IBC2016 Daily D1 Friday 9 September by Future PLC

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FRIDAY 09.09.2016

“The 50-year party is over” By Chris Forrester Dominique Delport, global MD at Havas Media and chairman of Vivendi’s content division, told IBC delegates at the show’s opening session that the massmarketing ad-based TV model, which had been a winning formula for retail for 50 years is no more. “Unfortunately the party is over. A recent survey showed that 75 per cent of brands could disappear overnight. We asked 300,000 consumers in 35 different countries about 700 brands. The brands could die because people don’t care about them. This is because the audience is changing. In fact, the audience today IS the media.” Delport said the new brand domination is coming from GAFA (Google, Apple, Facebook and

Amazon). “We are all moving to this direct-to-consumer world. And these same challenges are what media and the telco industries are facing today. There is no European equivalent [to GAFA] and to compete with these giants we have to link with Europe’s telcos.” To help this process Vivendi is investing €35m each year in a new series of ten-episode shows, each episode of ten minutes duration, which consumers can view while waiting for a bus or sat on a train. “We will formally launch the shows at MIPCOM, and they’ll initially be available to Out LatAm users on 11 October. One new series, every week. They are deliberately addictive, very original and international.” He warned that online

Leaders plan digital reinvention The industry will never change as slowly again, was the chilling message from the IBC Leaders’ Summit Page 6 Dominique Delport, global MD at Havas Media and chairman of Vivendi’s content division

advertising was challenged by so-called ad-blockers which are used by some 250m people, and thus ruining the digital advertising model. “We absolutely need to fix this. We need to turn these consumers into customers. We need to know more about them, and to dramatically improve their

What next for Netflix? By Catherine Wright “We want more partnerships and more innovation in our partnerships,” said Christopher Whiteley, VP business development EMEA for Netflix in the Netherlands. Speaking at the conference, ‘The New Broadcasters: the Rise of Internet TV Networks’, on Thursday, he gave several clues

as to what’s next for the internet TV network when it comes to growing its business in the face of slowing subscriber growth, according to several recent press reports. “We want to expand in areas like the Middle East and Turkey, and do other deals in the US like the one we signed with Comcast on its X1 set-top in July,” he added. The company is keen to build

Inside

Christopher Whiteley, Netﬂix

on its 40 existing partnerships (with its NPBDs) in a drive to get wider audiences to watch Netflix content, particularly on set-top boxes. “As our slate of original and exclusive

customer experience.” Delport said that Vivendi was moving into developing new broadcasting formats. Where it used to compete with the likes of HBO and Sky, it was now co-operating with them on highprofile shows such as The Young Pope. programming gets bigger and better, we are seen less as a direct competitor to their services,” he indicated. “Technology is never the reason why we don’t do a deal,” he added, describing how Netflix’s teams of engineers sit down with the company’s partners to work on those aspects, to make sure the user experience is right. An area Netflix is working on is making it easier to pay for the network’s subscription in areas of the world where there are no credit cards, for instance.

Trusting the cloud The DPP’s Mark Harrison addresses the issue of placing trust in machines Page 10 Celebrating the century SMPTE turns 100 in style with special IBC Awards honour Page 24 Interoperability in the zone IBC launches new Interoperability Zone in Hall 8 Page 32 Market stabilises after rocky 2015 The industry is in the midst of change, explain IABM’s Peter White and IABM DC’s Joe Zaller Page 44

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We turn consumers into your greatest fans Enhance their TV experience to keep them coming back for more.

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Switcher Control Ethernet lets you plug in a computer for control and uploading graphics.

12G-SDI Inputs 20 inputs with 12G-SDI and re-sync for HD and Ultra HD up to 2160p60.

Redundant Power Two built in supplies keep the switcher running in case of a fault!

Built in Audio Mixer Dedicated audio inputs can be mixed with audio from all SDI sources.

Aux Control Select video sources to aux output right from the front panel.

Aux Outputs 6 aux outputs allow connection to on stage screens and projectors.

Built in Monitoring Full resolution HD display lets you view any router source!

Program Outputs Send your program feed to your audience, or for recording!

Multi Views in HD or Ultra HD Multi view lets you see 8 sources and program on a single monitor.

Introducing the world’s first live production switcher with 12G-SDI for high frame rate production up to 2160p60. The ATEM 2 M/E Broadcast Studio 4K is a live, multi camera production switcher that features 12G-SDI so you can now work in high frame rate Ultra HD which is perfect for live events such as sports, music concerts, theater and more! The advanced 12G-SDI based design featuring 20 12G-SDI inputs with full re-sync lets ATEM 2 M/E Broadcast Studio 4K work in all HD and Ultra HD formats all the way up to 2160p60! You also get advanced broadcast features such as chroma key, transitions, keyers, multi view and much more!

High Frame Rate Ultra HD The native 12G-SDI design lets you use the same high frame rate workflow in Ultra HD for fast action sports that you use in HD! 12G-SDI is 4 times faster than 3G-SDI so it easily handles Ultra HD in frame rates up to 60 fps. Because 12G-SDI switches speeds, you can instantly switch to operate in regular HD whenever you need!

Creative Transitions You get a huge range of real time high quality transitions in all resolutions and frame rates! Use mixes, dips, wipes and animated stinger transitions for eye catching live broadcasts! Every transition is instantly available and via macros so you get full control of transition type, pattern, length and other attributes. Create your own ‘on air’ looks with ATEM’s amazing transitions!

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Multi View Monitoring in Ultra HD ATEM 2 M/E Broadcast Studio 4K features two Ultra HD multi views so you can see your program, preview and sources with custom layouts and labels! For the ultimate in image quality you can use Ultra HD displays or you can use regular HD displays and the multi view will down convert to HD!

Media Players The 4 built in media players are designed for high frame rate HD and Ultra HD! ATEM can store full motion video and full resolution RGBA stills with key and fill, or you can direct export from AdobePhotoshop to the switcher with the included plug-in. The media memory is big enough for 64 Ultra HD still graphics plus 360 frames of Ultra HD video or 1440 frames of regular 1080 HD video!

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06/09/2016 11:23

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GV and Cisco form IP partnership Grass Valley By David Fox With IP production taking off, Grass Valley and Cisco have cemented their relationship to offer customers complete, integrated broadcast network systems. Some, such as CBS, have already gone on air, as has Arena TV with its three new triple-expanding IP-based trucks. One, OBX, saw its first use for BT Sports in UHD last weekend.

Working with Cisco, “we really bring the broadcast data centre to life”, said Grass Valley’s SVP strategic marketing, Neerav Shah, who believes the partnership will allow it to adapt more quickly as IP technology advances and broadcasting moves to UHD and beyond. Cisco’s scalable IP Fabric “seamlessly integrates with Grass Valley’s technology”, while maintaining the existing workflow, said Yousuf Khan, Cisco’s VP technical marketing.

The pair are now working on a big news project for ABC Australia, where a fully-virtualised GV Stratus system is running on Cisco Blade hardware. Grass Valley will now support sales and service of its own IP products along with Cisco’s Nexus 9000 series IP switches. The two companies are also collaborating on joint solutions spanning security, virtualised x86 computation and OTT platforms. 1.D11

Google: “We want to help broadcasters” By Catherine Wright The message to broadcasters is clear: Google wants to help them adapt to the biggest revolution they have had to face, according to Ben Faes, the US giant’s MD of partner business solutions in the UK. “Technology disruption is not new to the TV business but the mobile revolution is by far the greatest,” he said during a conference session dedicated to Google’s plans in television on Thursday. Google wants to help broadcasters “create amazing

content, distribute it and find a sustainable business model for it”, he claimed. One of the examples he cited on the content creation front was the deal between YouTube and Fox News during the Republican presidential debates. “We integrated the live Google feeds during the debate so that viewers could see the immediate response. You could, for instance, watch live comments on the candidates,” he said. Google is also helping audiences to find content they want to watch, as there is so

much out there. “We launched a product called Watch Action, which allows people to click directly on a legitimate source of content on Google search,” he explained. An example of this is the deal YouTube signed with 16 broadcasters during the Olympics. “We completely integrated the viewing experience of the Olympics into Google search, which means that if you are searching for highlights of the games you will directly get the images of the broadcaster in the market you are in.”

Sanguine Sony looks to IP workflows George Jarrett By George Jarrett Sony agrees that interoperability is a key element of the IP discussions, but it wants to move away from sole concentration and get the users to focus on the next big thing – workflows – and to think more about what can be achieved with IP opex-wise. Expecting the coming standards to last “20 years at least”, Nicolas Moreau, product marketing manager Europe IP live production and workflows, focused on three key elements: agility, economy of scale, and scalability/future proofing. “Agility is a very nice promise because you can reshape your workflow to match the requirement of the day,” he said.

