application requirements. All modules can be hot swapped and auto configured, minimising service outage. An internal switch means that the need for cabling is minimised, resulting in simple and costeffective installation.

The chassis has two

Gigabit Ethernet interfaces with electrical or optical SFP modules for IP payload traffic. Both MPEG-2 and MPEG-4 with SD and HD are supported.

The receivers enable flexible selection of free-toair and scrambled services from DVB-S/S2, DVB-T/T2, ISDB-T, DVB-ASI, DVB-C or IP sources, which can be adjusted to the operator’s service line-up with the unit’s built-in advanced transport stream processing capabilities.

Satellite and terrestrial receivers are available as either quad-receiver or dual-receiver with DVB descrambling. Luminato output modules are available for DVB-ASI, COFDM and QAM and enable flexible multiplexing of SPTS and MPTS video services as well as PSI/SI table streams.

Luminato comes with two integrated IP ports.

4.B61

Fox Sports scores at FIFA Women’s World Cup Pronology

By Heather McLean

Fox Sports is a topic of conversation at the Pronology stand as the company provided its complete set of asset management tools to handle the broadcaster’s FIFA Women’s World Cup Canada 2015 coverage.

With a US Women’s National Team victory fresh in the record books, and record ratings for the network, Fox Sports wrapped its ambitious agenda for the monthlong coverage of soccer’s

69 IBC D4 2015 Issue v1MDL.indd 1

premier women’s event, which featured 24 teams, spanned six cities and five time zones.

In order to give producers and editors instant access to the media needed to cover an event of this magnitude, regardless of their location, Pronology was on the case with its media-centric workflow systems.

Fox Sports built two largescale temporary broadcast compounds in Vancouver to cover this event in the best possible fashion. The studio, which included a control room and playback area built in scenic Jack Poole Plaza, and a transmission centre, co-

located with FIFA’s International Broadcast Coordination Center.

All editing staff and associated infrastructure were located in Los Angeles. The edit workload was large enough to require two separate locations; the Fox Pico facility and J/Kam in Burbank, each with dedicated storage.

With Pronology serving as the backbone of the system, all users had immediate access to proxy files for viewing and logging, whatever the location of the high res media. For example, when 4K content was shot and imported in Vancouver, it could immediately be viewed and logged in LA.

Kevin Callahan, director of remote operations for Fox Sports, said, “Pronology was our Swiss Army knife, able to solve multiple issues confronting us. There were a lot of moving parts to this operation. Many of our production staff had no idea of the size and complexity of what went on behind the scenes, which was the goal.

We wanted a setup where they clicked on an asset, they could view a proxy and their content would get from wherever it was, to wherever it needed to go.

Pronology was able to provide this for us.”

Michael Shore, co-founder of

Pronology, added, “We worked very hard to simplify what could easily have become an overwhelming project from a production perspective. In one month’s time we managed 300 users, 250,000 individual files, more than 500 TB of media, 75,000 workflows, 10,000 sub clips and more than 1000 user bins. We created and supported an enterprise level system, integrated into the Fox network and architected more than 30 multi-step workflows, all in just a few short weeks. We are very proud of our accomplishments on this event.”

10.A26

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For the latest show news and updates follow

70

#IBCShow

MVA addresses mobile challenges DTG

By Ian McMurray

The arrival of 4G networks has brought with it the ability to stream more video content than ever before. The large

volumes of video traffic passing through mobiles and tablets represent a huge step change for the industry.

The Digital Television Group (DTG) said there was great potential for organisations to use this new capacity to

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).

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

IBC, Third Floor, 10 Fetter Lane, London, EC4A 1BR, United Kingdom.

T +44 (0) 20 7832 4100

70 IBC D4 2015 Issue v1MDL.indd 1

F +44 (0) 20 7832 4130

E info@ibc.org

www.ibcCE.org

provide new content services to their customers, but there remain many questions about how to do this within the available spectrum and existing infrastructure.

Among the challenges DTG notes is the fact that 66% of mobile data is predicted to be video by 2017, making 4G predominantly a video distribution network.

To help the industry address and overcome these challenges, the DTG has created the Mobile Video Alliance (MVA), the aim of which is to share knowledge and provide a forum in which participants can connect in ways that benefit the industry as a whole, with a view to optimising and accelerating innovation through collaboration.

The MVA attracts members from a broad variety of industry players including production houses and workflow partners, content delivery networks, mobile networks, cloud providers and app developers, and focuses on the communication between them. From identifying and evaluating Quality of Experience issues over mobile networks, to looking at communications between network operating centres to aid the speedy discovery and diagnosis of network problems, the MVA aims to bring people together to allow mobile video to flourish to its full potential.