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Sony’s Nicolas Moreau

“It gives better optimisation, better use of your own equipment. “Why is it cheaper to operate? If you are producing a programme you don’t need to send the same number of people to cover an event on site,” he added. “Economy of scale happens because the IT and computing industry is moving faster than the

broadcast industry. Last year only a 4-Gig switch was available. Now we have a 100-Gig switch with very high density – more bandwidth.” Scalability could mean a small number of racks, racks somewhere else, or creating new production islands as modules. What do Sony customers feed back? “They no longer want to be tied to a sole unique manufacturer, and they are looking to common standards,” said Moreau. “For the roadmap the first thing is a completely full system. The second would be new workflows around your system. Third is resource sharing – putting the main processing into a data centre approach. Then comes the virtualisation question for real, and using managed services.” 13.A10

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OUTLINED

IP allies: Grass Valley’s Neerav Shah and Cisco’s Yousuf Khan

Ericsson partners with IT giants Ericsson By Ian McMurray Yesterday saw two major announcements from Ericsson. In the first, the company said that it would be partnering with Google to extend the reach of the Ericsson cloud-based MediaFirst TV Platform into the Android TV ecosystem, Google’s operating system for the set-top box. The integration of Ericsson MediaFirst TV Platform with Android TV will provide an additional pathway to extend MediaFirst cloud-based TV services, the company said, including 4K-UHD live TV channels, VoD, catch-up TV and cloud DVR to an even wider subscriber base. According to Ericsson, the partnership with Google will give operators the opportunity

to benefit from Android TV’s growing presence on connected TV operating systems, without the need for additional hardware costs. Operators will, it says, be able to partner with manufacturers of Android TV devices to deliver new hardwarebased functionality as well as niche over-the-top programming, or deploy additional applications in the Android operating system. In separate blog posts, Elisabetta Romano, VP and head of TV and media at Ericsson and Jim Blakley, general manager of visual cloud division at Intel, said the goal is to accelerate opportunities for media companies through Ericsson’s leadership in video processing, mobility and cloud infrastructure, alongside Intel’s advancements in compute, storage and networking technologies. 1.D61

Coveloz and Abekas acquired Ross Video By Heather McLean Ross Video has announced two acquisitions here at IBC. On Thursday evening the company stated it has purchased both Coveloz Technologies, a company offering design services and firmware solutions for timesensitive networking and processing of audio, video and control signals, as well as Abekas, a provider of video servers and replay systems. Coveloz will continue to operate as a standalone business, including its work

with Intel-owned Altera, while Abekas will be integrated into Ross’ production products portfolio, plugging the company’s replay systems gap. Jeff Moore, executive vice president and chief marketing officer at Ross Video, told The Daily: “Covelos will enable us to accelerate Ross’ IP roadmap, as well as making its services available to those that need them, including our competitors. And Abekas’ Mira Replay product plugs a gaping hole in the Ross portfolio, with a replay system.” 11.B08

08/09/2016 19:46

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OUTLINED

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Welcome to IBC2016

I’m delighted to welcome you to IBC2016. This year’s theme is ‘Transformation in the Digital Era’, reflecting the great changes we are already seeing in the content creation industry now, as well as those that are just coming into view. We will be looking at leadership strategy across the media and entertainment industry and of course talking about IP, which has been making its way into the debate for the last few years and is now picking up significant

momentum. Virtual reality (VR) continues to grow as a major topic and, while the camera and headset technology on display is important, we are also seeing big opportunities to capitalise on the creativity that abounds in our industry, as VR enables us to tell stories in new ways. We also work hard to appeal to the next generation of content creators, engineers and broadcasters. Events like Rising Stars and the Hackfest are just two of the ways in

Cronk hails seminal event By George Jarrett At the point of foundation AIMS had three members. It now has 54 and it is playing a huge role in supporting the IBC Interoperability Zone, where a huge gathering of the industry’s tribes is talking up a roadmap towards selfmanaged networks and virtualisation. Mike Cronk, chairman of the

AIMS board, is also VP of core technologies with Grass Valley. He said: “The interoperability initiative is a seminal event. It is the first time in my broadcast history spanning over 20 years where all the leading standards bodies have coalesced. “We are working with standards that are forming the basis of SMPTE SD-2110, which is in draft,” he added. “This prescribes how to use IP

even in live production. It also prescribes a whole bunch of benefits and it paves the way to virtualisation and increased flexibility. This event at IBC is the watershed where people can say it is time to start planning to build out with IP.” Why has AIMS grown so fast? “It is a very simple, powerful idea, and for us to compete in the new era of digital media and OTT we

which we are engaging with these young people who are just starting out in their careers. It’s important for the industry to have a place where demonstrations and discussions of new technologies can take place in an atmosphere that engenders debate and we’re proud that IBC provides that platform. We are constantly looking for ways to grow and develop the event, in terms of physical space, market segments and technological

need IP. Unless we can forge a standard that everybody can use, it is worthless,” said Cronk. “For the first time in my career companies that have always been fiercely competitive have recognised the value of pushing a true standards-based approach to avoid the fragmentation we have seen all to often in our industry,” he added. “Our mission statement is, to foster the adoption of a common ubiquitous set of protocols for interoperability over IP.”

talented and driven people from the worlds of broadcasting, ICT, consumer electronics and online. The Amsterdam Metropolitan Area is truly worth its newly deserved title of European Capital of Innovation. We welcome you, again, to our city – and invite you to stay. I

hope you explore and enjoy our restaurants, nightlife and vibrant culture, I know you will mix in our diverse city culture. And I hope that you will return home, not just with fresh inspiration for your business, but also with a renewed affection for Amsterdam and an innovated mind.

Eutelsat takes stake in V-Nova By Chris Forrester Eutelsat and V-Nova used IBC to announce a commercial partnership. Eutelsat is taking a “minority” stake in V-Nova and its cornerstone product, the Perseus compression solution. Eutelsat said the collaboration will be offered to jointly-defined

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pre-agreed markets and clients. Eutelsat will focus on satellite video transmission to broadcasters and TV platforms and where using Perseus will aid the transition from HD to Ultra HD. Guido Meardi, CEO and co-founder of V-Nova, said: “Eighteen months after launch, we are excited by the prospects

of our strategic partnership with a major industry player like Eutelsat. The rapid transformation of the industry to HD for all, UHD, HDR and 360/VR immersive video services can only be supported by the combination of best-inclass video processing and Tier-1 data connectivity. A Perseuspowered Eutelsat platform is

innovation. To that end, we have commissioned some extensive research asking how the industry wants IBC to improve, add value or do things differently to address these changes. People are keen to engage, they feel a sense of ownership of IBC, and we are confident that our findings will give us invaluable insight into the direction of the industry and where it will go next. I look forward to sharing the results with you; in the meantime, I wish everyone a great show.

Cronk: This is the watershed where people can say “it’s time to plan IP build-out”

theibcdaily EDITORIAL Editorial Director James McKeown Managing Editors Michael Burns, Jo Ruddock Front of House Editors Holly Ashford, Monica Heck Head of Design Jat Garcha

Amsterdam welcomes IBC Dear IBC Visitor, The City of Amsterdam is delighted to welcome you to IBC2016! This week, the IBC Exhibition and its agenda-setting conference will bring more than 55,000 industry professionals from all over the world to Amsterdam. IBC attracts the most

#IBCShow

Head of Production Alistair Taylor Reporters Ann-Marie Corvin, Chris Forrester, David Fox, Carolyn Giardina, Mark Hallinger, George Jarrett, Heather McLean, Ian McMurray, Anne Morris, Adrian Pennington, Will Strauss, David Wood Photographers James Cumpsty, Sander Ruijg, Chris Taylor

The Mayor of Amsterdam

Eberhard van der Laan, Mayor of Amsterdam perfectly placed to support operators and service providers in this inevitable transition.” Julien Seligman, Eutelsat EVP/Global Video Services, said: “In partnering with V-Nova we are adding to our competence in the broadcasting chain and, specifically, we are increasing our technology advance by enriching the end-user experience for client broadcasters.” 1.D59, 14.K17

IBC Chief Executive Officer Michael Crimp SALES Sales Manager Pete McCarthy Tel: +44 (0)20 7354 6000 Email: pmccarthy@nbmedia.com Account Manager Richard Carr Tel: +44 (0)20 7354 6000 Email: rcarr@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, Emerson Building, 4-8 Emerson Street, London, SE1 9DU England © The International Broadcasting Convention 2016. No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners. Published on behalf of the IBC Partnership by

08/09/2016 19:51

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Leaders plan for digital reinvention OUTLINED

By Dick Hobbs “The industry will never change this slowly again.” That was the slightly chilling message delivered to the delegates of IBC’s Leaders’ Summit. Staged on Thursday, the IBC Leaders’ Summit is the chance for invited senior executives from media companies and broadcasters around the world to exchange views at the strategic level. The delegates joined the rest of the conference for the initial plenary keynote – ‘Mad Men, Mobile and Money’ – before retiring to closed sessions where confidences

could be freely exchanged. Presentations came from organisations as varied as Vodafone Germany and Spotify, Liberty Global and the European Broadcasting Union, Sky and The LadBible. Each was comprehensively quizzed on their views by chairman Andrew Neil. Interspersed between the presentations and debates were strategic insights from IBM Global Business Services. The message was clear: digitising your business is not enough – digital reinvention is the only way to go. Delegates were told to ask

themselves three questions. Is my strategy ambitious enough? Is my execution fast enough? Can I transform my people and my culture as well as the business?

But above all, the stress was on the way that the pace of change continues to accelerate. The telephone, delegates were told, took 75 years to reach 50 million users.

Facebook took three and a half years to reach 50 million. Pokemon Go took 19 days. If the pace seems frenetic today, it is only going to get faster.

Setting the standard for the next 20 years By George Jarrett The progress towards the day SDI finally dies and IP dominates was put into perspective yesterday by EBU director of technology Simon Fell, when he said: “We have had a tremendous lifetime out of SDI, and we are now trying to set the standard for the next 20 years here at IBC. “We must get it right, with practical and pragmatic solutions, because in the next decade there will be megabucks invested in IP production. And if manufacturers want to be part of this chain then they must step in and show what they can do,” he added. Fell sees issues around

further required development work, and the industry’s ever present, proprietary technology. He said: “Interoperability is key and that is what we are showing in the ‘interop’ zone. There is still work to do in getting things like the BBC proposed standard NMOS for identifying and recognising equipment on the network worked through, plus issues around automation of management and monitoring. “And then the key thing is to sort through the mess of proprietary elements that are laid on top of switches. There may be some compression, while others try doing without it. Then there is an element of software layer added onto standard switches to make

them do what the industry needs,” he added. “For the first time you are going to see all the different industry bodies (EBU, AIMS, SMPTE, VSF, IABM and AMWA,

plus AES) working together and we have grouped dozens of manufacturers in a giant Interop demo. We are heading in the right direction.” The market has reacted

On-demand production is in incubation BBC R&D By George Jarrett One of the key players in the creation of the IP IBC opening today is BBC R&D, with two major show demonstrations. “With the EBU we are showing end-to-end IP working which involves both IP studio technology in the capture side, and then downstream using a media access API to pull out

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objects or chunks of media,” said Peter Brightwell, lead engineer for IP studio at BBC R&D. “We then use those for personalisation and web-based distribution.” This reflects technology exploitation that has come out of the AMWA Networked Media Incubator Project, which Brightwell chairs. “That is a big part of our work, as we take stock of where we are now in the IP world and

the expected evolution,” said Brightwell. “We are working within the Incubator group on the next generation of APIs for the industry.” In the Interoperability Zone – covering transport, timing, and discovery and registration – BBC R&D has the third element. “What we are doing is showing the discovery of lots of different vendors’ devices on an IP network using the Networked Media Open

Specifications (NMOS) protocol,” said Brightwell. “In terms of acquisition, for the EBU and JPNM demos we will show capture from cameras and then live encoding into uncompressed video over IP according to the T303 spec for elemental video streams.” Visitors will see “a strong early start”, based on first generation technology focused in the main on putting SDI directly over IP. What still has to happen?

well to the joint task force, and publicity for the VRT IP studio has made users lose their worries about moving to IP. What will they get? “What we want are the flexibility benefits of the IP studio – the flexible architectures that will actually change the way you use your facilities on a moment by moment basis,” said Fell. “You could be publishing to the web one minute, going live online or via a mobile network or smart TV, all while you are recording the highest quality for your future archive. The capabilities of software-based operation are coming, and we need to find structures that support the future.”

“We are seeing IP-based facilities coming closer and there is a lot of progress on the wire formats. But there is still a lot required to make an IP facility fully practical,” said Brightwell. “A lot of this is about automation and monitoring. Things that have not happened yet are a common standard for joining flows between different devices in different areas, and common approaches to device control and configuration. But we are progressing towards the goal of having on-demand production.”

08/09/2016 17:25

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Without technology, stories cannot be told OUTLINED

NFTS By George Jarrett With talent shortages being one of the big issues of IBC, it will be interesting to see how the new Production Technology MA course offered by the UK’s

National Film and Television School (NFTS) is received by both the industry and wider academia. It runs for two years and offers 20 places. John Maxwell Hobbs (left), NFTS head of production technology and former BBC Scotland head of technology, said: “Basically everyone is behind in training. In Europe there wasn’t a major effort made in training or even encouraging new engineers because it was assumed they would automatically come out of the public service broadcasters. Not now. “The film schools and their academic institutions haven’t been training engineers either. Basically it’s all been focused on

film studies and the creative side of the industry,” he added. “It is a major step for the NFTS to move to start training the people who are supporting the cameraman and director. We are looking at schools to step up to fill this void.” The NFTS wanted a practitioner. They got a man who knows from experience that a high percentage of broadcast engineers are near retirement. His passion is “fusing art and creativity with technology”, so how will the relationship between the artist and engineer evolve? “A camera still looks pretty much like a camera always has, but now it is a complex computer with a piece of glass on the end of it. And if you

Isle of Man backs new TV venture By Chris Forrester The Isle of Man (IoM) is solidly backing a new media initiative to welcome broadcast channels to the low tax island. Satellite operator SES is to start building the first of four giant nine-metre teleport dishes to support the scheme. The IoM’s Department of Economic Development special advisor for media, Stuart Semark, talking exclusively to The IBC Daily, said the scheme has in place £25 million of media funding to assist broadcasters with equipment such as cameras, edit suites and transmission facilities. Pinewood Pictures is managing the fund, and Semark says that other enterprise and development cash is available, including local private equity funding. The IoM has already become something of a hub for international e-gaming, casino and online lottery activity. Semark stressed that the island is naturally conservative, and its gaming licences are strictly enforced. “We operate an extra-safe infrastructure, with full back-up and redundancy. The new SES teleport will add to

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don’t know the complex inner workings of it you are in big trouble,” said Hobbs. “One of the things I hope to get across at my (Rising Stars) talk to students is the way the

engineer/artist relationship works in music production. Engineers have always been viewed as part of the creative team. Without technology, the stories can’t be told.”

Production system unveiled for IP video NewTek By Carolyn Giardina The NewTek IP Series, a software-driven, expandable, modular The NewTek IP Series including the VMC1 video mix engine video production system, has been unveiled. 64 source channels, including It’s designed for IP video 44 external inputs and full mixing while also fully backwards control with eight M/Es with full compatible with SDI, and it uses re-entry, plus previz. Additional scalable components for the tools are the VMC1 4S 4-Stripe mixing and control, input and control panel, the interface that output of sources. Video, audio connects the operator to single and control signals from these or multiple engines for control components are transferred of the production; the VMC1 digitally using NewTek’s IN studio input module, which Network Device Interface (NDI) allows up to four SDI or IP technology, allowing multiple inputs per module recognised video systems to identify by the VMC1 video mix engine; and communicate with any and the VMC1 OUT studio other system over a standard output module, a four-channel computer network. multiformat modular video The nucleus of the NewTek delivery hub that can reside IP Series is the VMC1 video mix anywhere on a network. engine capable of switching up 7.K11

iOS remote control for mixer recorders Sound Devices Dr Richard Arning (SES SL) and Stuart Semark (IoM DED)

By Mark Hallinger that. “It is about job creation, of course, and our university is already developing suitable courses for support staff. We have an extremely attractive taxation structure here – both corporate and individual – which is already proving to be interesting to all manner of projects. The past few years have seen more than 100 feature film and TV dramas co-produced or co-financed on the island. We already have talented production people here, and we want to appeal to new channels, including niche specialty channels to come to the island,” added Semark. Dr Richard Arning, who heads up SES’s Satellite

Leasing base on the island, said the satellite operator was looking for considerable expansion on the IoM. “Our vision for channels and new capacity from the island is much greater than a singledish initiative. We want to build a new ecosystem for the island, that’s appealing to existing international broadcasters and we very much want to incubate new channels.” Dr Arning said that with SES committed to launching four new satellites over the next year or so it was important that the operator had groundbased expansion possibilities to hand.

Wingman, a wireless remote control option for the Sound Devices 6-Series mixer/recorder line, has been unveiled. It is an iOS-based application that, when paired with the new WM-Connect Bluetooth Smart USB accessory, lets users start and stop audio recordings, enter and edit metadata, as well as arm, disarm and rename tracks. It also gives users touchscreen access to manage sound report information, create sound reports on the mixer and the ability to email those sound reports (.csv files) directly from an iPhone or iPad. “The Wingman app offers a production team very affordable convenience and workflow functionality on-set or in the field,”

said Matt Anderson, president, Sound Devices. “Wingman gives users a clear view of their metering and timecode display on a larger touchscreen.” While Wingman will be available free from Apple’s App Store, the wireless integration does require the WM-Connect hardware accessory, which may be purchased from any authorised Sound Devices audio reseller. 8.B59

08/09/2016 17:17

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Putting trust in the cloud OUTLINED

By Mark Harrison, managing director, Digital Production Partnership The act of creating content is a far more intense team-building exercise than anything a bunch of management consultants could come up with. As a former programme maker, I could name dozens of people with whom I maintain a deep bond of trust to this day. They’re the ones who enabled me to deliver my programme, on time and on budget, and get it safely to an audience. I had to trust those people, and they never let me down. So ask a producer – or perhaps even a broadcaster – to put their trust not in a person but in a cloud service, and you aren’t just trying to rewire the production process: you’re trying to rewire the creative mind. And good luck with that. To make matters worse, the invitation to producers to hand their content over to the cloud can feel much like inviting them to entrust their children to the Pied Piper; they’ll go off happily, but it’ll be the last you’ll see of them. And that’s because the modern Pied Piper is the cyber terrorist. This sceptical mentality doesn’t only characterise those

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who work in production. Plenty of broadcast engineers prefer the safety of years of trust built up with established vendors than to risk new connected services. But this is the moment at which everyone engaged in working with media has to take a step back, and why the Digital Production Partnership (DPP) believes it’s so important for everyone in our industry to become better informed about how and why they can trust cloud-based services. As so often nowadays, we have to look in the mirror and see our consumer selves. The fact is that the same people who place greater trust in a single copy of their rushes sitting in a machine room than in the Fort Knox de nos jours that is the modern data centre, have already put much of their personal life in the cloud via their smartphone. Why? Because the convenience, value and quality of the offer is so compelling. That convenience, value and quality is rapidly coming to cloudbased services in media too. So the question isn’t really whether to use these services, it’s to understand how. Of course, it would be ridiculous to suggest that

consumers feel they can completely trust cloud services: the news stories of data theft from major brands are frequent enough to ensure nervousness. But, gradually, people are gaining a greater sense of how to separate a trustworthy online offer from an untrustworthy one. Meanwhile, the service providers are making the security technology more user friendly: being able to log into my bank details via my thumbprint on my smartphone is the greatest convenience invention since the ring-pull. This is the model to learn from: the consumer gets smarter; and the service provider makes it easy for them to be smart. The DPP has always believed change happens faster and better when the whole supply chain works together. So we have been facilitating a number of different engagements in the area of security. We are intent on building trust, literally. First up is the DPP’s latest 10 Things guide: 10 Things You Need To Know About Cyber Security. This guide is an entry level to the subject, intended as a simple awareness-raising tool. The next step was to provide something practical that

would help buyer and seller to recognise what a trustworthy relationship looks like. This has led to the launch at IBC2016 of The DPP Cyber Security Checklist. The Checklist is like a risk assessment form for online security. It’s a tool a buyer can use to check a seller has the key standards and protocols in place; and it is equally a tool a seller can use to assure buyers that good care will be taken of their content. The Security Checklist is backed up by the DPP User Guide to Cyber Security. Our expert members have identified nine key moments of trust in the production chain, and this Guide takes users through each of them, identifying the key risks and mitigations. Moving broadcast systems into the online world has created particular risks for broadcasters, who are now subject to cyber attack on an almost continuous basis. The DPP has been working with the North American Broadcasters Association (NABA) to draw up a list of security requirements for key broadcast technologies. These requirements – together with information on how they will be implemented – will be announced with the support of DPP Member

Ericsson on the Ericsson stand at IBC (Hall 1, Stand D61) at 18:00 on Saturday. And finally, the DPP is bringing together 20 of the best known companies in media at a special event at IBC to share their thinking on how the industry can build the trust required to bring more rapid adoption of cloudbased services. The act of placing trust in machines may never match the human bonds built on the battlefields of creativity. But it will hugely increase the speed, data and collaboration that will energise the content; and bring access to global talent and services. Those are benefits that everyone will soon come to need. And where need leads, trust usually follows.