DTG said that by joining the group, members have the opportunity to be part of this collaboration, along with the DTG’s activities in other areas.

The DTG brings together mobile and DTT operators, and has been active in the Connected TV space for 10 years, so believes that it is uniquely placed to help all content delivery platforms deliver a unified approach.

5.A17

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Orange TV sticks to HTML5 Espial

By Ian McMurray

Among the demonstrations on the Espial stand is one of Orange TV, which was rolled out in France in July and which uses Espial HTML5 user experience software. Orange is marketing the HDMI stick-based service (called Cle TV, or the TV Key) to Orange mobile customers, providing access to over 65 channels of live and on-demand content.

The wide-scale launch in France followed a pilot launch in Romania, and will be followed by deployments to several additional European countries later this year. The demo highlights how the Orange Cle TV enables subscribers to share and enjoy personal content on TV, as well as the tablet and smartphone based control.

Martin Conan, OTT box director of Orange, said, “Espial’s software excellence and their on-time delivery have been

highly appreciated. Espial’s HTML5 Client solution enabled us to create a user experience where Orange customers can seamlessly navigate traditional TV, on-demand, and internet-based services.”

Jaison Dolvane, CEO, Espial, added, “We’re excited to work with Orange on innovative services for their customers. Leveraging our software, Orange has created a world-class video user experience which will give them competitive advantage, as well as a platform which can be enhanced rapidly

to incorporate new services and applications. For Espial, this represents the expansion of our solution onto HDMI-based devices.”

The Orange TV Stick is enabled with a secure Wi-Fi connection, and can be plugged into a variety of consumer devices including TVs and laptops. The shift to a full HTML5 solution is said to be a milestone in Orange’s convergence strategy, creating a seamless experience between broadband and mobile services.

5.B25

Bright picture: Orange TV received its French roll-out in July

MultiSite gets first outing at IBC Talia

By Ian McMurray

Just over a month before the RAI opened its doors to IBC visitors, exhibitor Talia launched Talia MultiSite, which receives its first major public showing at the RAI. According to Talia, MultiSite customers with connections across multiple locations are no longer required to have networks designed on a per-site or per connection basis. This, it claimed, allows customers to self-assign access and bandwidth on a bespoke basis, providing a more cost effective bandwidth solution for their network.

As a result, Talia said that customers will no longer have to rely on the service providers’ claims of contention. The contention on the network is now passed on to the customer, for the customer to decide and assign.

A typical application for MultiSite is backup and disaster recovery networks where sites only need bandwidth in the case of a disaster.

It can be used for satellite news gathering, where bandwidth is only required around the transmission periods and/or lower bandwidths/throughputs are required at other times.

MultiSite is also said to be suitable for videoconferencing networks where large uncontended bandwidths are required, but only while the conferencing is active, and video and radio contribution networks, allowing large video or audio files to be transferred between remotes and HQ, for example.

Prior to MultiSite, bandwidth across a network - whether terrestrial, microwave or satellite based – was designed around a full-time demand.

4.A61d

RF measurements from the air LS telecom

By Mark Hallinger

High-value airborne measurements via remotely piloted aircraft systems have already been a part of terrestrial system design for several broadcast network operators.

This method is being showcased on the stand of Colibrex, a whollyowned subsidiary of LS telcom.

Colibrex offers this measurement service using

a multicopter that has been adapted to carry a measurement sensor, high-resolution position and orientation sensors, an autopilot, a high-powered processor and storage unit, and a telemetry system.

Colibrex said that its multicopter system can more precisely measure the real radiation patterns of an antenna and compare these characteristics to the planned pattern. Ground measurements cannot provide complete pattern radiation data and are subject

to ground reflections, said the company.

Airborne measurement is especially relevant for a final commissioning of new antennas, as faults during installation can easily happen, reminded the company. Colibrex added that this also applies for maintenance work and compliance verification.

Norking Norway and Norking Belgium, SRG SSR, Switzerland, and Emitel, Poland, have recently contracted Colibrex to conduct measurement of their antennas for various technologies, such

as DVB-T/T2, DAB and FM. The measurements were useful to the operators in either confirming their expectations of antenna settings or in detecting unwanted and sometimes critical radiation characteristics, said Colibrex.

When modifications to the antenna installations were necessary, measurements were reiterated after each installation change until the real antenna radiation characteristics corresponded to the planned one.