02/09/2016 13:19

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Enabling Big Data for broadcasters OUTLINED

By Michael Barroco, EBU Meeting audience expectations is becoming easier for broadcasters with Hybrid broadcasting. The advent of transport technologies such as Hybrid Radio and HbbTV facilitate a wide range of opportunities for custommade content aggregation, discovery and ultimately media consumption. People like it because it is convenient, you can access it on every device, it is simple and personalised, and interesting content is one step away. You

switch on the device and select the content, like it used to be for broadcast channels. However, although it may seem convenient for the user, in reality for a broadcaster it is more difficult to keep a direct link with their audiences who are distracted from the main channel due to all the other available options, such as YouTube, Facebook Instant Articles, SmartTV portals and more. In terms of strategy, these connected players are becoming gatekeepers. For instance, Facebook was recently accused of manipulating its news feed,

Check out the App The IBC2016 Mobile App is free to download on iOS and Android. This yearâ&#x20AC;&#x2122;s app is a completely new concept and packs some powerful functionality. From a single

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and simple user interface you can manage your entire IBC experience. The complete conference programme is also viewable in the app, along with a day

which is actually curated by an editorial team. How are we supposed to provide complete and objective information to the public if they can only access a subset of the information? And, in most cases, they may not know they are receiving only a subset. For public broadcasters, it is key to be able to leverage data while carefully respecting audience privacy and wishes. Therefore, the European Broadcasting Union (EBU) has started a few initiatives in order to help the broadcast industry to wisely collect data and let the

planner which will remind you when it is time to go to your next session. The latest IBC Hot News can also be downloaded direct to the app. In addition to the app, the platform is also available via a browser, where you can make contact with exhibitors

audience decide on the kind of information they would like to share with the broadcaster. A good example of this is the ETSIâ&#x20AC;&#x2122;s Cross-Platform Authentication protocol (CPA), which was designed by an EBU Group to associate online user identities with media devices. One of the specificities is that the user can enjoy personalisation at the device level and later bring this experience to other devices. Public broadcasters are now joining forces to develop and deploy a recommendation system, which will be able to interface with third-party providers and give editorial teams the ability to provide the

and arrange onsite meetings. Download the app and check

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right content, at the right time, to the right person, on the right device. Based on state-of-theart open source technologies, the data pipeline is currently tested by RTS (Switzerland), RTVE (Spain), RTP (Portugal) and BR (Germany). Come and discover it on the EBU Booth (10.F20). This year, we will demonstrate an example of a hybrid, personalised channel: a news channel that offers the ability to skip content to user-tailored segments created by an objectbased production and selected by the recommendation. For more information, see: https://tech.ebu.ch/ personalisation

out the additional browser functionality at IBC.org/app

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Putting the Backbone into front line support Sony

phases, with Sony Professional Services remotely deploying, configuring and testing the off-premise Media Backbone Conductor in the third party’s data centre. In addition to demonstrating the off-premise

operating capabilities as part of an initial proof of concept miniproject, Sony’s PrimeSupport team was engaged to act as ‘front line support’ for tpc to overcome any technical issues or downtime at source.

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Niall Duffy, head of workflow OUTLINED and IT solutions, Sony, said: “Our open approach to solutions for broadcasters means that we tailor Media Backbone Conductor to each of our customers, whether

we’re chosen as a prime contractor, as in projects like NBC, or as in this case as a subcontractor to Qvest to deliver the integration of workflow orchestration.” 13.A10

By Adrian Pennington Zurich-based broadcast service provider tpc has deployed Media Backbone Conductor for workflow orchestration. Qvest Media was the project’s prime contractor. Sony and Qvest’s teams worked together during the design and integration

Rise of the news robots Camerobot Systems By Heather McLean For the first time, Camerobot Systems is presenting its ceiling-mounted camera robotic system for broadcast automation. The company claimed it has developed a system that will bring broadcast studios to a new level, saying the Camerobot system facilitates a modern, interesting and dynamic studio. Virtual reality during movements, silent operation and an easy to use graphical user interface enable high-quality daily broadcasting, said the company. Peter Pühringer, division manager, Camerobot Systems, said: “Following the successful installation of Camerobot in the news studio of NDR in Hamburg, the demand for robotic camera systems, especially ceiling mounted, has increased significantly. By mounting the Camerobot to the ceiling there is space available while providing more flexibility for use of additional studio equipment.” The extension of the robot’s working space by a linear track provides more possibilities for accurate positioning of the camera in space, said the firm. 10.D30

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Best of the best

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OUTLINED

Bryce Button, product marketing manager, AJA Video Systems Has IBC come at a good time for the electronic media industry? Why? Our industry is in the midst of significant technological shifts from SDI to IP-based workflows, HD to 4K/Ultra HD conversion, HDR and merging traditional broadcast and pro-AV technologies with the ascendency of HDBaseT, so this IBC is a great time for decision makers to assess new technologies and see how to best upgrade their workflows to harness greater flexibility and scalability.

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

The shift to IP-based technology, especially for broadcasters, is a major development. There are numerous benefits including increased connectivity in your network infrastructure, increased scalability and channel density, added flexibility for working remotely, cost savings from having more of your crew in a central location. There are some misconceptions but I think this IBC will continue to bring more clarity.

Why should delegates visit your stand at IBC? AJA is committed to leading the way in technological innovation and helping our customers future-proof

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their workflows, whether that’s through broadcast IP technology, Ultra HD, streaming, and more. At IBC we will have some exciting developments to help customers integrate new formats and tools into existing infrastructure, thus ensuring that any upgrades are simple and non-disruptive. 7.F11

IET – the Institution of Engineering and Technology – is one of the IBC partner organisations, and a regular publisher of papers on developments across the electronics and information industries through its journal, Electronic Letters. Each year, it brings out a special edition in association with IBC. Called The Best of IBC and IET, it adds selected papers from the IBC Conference to media-related papers submitted for Electronic Letters. It has come to be regarded as a valuable single source for some of the most important research and future thinking in broadcast and electronic media. This year the team of peer reviewers faced a particularly tough challenge as they

evaluated a record number of submissions. They choose only those which represent really innovative thinking to be presented in the conference. Of these, the reviewers select just a handful for The Best of IBC and IET, with particular emphasis on the most talked about issues of the day. The technical papers committee selects one paper for the IBC Best Conference Paper Award. The authors receive a prize during the ceremony on Sunday night and their paper is also included in the joint publication. You can find out more about IET and the other IBC partner organisations at the IBC Partners’ Pavilion in the Park Lobby, outside Hall 8. IET staff will be delighted to talk about copies of the new publication.

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Broadcast cybersecurity challenges OUTLINED

Andreas Schneider, SRG SSR, and Adi Kouadio, EBU assess the security concerns within a hyper-connected media world Media consumption patterns have tremendously changed over the past few years. This new hyper-connected and multi-platform media ecosystem continues to push media companies to adapt their production and distribution strategies to enable them to reach dispersed audiences. To help solve this challenge, media companies have created a range of IP-based content delivery services (from internetradio and hybrid TV to second screen and video on demand). This is done in addition to traditionally broadcasting radio and TV which are slowly also migrating to IP for flexibility. Everything talks IP: audio and video content is delivered over the internet, newsfeeds are collected over the internet, traditional production applications get cloud access or are provided ‘as-a-service’ and even studio lights are controllable via apps running on tablet devices or smartphones. As a result, media companies are becoming an integral part of a new smart cyber-ecosystem.

Increasing threats towards media companies So far, this all sounds exciting and good. But, there is a twist in the perfectly interconnected world because even hackers become smart. Beginning with the Arab Spring and the Wikileaks whistle-blower disclosures in 2010, a growing radicalisation and ideologisation of hackers has raised a new type of hacker whose intent

is not to gain money but to destroy or manipulate systems or institutions at any price. Such activities may even often be government driven, as part of defence departments or national intelligence offices. Today’s hackers are usually well organised, and attacks are rarely done by a single person but more likely by a group of attackers. Social media provides, almost offers, the required information about employees and the target organisation, and Google-like search engines can be used to find the weakest link in the target’s content delivery chain. Recent hacks like the disastrous attack against TV5Monde in 2015, Sony Pictures in 2014 and a steadily increasing amount of DDOS attacks against public broadcasters have shown the potential damage that can be done.

The EBU Media Cybersecurity Group So what do we do? These changes in technology and hackers’ approaches require a fundamental paradigm shift to transform and actively address security risks as corporate cyber risks. Security is no longer an operational, technical issue; it is an integral part of wider business decisions that are not limited to the broadcaster itself, it’s the whole industry that needs to adequately address security. For these reasons, the European Broadcasting Union (EBU) has started a Strategic Programme on

Media Cyber Security (MCS)1 to address these new and evolving threats. The EBU MCS Group consists of chief information security officers of EBU Members (including SRG SSR). These Members actively share their knowledge to provide broadcastspecific recommendations on cybersecurity (e.g. EBU R141 on DDoS Mitigation). These recommendations are built on proven security practices and further refined with the specifications of the media world. Below are a few examples of the types of recommendations the group makes for media companies.

1. Involve security governance at the highest corporate level First and foremost, it is key for organisations to create awareness of the topic, especially among senior management. A company’s security advocate is required to have the necessary skills and competencies to address security-related topics. If appropriate, a security team or board should be institutionalised. By defining scenarios based on probable hacker attacks that cover the big picture of the content delivery chain, the topic of cybersecurity will become more tangible and known as a realistic threat. Based on these scenarios, potential security risks can be derived for feeding corporate risk management programmes, thus making security an active

part in the corporate decision making process. As a result, security aims to be a business enabler, not a business preventer, outgrowing today’s hackers in smartness and speediness. The EBU MCS Group has created a security governance guideline (EBU R144) that helps organisations benchmark their security awareness level and also establish an efficient security hierarchy.

2. Raise the security level of media-specific systems and services Even though most media products and services run on conventional IT platforms, the security best practices from the IT world are not necessarily carried out in the media domain. The EBU’s recommendation (EBU R143) helps manufacturers and media companies benchmark the minimum security levels of their products or services.

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3. Security in the design of media applications and standards Security in media is mainly related to digital rights management around the content. However, in this ecosystem of apps and webbased services, not only the content should be secured, but also the application itself (Android/IoS Media Apps, HbbTV, etc). If flawed, the application can be used as an entry point to either hijack the device (create a bot) or gain other privileged access. The EBU liaises with different standards bodies and consumer electronic vendors associations to consider minimum security requirements and implementation best practices (e.g. EBU R142). This year, the EBU will host a special session on cybersecurity to discuss this important topic. Join us in the Emerald Room on Saturday 10 September from 15:30-18:00. 1 tech.ebu.ch/groups/mcs

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IBC after hours OUTLINED

IBC is where the world of broadcasting and electronic media comes together. It makes its home here in Amsterdam, one of the most cosmopolitan, practical, and welcoming cities in the world. There are good restaurants within walking distance of IBC, but take in the whole city and the choices are endless. From converted greenhouses to dining in the dark, Amsterdam offers everything the hungry IBC-goer could crave. There are plenty of friendly bars, too, where you are likely to meet familiar faces from the show floor. Amsterdam is a compact city with a relatively simple geography. It is also very flat, which is why the city is home to more than 800,000 bicycles – more than there are people! If you want to take to the streets then bike hire is simple and

inexpensive. There are plenty of rental sites, including at the RAI station. All IBC visitors are entitled to a free local transport pass: if you have not collected yours, pick one up at an IBC Info Point. These passes cover buses, trams and metros within the city, 24 hours a day. Maps are also available, making it even simpler to get around on public transport. Late at night, or to get to out of the way locations, you may want to take a taxi. These cannot be hailed on the streets but there are plenty of ranks, including outside IBC. There is also an Uber pick-up point at IBC. Taxis are metered, and a standard four-passenger car should charge around €3 to hire plus about €2 per kilometre travelled. The meter will print out a receipt. The general advice

for tipping taxi drivers is just a couple of euros, and certainly no more than ten per cent of the fare unless you have enjoyed exceptional service. For more information on getting out and about in Amsterdam, www.iamsterdam. com is the city’s comprehensive official welcome site.

Amsterdam is easy to get around especially with your free IBC transport pass

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IBC Business Lounge Sharing knowledge; completing deals; debating issues: IBC creates the right environment for all this and more. Sometimes, though, you need a quiet spot for a more in-depth conversation. It might be discussing the details of a major new project, you could be signing up a new distribution channel, or maybe you are on the lookout for new staff and want to talk to a promising candidate. For all this and more there is the IBC Business Lounge, a quiet and relaxing area designed for business discussions. There are informal seating areas and hosts who will help you with coffee and office tasks like photocopying. This area also has its own WiFi zone. If you require more privacy, there are some small meeting rooms which can be booked by the hour. Reservations are recommended and can be

Sanctuary from the show ﬂoor – and free to use

done via IBC.org/visit. You must be registered to attend IBC before you can book a meeting room. The IBC Business Lounge is free to all IBC visitors and can be found near the IBC Big Screen. It is open today and every day from 10:00 to 17:00, and 15:00 on Tuesday.

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Q&A

OUTLINED

Mark Horchler, senior international marketing manager, Elemental Technologies Has IBC come at a good time for the electronic media industry? Why? This is a really exciting time, with developments in all directions. We have new formats, like 4K, 8K and VR. We have new business models, like big data and targeted advertising. And we have new efficiencies, like the transition to the cloud. IBC is a great place to debate all these issues, with a relevant conference alongside the exhibition.

What do you think are the key developments in, or threats to, your market sector? The key strategic development is the move away from hardware appliances to

software-defined video solutions, and from there to cloud implementations. Whether you want the best quality H.265 encoding for todayâ&#x20AC;&#x2122;s HD or are looking towards 4K, 8K, HDR, VR or more, the cloud gives you the agility to scale up or down virtually instantly and cost-effectively.

Why should delegates visit your stand at IBC? While there are vendors who can talk the talk about software-defined video and the cloud, as part of Amazon Web Services we can demonstrate proven solutions, including solutions used in Brazil last month to serve television audiences in the hundreds of millions. The

cloud, and the solutions we are demonstrating, provide agility, elasticity and cost savings on a global scale. 5.C80

If you have registered in advance, simply scan your barcode to one of the badge stations and your badge will be with you in seconds. There are Do you have the right pass? It is not too late to change a number of badge stations; just follow the signs to the one nearest you. you have already picked up your Conference delegates and badge. If you have only booked for Gold Pass visitors have dedicated the exhibition but have seen some desks in the Forum for badge conference sessions you would collection. Follow signs to the like to attend, then you can still conference and the badge book on site. A variety of options stations will be right in front of you. are available, from single sessions If you have not yet registered right up to the Gold Pass, for IBC2016, then you can start including the newest Green Pass, right here. If you have your own allowing you to dip your toes into laptop, smartphone or tablet go the conference for half a day. to IBC.org/register and follow The Gold Pass is the ultimate the links for registration. If you IBC VIP experience, including do not have a connected device a dedicated lounge, reserved with you there are workstations in seating in major events and much the registration area. Your badge more. The conference team in will be ready for collection the the Forum will be able to help moment you register. you. Ask them about different Do you have the right pass? It conference options, and they can is not too late to change, even if adapt your pass for you.

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Experience cutting-edge cinema sees an unmissable keynote address from multi-awardwinning director, Ang Lee, discussing his creative artistry and transformational vision of cinema. The closing session

on Monday afternoon poses the question ‘Digital Cinema 2.0: Where’s the return on investment?’. The construction of the IBC Big Screen also allows IBC to

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offer two free movie screenings, on Saturday and Monday nights. OUTLINED These are always hugely popular, so look out for details and arrive early to be sure of your seat. Finally, on Sunday night the Auditorium is the venue for the IBC Awards Ceremony. This lively evening congratulates

some of the thought-leaders and innovators in our industry and matches it with some stunning entertainment. This year it looks like the full resources of the IBC Big Screen will be called into use to make the Awards Ceremony particularly memorable. Find out more at IBC.org/bigscreen

See us at IBC booth 10.A31

Multi-award-winning director Ang Lee headlines Monday’s Conference

IBC has long recognised that nothing offers the ‘wow factor’ like the movies. Each year, IBC’s technical team turns the RAI Auditorium into an absolute state-of-theart cinema, ready to showcase the latest in stunning pictures and sound. This year is a first for 4K high dynamic range and 4K high frame rate. A sincere IBC thank you to Dolby Laboratories for providing Dolby Vision 4K HDR laser projection and to Christie for providing Mirage 4K HFR laser projection; both of these systems are installed in parallel in the IBC Big Screen this year in addition to the full QSC-powered Dolby Atmos immersive audio system. The IBC Big Screen Experience is home to a number of conference sessions which need the full resources of installation, so you can see and experience what the experts are discussing. These sessions are unique and free to all IBC attendees. In this afternoon’s opening session, starting at 16:30, Disney Research and Industrial Light and Magic talk about the art and science of motion capture and how it is leading towards ever-more lifelike photorealistic animation. Over the coming days there are presentations on light field cameras, high dynamic range, extended colour gamut and more. Monday morning

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Quality matters: getting down to the bits and nits OUTLINED

Stan Moote, CTO, IABM Picture quality has always been the number one concern in our industry: we’re forever striving for more and better to deliver stunning experiences for our audiences. Now meeting that challenge has got a whole lot harder because, alongside exploiting the extra possibilities opened up by UHD, you also have to serve multiple devices, deliver interactivity, harness end-user analytics for intelligent targeting while securing your content, and meet your business growth objectives within tight budgets; and all this while still delivering great pictures. While content is increasingly consumed on the move on smaller screens, viewers will always gravitate to the largest display available for the best viewing experience, as has been reinforced in viewing of this summer’s Rio Games, so the quality budget cannot be sacrificed. This being said, when a large display isn’t available, viewers are starting to expect similar quality on any device simply because the tablet and smartphone market now has excellent displays aching to be exploited.

More than pixels Consumers love more pixels. The take up of UHD TV sets is predicted to reach somewhere in the range of 100-140 million by 2020, but my feeling is that benefits of UHD are beyond more pixels. Last year at IBC the talk of the show was about one of UHD’s most predominate features: HDR (high dynamic range). Was it really hyped up or real? There’s no question that HDR is real, however the industry was in a bit of a holding pattern waiting for some type of enhanced UHD spec for TVs. Earlier this year, the UHD Alliance delivered this spec and branding for Ultra HD Premium televisions so consumers know they are getting more than just extra pixels. It’s the bits and nits that ultimately make UHD compelling for consumers. Here’s my primer for what to look out for on the IBC show floor.

A bright future Nits are all about brightness and dynamic range. We want to deliver a visual experience that’s much closer to the capabilities of the human

4000 Nit Color Volume

Color Volume Example: “Lowrider” Pixels Outside SDR Color Volume Pixels Inside SDR 100 Nit Color Volume SDR Color Volume

< HDR Image < HDR Image shown in color volume

Figure 1 – Example of pixel location of an HD Image in a 4,000 Nit P3 Colour Volume (Courtesy of Dolby) Courtesy: Robins Atkins, Dolby Labs

eye. Just to set the picture, a screen’s brightness is measured in nits. One nit is equivalent to one candela per square metre and is approximately the amount of light emitted by a single tallow candle. The UHD alliance is calling for a ‘black’ level of less than 0.05 nits (that’ll be an extremely dim candle then!) and a ‘white’ level of greater than 1,000 nits – that’s more than ten times the brightness range of current HDTV. I’ve lost count of the number of non-technically savvy people who’ve been blown away when they’ve seen HDR images for the first time; “now I would pay for that!” and “it’s like looking out of the window onto the real world” are typical reactions. On the show floor, ask and learn about the two types of UHD

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Vibrant colours Alongside brightness, you also need colour of course to complete the picture, and the UHD Alliance has put its weight behind 10-bits to deliver Wide Colour Gamut (WCG) and HDR. Currently we only reproduce a subset of the colours available in the natural world. WCG starts to address this. Better still, 10-bit, HDR and WCG can all be delivered with only a 20 per cent increase in bandwidth. Note that I paired HDR and WCG together – I will explain why shortly.