8.E43

Not just capture: Drones can also be used for taking airborne antenna radiation characteristics

Ultra HD and 3D audio showcase Swissaudec

By Adrian Pennington

In the IBC Future Zone satellite operator SES, in co-operation with France Télévisions, is showcasing results of a test combining

71 IBC D4 2015 Issue v3MDL.indd 1

UHD TV compressed with HEVC and using ECMA-407 – the world’s first 3D audio standard.

The test is simultaneously conveyed over satellite and to smart devices over IP. These smart devices optimise the internal NHK 22.2 channel

audio representation and yield what is described as ‘a futuristic binaural sound experience’.

Partner to the project is Swissaudec, a Swiss confederation-funded project on whose technologies ECMA-407 is based.

ECMA-407 extends known audio codecs to provide an unrestricted 3D experience up to NHK’s 22.2 channel audio with the total payload less than 2kb/s. It uses modern encapsulation and is invisible during transmission with MPEG-4 or MPEG-D.

It is also described as an elaborate upmix system, which extends 2D surround to 3D UHD TV signals in real time. New loudness features have been applied according to the ITU-R BS.1770-3 specification.

8.F01

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Big presentation: customers get more internal storage with the SMP 351

New SMP 351 Streaming Media Processor debut Extron

By Heather McLean

Two new models to the SMP 351 Streaming Media Processor lineup are being showcased at IBC by Extron Electronics.

These new models offer 400 GB of internal solid state storage to accommodate more AV content.

All SMP 351 models feature

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

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.

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five inputs, creating high impact presentations by combining two high resolution signals, a background image, and metadata into dynamic layouts that enhance a presentation’s message.

Extron’s FlexOS embedded operating system makes the SMP 351 easily adaptable to changing requirements, said the company. Applications can be uploaded to FlexOS that empower the SMP 351 to automate system operation using control ports.

Casey Hall, VP of sales and marketing at Extron, said,”We increased the internal solid state storage to support our customers who record content in very high quality or who record a large volume of material. These new models offer five times the internal storage, enhancing recording workflow flexibility, and giving customers more time before transferring content off the processor.”

Requiring no license fees, the SMP 351 is a flexible, cost effective media processor for delivering dynamic presentations to larger audiences, claimed Extron. It is aimed at any environment where AV sources can be streamed live or recorded, and where multiple AV sources are combined to enhance a presentation.

Organisations could use the SMP 351 to communicate with staff or students who cannot be present at an event, affording all the opportunity to review and gain insight into the live experience. It can be adapted to many applications, documenting any meeting, conference, or activity that uses AV sources.

Extron claimed the SMP 351 is ideal for use in corporate, education, government, healthcare, courtroom, house of worship, and rental and staging applications.

9.A07

72 IBC D4 2015 Issue v1MDL.indd 1

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73

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Boxing clever

BBC: “Ignore linear channels at your peril” Conference Analysis

ABOX42

By Ann-Marie Corvin

By Anne Morris

Set-top box (STB) platform provider ABOX42 has unveiled two new platforms designed to help operators address diverse challenges in the market.

The company’s new managed Android STB, ABOX42 OPA (operator Android), is targeted primarily at operators that want to bring Android into a secure, managed environment to avoid risking their business model and revenue streams.

ABOX42 CEO Matthias Greve said the Android STB is primarily targeted at operators in the Asian market, where they are “really feeling the pain” of unsecured Android STBs that currently exist in the market.

Greve said such Android STBs are mostly designed for the fastmoving customer retail market and are not well suited for the security and life cycle needs of professional operators, where the STB is the solid foundation for a

Matthias Greve, CEO of ABOX42

managed TV service.

Also at IBC, ABOX42 launched a STB platform that is designed for more advanced operator projects worldwide as it supports 4K resolution and HEVC decoding. The M40Series SmartSTB is based on Broadcom’s latest UHD highperformance 10,000 DMIPS system-on-a-chip BCM7251S. “The M40-series is the most powerful SmartSTB we ever built and it can be quickly integrated into existing environments,” said Greve. “An operator can now mix different hardware models and generations in one service offering due to the compatibility of the device, which we provide via our unique SmartSDK.” 14.J13

IP in pre-natal care stage Conference Analysis

By George Jarrett

The EBU-produced session ‘The Media Factory of the Future’ proved that broadcasters are doing it for themselves when it comes to IP. Chair Simon Fell, EBU director of technology & innovation, has coordinated input on interoperability from the US, Belgium, Norway and Switzerland.

“People can work remotely very easily with this kind of technology,” said Fell. “The IP studio gives you an opportunity to think of new ways of making content.The next generation will do this.

“We are now in a world where VRT has built something that can work.Manufacturers need to adopt new ways of interfacing their equipment to that world and give us the flexibility we are looking for,” he added.

“At the moment there is a lot

of transcribing, re-packaging and re-streaming going on to get things across the network.

Eventually standards will come to fruition.”

On the issue of IP viability now, Geir Bordalen, head of investments at NRK said: “It’s not all hooked together and that’s one of the problems we have with interoperability. We need to work hard on that, and gain the benefits of working together” Thomas Sarner, senior advisor at SRG SSR, added: “What we want is a stable fundamental infrastructure on which you can easily change things.”

Wouter Decuyper, technology architect, VRT said: “A lot of vendors came to us with slide wear on IP for live production. We said let’s do it, and see how far we get with what’s available now.

That is the Sandbox+.”

Fell jokingly concluded: “IP studios are in the pre-natal care stage at this point. It is still not fully born, but they are coming.”

Delivering video across devices is an important part of the BBC’s future according to director of audiences Nick North (pictured) – but not at the expense of the public broadcaster’s linear channels. In the session ‘Future Consumer, Content Everywhere and Always On’ panel, the BBC executive spoke about the challenges of catering for a digitally native audience which was “significantly changing” the way it consumed content.

“There are competitors for this audience’s time and attention and we need to think how we respond to this,” he said. “Delivering video

across devices is an important part of the future.“ North added that social media and other text-based forms of engagement were other time competitors that shouldn’t be underestimated. “We need to accept that the growth of communication may come at the expense of entertainment and we need to figure out our role in this changing market.”

However, he warned that the public broadcaster’s role “to bring audience to the BBC and bring the BBC to the audience” still involved investing in its linear channels.

“The market may be changing but we can’t neglect our linear channels – they are the biggest and most powerful means of fulfilling our purpose. A third of all viewers may be viewing by catch

up but it’s the linear channels that help to drive this.”

Using linear and online to cross promote, North concluded, has been the best way of increasing audience share. The BBC’s six part comedy Car Share was made available online ahead of its broadcast premier. “Making all six episodes available ultimately drove a much bigger audience,” North added.

Incubator to push IT interop

By George Jarrett

The AMWA Networked Media Incubator (NMI) Project, launched at IBC at the same time as the EBU/VSF/SMPTE Joint Taskforce on Networked Media (JMNM) report Reference Media V1.0, has been created to deliver practical interoperability across IP-based infrastructures.

“This is about doing real work.

It is not about working to words on a page,” said AMWA executive director Brad Gilmer. “It is about getting a group working together around IP for media and picking a particular technology area that we want to explore. Then we get the people who make the pertinent products and incite them to work together.

“Best of breed is still an

important option. Within a particular app there is going to be a manufacturer bound to build a really good thing,” he added.

“They want to pick and choose and make the stuff work together.

Interoperability is the key enabler of best of breed.”

The BBC will lead the development work on the Incubator, in tandem with Ericsson, SAM, Cinegy, Telestream, Dalet, EVS and Sony, plus six more vendors.

BBC R&D will provide reference implementations for the work via its IP Studio project.

“NMI is timely because, as IBC has shown, the industry is standing at a crossroads on the journey to a networkbased future,” said Gilmer. “The JTNM reference architecture

Brad Gilmer: “This is about doing real work”

established a number of core areas where there really has to be a meeting of the minds if things are going to work together in an IP environment. These things are timing, identity, registration and discovery.

“The joint report says it is really important for the industry to get IP right, and the NMI project is about turning that into realty,” he added.

3.A19A

Managing Louise at IBC Pro Consultant Informatique

By Will Strauss

An updated Task Manager module and an integrated connection with Adobe Premiere Pro, both for the Louise broadcast management software system, are being shown at IBC. The Task Manager optimises

workflows in tapeless environments by automating complex, sequential tasks for both linear and non-linear content. The update being unveiled at the show allows for rule-based workflow creation and for multiple automated tasks to be carried out simultaneously.

Premiere Conex is a new module that integrates Adobe’s non-linear editing package with

Louise, allowing some MAMtype features such as archive content retrieval and rights checking plus ‘Content Review.’

The latter, for collaborative remote working, allows timecode-specific comments and notifications to be sent backwards and forwards between an editor and director without the need to leave Louise or Premiere.