It’s all in the delivery You’ll see plenty of demonstrations of the full UHD

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The Ultra XR is Omnitek’s new UHD Video Waveform Rasterizer that addresses the demanding requirements of extended resolution production QC and 4K post production grading. Neat, powerful and sophisticated, Ultra XR has been designed specifically for content creatives, colourists, post-production editors, and digital intermediates working with Ultra high resolution UHD images in all SDI and HDMI formats. Ultra XR not only provides all of the traditional tools that are expected in these operating areas but also supports the emerging standards for High Dynamic Range and Wide Colour Gamut. ○ True 4K Waveform Analysis, Vectorscope and Histograms ○ HDR inputs: ST2084/PQ & Hybrid Log Gamma ○ Wide Colour Gamut including ITU-R BT.2020 ○ CIE colour gamut chart ○ Selectable Region of Interest ○ 12-bit 4:4:4 SDI in Digital Levels & NITs scales, YCbCr, RGB and XYZ ○ Up to quad 3G, dual 6G and 12G-SDI, 2SI & Square Division

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For a demonstration, visit: Stand 10.A24

production chain on the show floor; and of course be dazzled by the resulting images on giant UHD screens. Now it’s down to you to work out how to deliver that excitement to your viewers. I mentioned that HDR and WCG work in harmony and Dolby’s Pat Griffis coined the term “colour volume” (Figure 1). Bottom line is both HDR and WCG should be implemented together. The catch is in our multi-display world we have TVs, tablets, smartphones and computer monitors. Each has different ‘HDR’ characteristics. There is no question that the larger the colour volume, the more consumer engagement, however since all displays are different, one can’t just send ‘HDR’ video to a device and expect to see acceptable results. The colour would be nowhere near correct. The concept of colour volume mapping has been developed to change the colour volume to match the viewing device. Colour volume mapping is required to properly change Rec 2020 (UHD colours) to Rec 709 (HD colours). Don’t forget to complete the audiovisual experience for the UHD viewer you need to deliver different types of sound including threedimensional object-based audio. While at IBC, learn about colour volume. There is a standard entitled Dynamic Metadata for Color Volume Transform (ST-2094) so you can ask about this by name. By understanding about different viewing devices and how best to deliver content while maintaining as much of the creative intent as possible, I am very confident your audiences will begin to appreciate your efforts and stick with your services.

02/09/2016 13:24

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2016-08-03 09:23:11 02/09/2016 16:28

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Celebrating the century OUTLINED

26 July 1916 saw the first meeting of a new organisation, the Society of Motion Picture Engineers. In 1950, television became an official part of the society, making it SMPTE. In our young industry there are few chances to celebrate a centenary, so IBC is honouring SMPTE in Sunday night’s Awards Ceremony. The driving force behind SMPTE was Charles Francis

Jenkins, an innovative pioneer in the movie industry. One of his earliest achievements was the phantoscope, one of the first projectors and powered by electric light. His first screening, in 1894, was a colour movie – he had hand-tinted every frame! He became frustrated by the lack of interoperability between different movie systems, so from the very beginning the society focused on standards.

The guest speaker at that first meeting 100 years ago was Henry Hubbard, secretary of the US National Bureau of Standards. He said: “Standardisation means and implies an ideal to be realised. Ideal standards, therefore, involve searching investigations so that they may be based upon scientific principles rather than on empirical judgement.”

Today’s executive director of SMPTE, Barbara Lange, explained: “We have three pillars: standards, membership and education. None is more important than the others, and none would survive without the others. Together, we advance the art, science and craft of the moving image.” For 100 years, SMPTE has codified the best of engineering and technology into the framework which underpins every part of the world of the moving image. In recognition of this remarkable centenary –

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and in acknowledgement of its continuing role – IBC is proud to honour one of its partner organisations. All IBC visitors are invited to the Awards Ceremony, which takes place in the Auditorium at 18:30 on Sunday evening, and will include a special video on the work and history of SMPTE, as well as presentations of all the other awards. Entrance is free to everyone, but it is likely to be extremely popular so be early to ensure you get a seat. Find out more about the awards at IBC.org/awards

IBC Content Everywhere starts today The IBC Content Everywhere Hub, sponsored by Leaseweb, is a dedicated stage in Hall 14. Starting today, it is the venue for a programme of presentations and debates around the key issues of multi-platform, interactive and immersive content. Each day the stage will see two major debate sessions at

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13:00 and at 15:30. Today sees an in-depth looks at OTT. The lunchtime session is a jargon-busting, structure-defining, revenue-reviewing introduction to OTT. This afternoon’s debate takes all that clarity and understanding and applies it to the key genre of sport. Bodies like the Bundesliga are driving huge

growth in OTT consumption. What are the implications for technology, intellectual property rights and commercialisation? Alongside the daily debates are a number of presentations from leaders in the field. These are brief, 20-minute sessions with plenty of time to question the presenter.

The lunchtime session in the Hub is a jargon-busting introduction to OTT

Today’s talks come from Edgeware, Verizon, Access, Interxion, Leaseweb, Unified Streaming BV, Simplestream and MPP Global.

The programme starts at 11:00. Full details are on the website and at the theatre in Hall 14. All these sessions are free, and many will appear on IBC TV.

02/09/2016 13:25

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Future-proofed live production portfolio

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OUTLINED

Multiviewer solutions empower media companies to transform live production operations

Imagine Communications

Meet us at IBC Stand #10.D29

By Ian McMurray On show from Imagine Communications is a production and contribution portfolio providing ultralow latency encoding and decoding, and the delivery of uncompressed media over IP transport. It also offers support for Sony Network Media Interface (NMI) and intoPIX TICO mezzanine compression for UHD operations. Hybrid SDI-IP routing and multiviewer solutions empower media companies to transform live production operations and leverage commercial-off-the-shelf IT-equipment, according to the company, without squandering investments in traditional broadcast technology or sacrificing performance. Imagine’s live production portfolio also supports the most recent UHD processing technologies, including up/ down conversion and the latest standards for delivering media over IP networks, HDR image quality and precision timing. Imagine Communications’ Versio UHD playout and graphic workflow solutions support compressed or uncompressed IP-based playout, advanced multichannel and UHD playback and branding. Also featured at IBC is a new user interface, new automation features and the company’s native IP and hybrid playout and master control solutions, which it claims seamlessly unify playout, automation and graphics supporting fully virtualised deployment for cloud environments. 4.A01

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02/09/2016 13:25

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theibcdaily OPINION OUTLINED

The future of video distribution Bulk data streaming, workflow and direct-to-cloud technologies will enable organisations to satisfy video distribution demands, explains François Quereuil, senior director of worldwide marketing, Aspera, an IBM company Today’s broadcast and media industries are undergoing rapid, yet fundamental transformations. As consumer demand for content anywhere, anytime and on any device continues to grow, media organisations urgently need to deploy new technologies and techniques to enable them to produce and exploit highquality video content on multiple platforms as quickly, reliably and cost efficiently as possible. Aspera pioneered highspeed, secure file transfer over commodity internet WANs for the media and entertainment industry in 2004. In the years since, the media supply chain

has come to depend upon highspeed transfer in virtually every workflow. Cloud computing and storage are now ubiquitous, and the pace of production now demands instant-on transfer services. Internet broadband bandwidth is increasingly available at production venues, opening up the possibility for new live video transport solutions. Various products and services have been introduced, using technologies such as forward error correction over UDP, peer-to-peer distribution and ‘inverse’ CDNs. However, none provide the same universal

Free travel from IBC Amsterdam is best explored using public transport: the narrow streets and lack of parking make it rather unfriendly to cars. The locals rely on buses

and trams, so travel like a local during IBC using the free pass, valid from today until Tuesday. Conference delegates should find a pass in their bags, and

quality and ‘zero-delay’ experience of traditional live satellite transmission because they can’t guarantee arrival rates over long distance or wireless internet WANs having high round-trip time and packet loss, without adding significant start-up delay or costly workarounds. To address this gap in the market, Aspera has launched Aspera FASPStream Software, a new turnkey application software line that enables live streaming of broadcast-quality video globally over commodity internet networks. It provides glitch-free playout and negligible

exhibition visitors can collect them from IBC Info Points. You must pick up this pass, your IBC badge is not enough. This free pass covers all of the buses, trams and metros within the city limits, 24 hours a day. IBC is on the tram network: the

start-up time, eliminating the need for expensive and limited satellite-based backhaul, transport and distribution. Bringing FASPStream to market in a turnkey product after a decade creating FASP file transfer marks the beginning of a new chapter for Aspera where streams and files interoperate for exceptional transport quality and efficiency over today’s networks. Internet content delivery has exploded, demanding open file-based solutions in application software that are up to the challenge, and Aspera is dedicated to making this a reality.

Trams 11 and 4 get you from the RAI to the city centre

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At IBC2016, Aspera will showcase its latest technological advances – including bulk data streaming, direct-to-cloud technologies, and workflow orchestration – that enable media organisations to satisfy video distribution demands both now and in the future. Flexible, easy-to-deploy, scalable software innovations give media companies the fast, efficient workflows they need to quickly exploit the most cost-effective, profitable and secure placement of their content on a global scale while satisfying viewer demand for content on any device. 7.G20

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regular tram 4 and the special IBC tram 11 run additional services to carry you between the RAI and the city. Both routes go to Centraal Station, following different routes and passing many of the major hotels. If your hotel is near Centraal Station, or on the eastern side of the old town, then there is a quicker route: the sneltram (metro) route 51. This runs from the RAI station to Centraal Station in under 15 minutes, with just a couple of stops along the way. If your hotel is not close to a tram route then check out the IBC shuttle buses. Information on routes and times can be found at IBC Info Points. In addition, when the time comes to leave Amsterdam, there is a free shuttle bus from IBC to Schiphol Airport. Check with IBC Info Points for times.

27/07/16 18:05 02/09/2016 13:26

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The power of marketing Don’t believe all you hear but trust what you see, says Pavel Potuzak, CEO, Aveco As all of you do, I receive a flood of newsletters and online magazines. I have no time to read them all thoroughly, so only the most catchy titles win. Recently, I got caught by an article about the year 2020 being the year 4K will be adopted by a majority of providers and consumers. Immediately I got the feeling of being guilty for lagging behind the peloton. Then I read it again. Who is saying this? To whom and why? Almost all (an exact percentage written in the article) content producers and service providers believe in that statement above.