2.B21

74

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TFG funding for TV evolution

#IBCShow

Hawk-Eye for Rugby Smart Replay Sony

Ross Video

By Adrian Pennington

By Heather McLean

The Future Group, a Norwegian new media company, has announced the participation of Ross Video in the company’s Series B funding round that will be used to bring the future of truly interactive TV into reality.

The seven-figure investment from Ross Video is part of a strategic partnership between the companies. It follows Ross’ technical collaboration with TFG to provide its proprietary VR technology for TFG’s 3D, VR, and AR content to launch an interactive VR game show in 2016.

TFG is creating a revolutionary social entertainment platform that brings TV, gaming, brand awareness and e-commerce into a flexible programming experience.

This will bring traditional scheduled TV viewers in the sitting room, and mobile device-obsessed gamers and OTT customers into the same

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TV adventure.

Combining cutting-edge movie special effects pioneered in The Matrix with virtual reality plus storytelling and product positioning for brands, what TFG has dubbed ‘The Future Universe’ is available to viewers through every screen: PC, mobile and primetime TV. Also, no headsets or other gear are required to access or participate in this new experiential platform.

“This is a green screen, video game world for TV, live in real time,” said David Ross, CEO at Ross Video. Explaining the 2016 game show, Ross said that contestants will be put into a video game world and will interact with it through tasks they are set. The second part of the plan through

DMC taps Orca for playout Pebble Beach Systems

By Mark Hallinger

The first order for the new Orca IP-enabled integrated channel device under Marina automation control has been made by Amsterdam-based DMC, for use in a new multichannel playout system. DMC recently undertook a full technology review, staging a detailed proof of concept exercise to evaluate and test a variety of IP-based playout systems. At the conclusion of this, Pebble Beach Systems was awarded the

Marian on air: Marjan Television Network’s operations director, Robert Le Merle, shakes the hand of TSL chief technology officer, Julian Knight, following the completion of the build of a brand new UK studio for Marjan, which broadcasts to Iran. The first phase of the project, to get Marjan on air, was completed in just five months. There are two more phases to come: traffic scheduling and a media asset workflow and graphics solution.

– Heather McLean 10.B41

contract for a Marina automation solution controlling multiple channels, which will be played out on completely virtualised Orca integrated channel devices. It represents the first implementation of Orca, which was unveiled at IBC2015.

Orca is Pebble Beach Systems’ completely virtualised IP-enabled software-defined integrated channel. Running in a VM on a virtualised platform, it optimises a software-only implementation of the company’s Dolphin platform to run in a private cloud with IP inputs and outputs.

The implementation deploys

a partnership TFG has made with a video gaming company is that the contestants and live TV programme will be integrated with the gamer’s simultaneous experience, where some gamers may also be integrated back into the live TV show.

Ross said: “This is not about just one gameshow; it’s a whole new class of programming. If the launch of this is a success, it will roll out in many countries and into many languages. All the non-gaming engine technology involved in this is from Ross, so as it gets franchised this is a tens of millions of dollars opportunity for us, and we are part owners of the company.”

9.C10

standard IT hardware which DMC will source and maintain, with the company delivering the virtual images for each channel based on DMC’s pre-defined transmission chain or ‘pipeline’ requirements.

“This contract represents our first large scale deployment of an IP-only solution for a major service provider,” said Tom Gittins, Pebble Beach Systems sales director. “We have worked closely with DMC to architect a solution capable of playing out all channel types from highly reactive prime channels with frequent late schedule changes and high degree of live content, to regional insertion channels, from a unified user interface.”

8.C71

For the first time, the Rugby World Cup (RWC), which begins this week, is making use of Sony-owned Hawk-Eye’s Smart Replay system for the Television Match Official (TMO).

The technology will ingest all 32 individual camera feeds, synchronise them and make them available over a network and in a single interface for referees to make final calls on certain aspects of play such as whether a foot was in touch before the ball was grounded over the try line, for instance.

At the RWC, a 48-match tournament held in England over the next six weeks, the TMO will be located in a Hawk-Eye OB unit on-site with operator Harry Todd.

“During live play it will act as a personalised replay for the TMO but it can also fit into replay packages for broadcast,” explained Todd.

“We can synchronise split screens and zoom in. The technology means we can distribute the feeds to as many different independent clients as we want to.”

The same multi-angled feeds from Hawk-Eye will also be available to touchline medical staff for viewing on iPads as an aid to diagnosing a concussion incident and to the citing commissioner where the ability to freeze frame and zoom in on a frame comes in useful.

The Smart Replay system from Hawk-Eye has already seen action in Australian Rules Football, horse racing and the NHL. Hall 12

One stand many sounds HHB Communications

By Mark Hallinger

The big stand at the entrance to Hall 8 is home to representatives and products from several proaudio manufacturers, some of which announced significant product launches at IBC. RØDE announced six new products, including two new microphones, a pair of carbon fibre boompoles, an XLR interface for Apple iOS devices and an XLR adaptor for the company’s RØDELink 2.4GHz digital wireless system.

Two new members of its VideoMic family, the VideoMicro and the VideoMic Me, debuted.

Measuring only 80mm long, the VideoMicro is a small, lightweight on-camera microphone designed for use on compact cameras. The VideoMic Me is a high-quality directional microphone designed for Apple iPhones and iPads.

Also new is the i-XLR, a digital XLR interface for Apple iOS devices. Used to connect professional XLR microphones to an iPhone or iPad to record audio in the field, the i-XLR allows reporters, correspondents and audio professionals to

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quickly and easily capture professional interview dialogue to a smartphone or tablet.

TC Electronic introduced a multi-format monitoring system, Clarity X, in a new MADI version, a free software update, and a completely revised licensebased pricing structure.

The European debut of the Roland O.H.R.C.A M-5000C digital mixing console is also part of HHB’s IBC. The compact M-5000C offers all the flexibility and power of the larger M-5000 console but in a smaller footprint.

NUGEN’s Halo Upmix also launched. This features new stereo to 5.1 and 7.1 upmixing technology, new standardsbased loudness measurement capabilities for theatrical trailer production, and the new NUGEN software ‘Site’ Floating License system for enterprise customers with 10 seats or more.

8.D56

For the latest show news and updates follow

76

Quantis, Talia seek Dialog Newtec

By Ian McMurray

Quantis has ordered a Newtec Dialog multiservice platform to

complement its existing satellite infrastructure and enable more advanced, customised services for its customers. Quantis is a long-standing Newtec customer, with coverage over Africa, Europe

and the Middle East, including a broadband hub (Sat3Play) installed in Arganda, Madrid.

The new Newtec Dialog hub â&#x20AC;&#x201C; provided by Newtec, a specialist in designing, developing and manufacturing equipment and technologies for satellite communications â&#x20AC;&#x201C; will enable Nortis, a Quantis subsidiary

#IBCShow

based in Morocco, to deliver satellite broadband services.

Newtec says that Dialog guarantees optimal modulation and bandwidth allocation, whether it is being used for enterprise, consumer broadband, cellular backhaul or mobility in traditional or HTS networks.

The hub also features Newtecâ&#x20AC;&#x2122;s

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patented return link technology â&#x20AC;&#x201C; Mx-DMA, or Cross-Dimensional Multiple Access â&#x20AC;&#x201C; which the company claims enables services to run more efficiently and reliably than ever before over satellite by combining the best features of MF-TDMA and SCPC technologies. â&#x20AC;&#x153;We are pleased Newtec Dialog was able to not only meet the needs of Quantis but also enable them to enter new markets and generate extra revenue,â&#x20AC;? said Serge Van Herck, CEO at Newtec. â&#x20AC;&#x153;One area which Quantis will be able to address immediately and costeffectively with Newtec Dialog is the deployment of 3G and 4G infrastructure by mobile operators, which is being hindered in a number of regions due to the lack of fibre or terrestrial infrastructure to backhaul the thousands of base stations required to cover the population.â&#x20AC;?

Newtec had previously announced Talia as a new customer for Dialog.

1.A49

IP transfer VidĂŠomenthe

By Will Strauss

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Editorial metadata management, an integrated streamer and Orad graphics integration have been added to Eolementhe, the automated cloud-based media workflow platform.

The VidĂŠomenthedeveloped product allows users to create file-based workflows, provides fast and secure IP transfer and includes tools for transcoding, media quality control, loudness analysis and correction, as well as subtitle insertion.

The new Metadata management feature allows a user to send a form template or templates to the Eolementheâ&#x20AC;&#x2122;s database at which point a JSON or XML file is generated in the desired format, containing a reference to the media. This feature will be automated in the next software update.

2.A36E

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CTOs think beyond resolution

MCNs look Beyond YouTube Conference Analysis

Conference Analysis

By Adrian Pennington

By Ann-Marie Corvin

Assessing the bigger picture of technology trends, leading CTOs are excited by the possibilities of extreme data while cautioning against a narrow focus on 4K. “We’re in danger of missing the boat by concentrating on 4K and HDR if we can’t distribute content to mobile and do so far more quickly to keep pace with binge demand,” said Sinead Greenaway, UKTV director of operations.