Come on, guys. You really believe that? Twenty years after starting the HD process we are still transitioning from SD to HD. Does the article provide any information, or just the primary feel of the duty to invest in 4K myself to keep up with the crowd? Well, there is no crowd. It is just marketing. A hype told a thousand times has the power to move wheels and create a new reality. It has the power to convince investors to put money into companies that are in the red. It also has the power to mislead customers and have them

invest in something that we, manufacturers, want them to buy. We at Aveco are not good at marketing. We are, however, great at developing new technologies. We did, though, attempt one marketing strategy just recently. Here is the story: one of our great automation products has, among other features, one truly amazing feature. Surprisingly, nobody pays much attention to it. So, we removed that feature from the product. At the same time, we introduced a new brand name that represents the same product with that feature included. Suddenly,

that product and its ‘new’ feature was getting a lot of attention; visitors of our booths were just amazed. It seems that there are many flavours of marketing. There is the misleading one, trying to confuse people or just lie. Then there is also another flavour – you can call it The Art to Tell. I hope we all will have the mental strength and wisdom to distinguish between these two in the flood of information streaming from all sources around us. Aveco grew quite big without any real marketing. We are the world’s largest independent broadcast

and news automation manufacturer, and we got to this position through the quality of our products and the satisfaction of our customers. But now is the time to move on. We are hiring a new director of marketing and will let the Aveco’s Art to Tell run at full speed. With our proven products and great team of people backing them up, the sky is the limit. Stay tuned. You will hear about us much more. I wish you a great and informative IBC. 3.B67

Sport and OTT disruption for discussion at IBC CE Hub By Fergal Ringrose At IBC2016, sport and the effect that OTT content and providers are having on its broadcast are on the menu. During the IBC Content Everywhere Hub panel sessions, sport and OTT are taking centre stage as the industry starts to come to grips with new methods of sport delivery. On Friday 9 September at 15:30, a panel session called ‘OTT for Sport and Live Events’ will look at how sport has traditionally been a major catalyst for innovation in linear television, but what about for OTT online video? Case studies

will provide insight into the tools and techniques that have been developed to provide access to live streaming, near real-time clips, and other products and monetisation strategies for the growing streaming landscape. Panelists in this session will also discuss the importance of perfecting their business models, harnessing data to stay relevant and creating streamlined editorial and technical workflows. Meanwhile on Saturday 10 September at 15:30, attendees can look forward to finding out more about ‘The OTT Opportunity for Mainstream and “Minority” Sports’. This will look at how live online streaming of

sporting events is on the rise, with major sporting events across the globe seeing strong audience growth for live streaming coverage in recent years as sports fans embrace shifting their viewing to tablets, smartphones, game consoles and other webconnected devices. Speakers will examine the economic opportunities that live streaming offers to sports that are less commonly seen on linear TV and their content production partners. They will also explore the technical challenges that live streaming presents for a genre where viewers have zero tolerance for interruptions. The

Sport and OTT are taking centre stage at the IBC Content Everywhere Hub

session will discuss the potential impact of platforms such as Facebook Live, Periscope and Snapchat and share insights gained in football, horseracing and boxing, and in territories from Germany to Thailand. Said Ian Volans, producer of the IBC Content Everywhere Hub panel session programme: “Many of the traditional

boundaries between different players in the value chain have become blurred in the ‘content everywhere’ world. I’ll be working with all panel speakers on a common vocabulary to cut through this confusion.” For the latest information on the Hub panel session programme visit www.ibcce. org/hub

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02/09/2016 13:28

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Embracing augmented reality at Euro 2016 Jeff Rosica, SVP, chief sales and marketing officer, Avid Euro 2016 was arguably the most immersive football championship to date with augmented reality putting viewers firmly in the middle of the action, wherever they were in the world. Augmented reality isn’t new in the world of sports broadcasting. For some time now, advanced design and production tools have existed that enable broadcasters to easily create 3D virtual objects that appear as if they’re actually in the studio or even outdoors. While the tools and workflows have remained the same, the way augmented reality is deployed in production

has improved dramatically. Today’s broadcasters are more experienced with augmented reality and better able to figure out what can and can’t work. There’s a fine line between doing something that’s cool and something that’s tacky. But now that broadcasters have had a few years to experiment with the technology, from a content perspective, they have a much better idea of where augmented reality makes sense, how to use it, and what kind of AR elements make sense. And with greater computing power, we’re now seeing more realistic graphics. A number of broadcasters

demonstrated these advances with some stunning augmented reality moments at Euro 2016. National French TV channel M6, for example, made headlines and wowed audiences when presenter Nathalie Renoux in M6’s Paris studio appeared to walk inside a TV to speak to fellow presenter Carine Galli on the sidelines in Nice. M6 also used a hologram effect to ‘zap’ interviewees, including players, from a studio in the stadium to the M6 studio in Paris. In China, the national broadcaster’s sports channel CCTV5 made a highly detailed model of the Arc de Triomphe

Localising content to reach a worldwide audience CONFERENCE TODAY Room E102, 15:30-17:00 By Chris Forrester Part of IBC’s Business Transformation stream, this session looks at media distribution in a global context and how content localisation – and much more than just language versioning and subtitling – can help deliver audiences.

Chris Lawrence, head of UK media consulting at Cognizant, has produced the session and says that with release windows decreasing, there has never been so much pressure to get content localised quickly for audiences. “This session draws upon the experience of organisations tackling this challenge on a daily basis.” The panel includes Catherine Retat, VP/EMEA for content servicing/technical operations at Warner Bros UK. She has extensive experience

appear in the studio for the opening game, enabling viewers to ‘walk through’ the Paris landmark. CCTV5 also used Digital Sand Table – a professional football application developed by Avid partner EarthMountain – for pre-match predictions and analysis before each daily live broadcast. With all 32 participating teams and their players built into the application in advance, CCTV5’s presenters were able to discuss the game to be played that day using different colours and effects on a touchscreen embedded on their desk. When presenters dragged the players’ names across the

in content servicing across all media platforms and localisation and has been working at Warner Bros for 19 years. Retat oversees the content servicing teams located in London, Paris, Madrid and Rome. Previously she was the head of technical operations France where she was in charge of localisation. Matt Westrup is VP/ operations at A+E Networks,

screen, viewers saw 3D models of the players running across the screen. As sports broadcasters continue to develop how they use augmented reality technology to help boost fan engagement and ratings, it will be exciting to see how they’ll continue to wowing millions of viewers across the globe. The Avid Studio Suite, which includes solutions for augmented and virtual reality production, will be showcased during IBC2016. 7.J20

based in London. He started his TV life at Travel Channel International, and now at A+E he is successfully localising content which he says is the key to the success of the History, H2, Lifetime and CI channels across EMEA. He is part of an international A+E effort that cares for content throughout the media supply chain.

Technology in Action COMPLEX RIGHTS RULE THE CONTENT LIFECYCLE Let’s not leave money on the table Stand 3.C59 – Hall 3

Book a demo or appointment at mediagenix.tv/IBC2016

SCHEDULING THE FUTURE TOGETHER

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The IBC Technology in Action Theatre is back after its successful launch in 2015. You can find it in Hall 3, and it offers a series of free case studies looking at key industry themes like the cloud, the transition to IP, production, post and delivery. The presentations will include some informative discussions, but the main objective is in the name: you get a chance to see the latest technology in action as it drives our industry forward. Today’s programme starts at 12:00 with a debate, led by Brad Gilmer of AMWA, on the strivings for standardisation in IP connectivity. At 13:00 there is a very important presentation, featuring case studies

from Kansai TV and IBM on the sorts of innovation in storage technology which we will need for 4K and 8K content. At 14:00 SpotX will be discussing ‘Using Programmatic Video Advertising to Drive Revenue from Connected Devices’. This is followed at 15:00 by MTV Finland presenting, alongside EzyInsights, about how social media can be harnessed to drive digital consumption. Finally at 16:00 Equinix will be talking about interconnection, navigation and the cloud. After this session, Equinix will be hosting a reception in the theatre to give you more time to debate what you have heard. All the events in the IBC Technology in Action Theatre are free to visitors.

02/09/2016 13:29

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theibcdaily The CTO’s Strategic Technology Roadmap OUTLINED

CONFERENCE TODAY FORUM: 09:45-11:00 By Chris Forrester Bring together hugely important industry names such as Cisco, Discovery Communications, Sony Pictures, Ericsson and telco Voo, add in highly experienced CTO names, and IBC delegates have the perfect mix for a valuable debate on the road ahead for the broadcast industry in all its forms. Moderated by Gerry O’Sullivan, himself a very

experienced media player with experience at BSkyB, Fox, and O’Sullivan’s panel represents the best of the best. Dave Ward, SVP/chief architect & CTO/engineering at Cisco Systems, is responsible for architectural governance, defining strategy, development of new technology and leading useinspired research. John Honeycutt is CTO at broadcasting giant Discovery Communications and looks after its consolidated IT, media technology, production and

operations functions globally. He is responsible for developing and implementing a long-term technology strategy to enable Discovery’s growing pay-TV, digital terrestrial, free-to-air and online services. A 12-year Discovery veteran, Honeycutt most recently served as executive vice president and chief operating officer for Discovery Networks International (DNI), where he led the operational structure of Discovery’s growing international business operations across

IBC launches IP Interoperability Zone Thanks to the collaboration of more users and manufacturers than ever before, IP interoperability has achieved substantial progress in the last year – faster than many expected. The impressive nature of this alignment and its benefits will, for the first time, be showcased in a dedicated feature

zone at IBC with 150 square metres in Hall 8. Bringing to life the work supported by the Joint Task Force on Networked Media (sponsored by the diverse and complementary organisations AES, AIMS, AMWA, EBU, SMPTE and VSF), visitors will see verified

technical interoperability over IP from over 30 diverse companies, showcasing the reality of this technology and the alignment of the industry to one common roadmap. Additionally, visitors will be able to witness in the same stand a live TV production embracing

more than 220 countries and territories. Spencer Stephens is CTO at Sony Pictures Entertainment, and leads the studio’s Technology Development group working on technology innovation and application. The group’s role touches on every part of the path from the on-set technology including cameras and lenses, through post production and mastering. Stephens will talk about how HDR is fitting into Sony’s production workflows. Ulf Ewaldsson is CTO at Ericsson and has been in post since 2012; he is also chairman of Ericsson’s Research Board this technology and roadmap in action thanks to Belgian broadcaster VRT bringing its current production (in conjunction with EBU) to IBC. Broadcast professionals will also hear from industry leaders how these technologies are enabling their businesses with case studies of real deployments. With an opportunity to test, explore and question how various

and a member of the Lund University Board and the Ericsson-LG Board in Korea. Finally, is Tamara Leemans, CTO at Belgian telco Voo. Leemans is responsible for the company’s technical department and it is her task to improve the overall customer experience of services by using innovation and technology as a leverage as well as increasing the operational efficiency of the business. This expert panel will deliver sound advice as to how they are addressing the challenges of this new era in broadcast and media.

technologies on display relate to each other, the IP Interoperability Zone is an unmissable experience for manufacturers and users alike to ensure they are able to harness the power of IP and internet technology and engage with the interoperability roadmap to forge a bright future for their businesses and our industry. For more information, visit IBC.org/IPzone

PURE VIDEO

Video resolution and bandwidth. The Harmonic PURE Compression Engine™ lets you balance both in perfect harmony, delivering jaw-dropping video quality at the lowest possible bitrates. The result is an uncompromised OTT viewing experience on any device, with equally remarkable savings on bandwidth consumption. See it in the Harmonic stand at IBC2016, #I.B20.