“When we talk about 4K and HDR we are focused on one use case which is the big screen in the living room but it is the myriad of multiscreen TV use cases that may matter more,” said Paul Dale, CTO, Dentsu Aegis Network.

Discovery Communications is producing 4K programming and would like to do so at frame rates of 120p but even that amount of data is not enough for CTO John Honeycutt. “One idea is to create different viewpoints from 8K data to give someone the sense of

As Millennials migrate to new platforms and media companies jostle for position it’s the multichannel network (MCN) that is shaping up to seize a big slice of the advertising pie, according to panellists on the ‘Beyond YouTube’ session.

According to analyst Richard Broughton, there’s a growing trend for broadcasters and content owners to either acquire MCNs or build up their own services to deliver content and ad opportunites to a new generation of viewers.

Broughton added that the value of MCNs such as Awsomness TV has shot up in the last three years, with many firms in this space enjoying revenue growth rates of

Matthew Postgate: “I am not interested in 4K. I am very interested in UHD”

being a fan in a stadium.”

One of the possibilities of a move to IP is object-based broadcasting. “Releasing the components of sound and picture for a viewer to interact with is extremely interesting,” said Ulf Ewaldsson, SVP and Group CTO, Ericsson. “We are moving to a point where we can use data for more than just forming pixels into a big block. It goes beyond the resolution of the TV.” “I think the idea is profound and little understood,” said BBC CTO Matthew Postgate. “It’s about moving the whole industry away from thinking of video and audio as hermetically sealed and toward an idea where we are no longer broadcasters but data-casters.” He added: “I am not interested in 4K. I am very interested in UHD.”

Fast File Exchange TIXEL

By Carolyn Giardina

TIXEL is highlighting its TIXstream FX file exchange system, which was released earlier this year for broadcasters or any companies

exchanging large amounts of data.

It’s a turnkey system that’s developed to give users control by keeping the work ‘in house,’ meaning it operates on a facility’s private cloud infrastructure rather than relying on third-party services.

200% year on year with a two to three fold revenue growth increase expected over the next couple of years.

Jeff Nathanson, who now works for Whistle Sports, said companies operating in this space needed to build their businesses around the content creators and YouTube stars. “It’s the stars and fans who set the tone in this space,” he said.

The former YouTube head of football added that now advertisers were becoming better

at telling stories, the potential for creating branded entertainment and delivering ROI was “huge.”

Fremantle UK, which has its own stable of online stars and niche channels, added that its MCN’s need to be fluid with their platform choices so that they can follow their audiences.

“Tube is not as flexible at giving fans what they want 24 hours a day so we are moving away from that platform – different content works best across different platforms.”

SMPTE 2022-6 alternative gains support Evertz

By Will Strauss

Evertz is touting an increase in support for ASPEN, the open non-proprietary protocol that it believes is better suited to IP-based production than the SMPTE 2022-6 standard.

Submitted to for publication as a Registered Disclosure Document (RDD 37), ASPEN is used for sending uncompressed Ultra HD/3G/HD/SD over MPEG-2 transport streams (TS).

When combined with SMPTE 302M (Audio over TS) and

SMPTE 2038M (Ancillary data over TS), it allows broadcasters to switch uncompressed video and audio over an IP network.

Among the new ASPEN supporters is Ross Video. At IBC the two companies have announced they are developing 10GE IP interfaces with ASPEN support for the Acuity production switchers, allowing connection to Evertz’s Software Defined Video Networking (SDVN) high capacity switching cores, the 3080IPX and EXE-VSR. This interface removes the need for external gateway modules and is said to simplify

the installation and signal management in the production environment.

Other ASPEN supporters named by Evertz include: Abekas, ChryonHego, Discovery Communications, Game Creek Video, Hitachi Kokusai Electric Limited, NEP Group, PacketStorm, Ross Video, Sony, Tektronics, Time Warner Cable SportsNet and Vizrt.

According to Evertz director of product marketing Mo Goyal, 2022-6 “has limitations” and “doesn’t provide the flexibility” required in production.

3.C20

7.B01

FiberNet set to rock fibre optic production MultiDyne

By Heather McLean

FiberNet, a reliable way to manage and control an entire fibre optic-based production environment via software, has been unveiled by MultiDyne.

The product is a realtime uncompressed optical networking topology. It takes advantage of fibre

infrastructures and can interconnect multiple, and disparately located, nodes for managing, controlling and distributing all types of uncompressed signals from one centralised location to an onsite production crew, as well as those located anywhere in the world.

Said Frank Jachetta, president at MultiDyne: “Uncompressed full bandwidth video, audio and data provides

the best of both worlds; you have the flexibility of an IP network but with no latency, and it’s simple to use for operators.”

The MultiDyne FiberNet software platform is equally beneficial for live production, studio shows as well as post production facilities, resulting in the flexibility to send and receive signals to and from anywhere, and significantly less equipment cost, claimed the company.

On the system, Jachetta said:

Frank Jachetta: “Where the magic happens is in our control”

“Where the magic happens is in our control. It works not only with our software, but with other controls. Our system can be controlled by other manufacturer’s’ controls and vice versa, which is a big deal.”

Much more than simple point-

to-point links, FiberNet allows the user to send any incoming signal to any output or even to multiple outputs, with the touch of a button or click of a computer mouse.

9.D40

For the latest show news and updates follow

78

#IBCShow

Engineering a better world SDI over IP gets sexy

By George Jarrett

Long-time Sony executive Naomi Climer has become the first female president in the long history of IBC partner organisation The Institution of Engineering and Technology (IET).

Asked why she had taken the post she said: â&#x20AC;&#x153;As a board member, I was amazed at just how much more the IET does than I was originally aware of in terms of government policy lobbying, education, publishing, and accreditation for chartered engineers and university degrees. â&#x20AC;&#x153;There is a whole breadth of things that matter in terms of professionalism and inspiring a generation to be engineers,â&#x20AC;? she added. â&#x20AC;&#x153;Look at the Internet of Things and the way that technology is heading towards IP and the cloud: we desperately need engineers and are going to need bigger flows of them for decades to come.â&#x20AC;?

Cobalt Digital

By Heather McLean

Naomi Climer: â&#x20AC;&#x153;As a charity The IET purpose is to engineer a better worldâ&#x20AC;?

Climer feels strongly about getting some engineering activity into at least every school in the UK. â&#x20AC;&#x153;I am going to be taking two platforms â&#x20AC;&#x201C; enhancing the image of engineering because it does not have the cache or image it deserves, and diversity,â&#x20AC;? she said. â&#x20AC;&#x153;Broadcasting has played a huge part in transforming the world. The kind of technology

developed has created the social media always connected society, but we know we have a skills gap. TV enjoyed a glitzy reputation but that is not the case now. â&#x20AC;&#x153;Inspiring the next generation is everything from going into schools to the Rising Stars here at IBC,â&#x20AC;? she added. â&#x20AC;&#x153;As a charity The IET purpose is to engineer a better world.â&#x20AC;?

Broadcast-grade small formfactor pluggable (SFP/SFP+) module manufacturer Embrionix has signed a partnership deal with Cobalt Digital.

The pair will integrate Cobalt Digitalâ&#x20AC;&#x2122;s advanced audio and video processing platforms with Embrionixâ&#x20AC;&#x2122;s range of featurerich SFP modules known as emSFPs. Specifically, certain openGear cards in Cobaltâ&#x20AC;&#x2122;s 9991 Series will host Embrionix SDIto-IP and IP-to-SDI emSFPs, making it possible for customers to use Cobalt equipment to send SMPTE 2022-6 SDI signals over IP and Ethernet networks, among other signal I/O options.

Said Bob McAlpine, executive vice president of sales and marketing at Cobalt Digital: â&#x20AC;&#x153;It seems the industry will move quickly to uncompressed IP.

Most of our customers are moving away from traditional SDI architectures in favour of IP-centric designs that will eventually be more scalable and affordable. Until then, customers will be working in hybrid environments, so our aim is to make it easier for them, especially when it comes to switching and routing signals.â&#x20AC;?

Embrionix emSFP modules are effectively stand-alone microsystems optimised for the professional broadcast industry.

Cobaltâ&#x20AC;&#x2122;s openGear cards â&#x20AC;&#x201D; with inherent capabilities such as audio embedding and deembedding, mixing, shuffling, A-to-D, and D-to-A â&#x20AC;&#x201D; can take advantage of Embrionix emSFPs. Combining the cards with the emSFPs opens up additional signal I/O options, such as fiber-optics, HDMI, composite, MADI, and the allimportant SMPTE 2022-6 SDI over IP. 10.B44

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