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New platforms under one roof Hall 14 is dedicated to IBC Content Everywhere. Grouped together in one place are all the exhibitors focused on creating, managing and delivering content to any device at any time.

The hall is designed to provide small but high-impact exhibition spaces for young and innovative companies. More than 120 companies are packed into the hall â&#x20AC;&#x201C; plenty of interest and cutting-edge thinking.

The hall is also home to the IBC Content Everywhere Hub, a special theatre featuring presentations and debates, with the full programme at www.IBCCE.org/hub and posted on the Hub Theatre.

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Highlights over the coming OUTLINED days include presentations from Katherine Tuohy of CSG International, Yang Shu Fen of Shanghai Tekcare International, Aneesh Rajaram of Opera TV and Dave Springall of Yospace. All the presentations and debates at the IBC Content

Everywhere Hub are free and informal. Take time out of your busy day to debate delivery, creativity and monetisation now that consumers expect to choose the content they want, when they want it, where they want it, on their preferred device.

New look IBC TV The new-look, 24-hour rolling news service from IBC TV will once more be online by the time you read this. Go to www. ibc-tv.org, or click through from IBC.org, to get the latest news and informed comment, all produced on site and accessible on any device. This year there is a new face as chief presenter, Martin Stanford. This award-winning journalist describes himself as a technophile: he says he enjoys both reporting on and

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applying new technology and techniques to his broadcasting work. He will be in his element at IBC. There is a lot of live coverage of IBC, including debates and features from IBC TVâ&#x20AC;&#x2122;s studio in Hall 13, the Elicium building. The cameras will also be out and about at many of the conference sessions, including all of the keynotes, with experts on hand in the studio to comment after each presentation.

Crews will also be walking the halls to find the best of the exhibition, and of course there will be coverage of the Awards Ceremony on Sunday night. The production base in Hall 13 includes a comprehensive broadcast and streaming infrastructure, built specially for IBC and featuring equipment sponsored by EVS, Imagine Communications, Sony and more. The team outputs a live linear schedule 24 hours a day, until

The IBC TV production base in Hall 13

the show closes on Tuesday afternoon. Head to www.ibc-tv.org and the streaming system will automatically sense the format and codec you need for best quality. To allow you to make IBC TV part of your breakfast routine, IBC has arranged with

most of the hotels to offer free WiFi for IBC delegates. Even when we all pack up and leave Amsterdam, IBC TV is still your resource for information, with all the stories, debates and presentations packaged and available on demand.

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OUTLINED

Orlander-Oliver Beckles, marketing manager, optical devices division, FUJIFILM Europe on those companies who have been contemplating investments into 4K HDR acquisition and transmission technology. IBC2016 will be a good catalyst to further investments throughout the industry.

Has IBC come at a good time for the electronic media industry? Why? At last year’s IBC many visitors focused on 4K UHD acquisition/ production technology. Within the past 12 months we have witnessed a surge in actual 4K UHD broadcast productions. These pioneers now have an advantage in their respective segments and are one step ahead of their competitors. This should increase pressure

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What do you think are the key developments in, or threats to, your market sector at the current time? Fujifilm is focused on the future, the future is now and our 4K HDR optical technology is available to anyone that wants/ needs to invest into the future. On the post (live) production side there have been many developments to increase IP transmission and compression technology, currently one of the

bottle necks when it comes to 4K/8K productions, but these minor issues will also be solved in the not so distant future.

Why should delegates visit your stand at IBC? The lens is the first element in the production chain, it is vital to the overall quality and success of any broadcast or cine production. FUJINON will showcase several new developments in 4K HDR optical technology. The UA107x8.4 (world’s longest focal range), the UA80x9 now with 1.2.Extender and wide-angle UA13x4.5 4K UHD 2/3-inch lens. In addition, we will display the XK6x20 (20-120mm) cost-effective cine zoom lens. Want to find out more; visit our stand. 12.B20

Sir Martin Sorrell: Cuba, China and creativity CONFERENCE TODAY FORUM: 14:00-15:00 By Chris Forrester Sir Martin Sorrell is rarely out of the headlines and as IBC’s star Keynote for 2016 he is likely to make a few more as he addresses ‘Advertising and Marketing in Transformation’. From his early days at Saatchi & Saatchi he has taken WPP to be a global advertising behemoth. But delegates should also remember that in his early days he cut his negotiating teeth working for sports agent Mark McCormack. Journalist Ray Snoddy will interview Sir Martin and the topic list includes the recent opening up of the Cuban market to ‘western’ influences, China and its growing importance to global trade, and creativity in general, not ignoring the future

Sir Martin Sorrell

of advertising, the impact of adblocking and funding of content. Brexit, and its impact, is bound to come up. Sir Martin is a youthful 71-year-old, and maintains a work ethic that might exhaust a man half his age. He firmly resists attempts to force him into retirement. “I’ve said I’ll carry on until they cart me out to the glue factory,” Sorrell jokes. His IBC Keynote promises to deliver a unique insight on broadcasting, narrowcasting, and the role of advertising and marketing in today’s world.

02/09/2016 15:05

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02/09/2016 16:42

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theibcdaily OPINION OUTLINED

Heralding producer-driven newsrooms The march to IP-based operations is inevitable, and it has special implications in the newsroom, explains Jesper Gawell, chief marketing officer, ChyronHego For today’s ecasters, migrating from proprietary, hardwarebased workflows and towards all-IT software-based production environments is no longer a matter of ‘if,’ but ‘when’ – and, increasingly, ‘how’. Standard off-the-shelf IT technologies and IP networks offer tremendous promise for shortening timeto-air, reducing costs, lowering dependence on specialised staff and smoothing the path to 4K/ UHDTV operations. To stay competitive, news organisations are under tremendous pressure to push the envelope of innovation and introduce new and different ways of telling a story. They need to be first to deliver

breaking news to air, but they also need to do it as costeffectively and efficiently as possible. These requirements call for software-based solutions that can leverage standard hardware and the existing IT infrastructure, with easy-to-use tools that everyone in the news department – including sports and weather – can use to create content and deliver it to air. ChyronHego has addressed these requirements with the CAMIO Universe – a comprehensive, producerdriven workflow that empowers producers and journalists to create compelling news stories and deliver them rapidly to

air. The CAMIO Universe is an integrated software suite that addresses every aspect of news production, whether it’s setting up camera shots and controlling robotic cameras, providing software-based video switching, enhancing a story with sophisticated weather graphics, or template-based graphics for a virtual studio. So what do we mean by a ‘producer-driven workflow?’ In the CAMIO Universe, content creators such as journalists, producers, editors and directors are in the driver’s seat. No longer at the mercy of complex hardware and technologies that once created delays and required specialised technicians

to operate, they are empowered to tell a story efficiently and in the exact manner they wish. Directors now have a single easy-to-use tool for constructing all of the cues for a show including cameras, switchers, audio, virtual sets, graphics. Editors can build, edit and package graphics quickly and easily that are brand-conforming and indistinguishable from live graphics. Art departments are able to unify the brand across a station, network, or station group and maintain content across all clients from a single interface. And stations are able to invest in storytelling by making content generation quick and easy, and they can move to an opex business model that enables them to run more efficiently and cost effectively. At IBC2016, ChyronHego will demonstrate the CAMIO Universe in action – powered

by our award-winning CAMIO asset and data management solution as the newsroom control centre. CAMIO integrates our world-leading Lyric graphics creation and playout system, Live Compositor for multi-camera TV production, Metacast weather graphics solution, and Hybrid virtual studio and robotic camera-head technologies. The result is a template-based solution by which anyone in the newsroom can create, control and play out a full newscast complete with broadcast graphics, virtual studio and augmented graphics, and weather graphics. 7.D11

SD, HD and 3G test and measurement Omnitek By Heather McLean Aiming to support the enormous number of SD and HD programmes created on a daily basis around the world, Omnitek is showcasing its range of SD, HD and 3G test and measurement equipment. The Omnitek OTR range of advanced waveform rasteriser and signal generators offers a combination of high-precision video and audio analysis tools partnered with a full-motion

signal generator system in a single rackmount unit. The Omnitek Picture Quality Analyser provides today’s multi-media digital broadcast environment with a practical quality metric, claimed the company, where it stated a wide variety of compression techniques are used in the attempt to maximise the payload capacity of the chosen transmission path. Picture and audio quality assessment of resulting broadcast video is essential to ensure that the best use is made of the available

channel bandwidth, it noted. The Omnitek OTM 1000 waveform monitor and signal generator provides a combination of video-audio analysis tools partnered with a full-motion signal generator system. It is compatible with all single and dual link SDI formats at 270Mbps, 1.5Gbps and 3Gbps. The facilities offered include a stereo 3D monitoring option, providing a range of colourimetry and depth-analysis functions. AV delay is a constant issue in many environments,

Flying down to Rio Root6 Technology By Carolyn Giardina The BBC and Spanish state broadcaster RTVE used Root6 Technology’s ContentAgent to ingest into Avid Interlay

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PAM environments during the Rio Olympics. ContentAgent, Root6’s workflow management and automation tool, is an Avid Platform Certified system. Footage from the Olympic venues and camera card media was transcoded into various

Avid formats for editing and archiving. Both broadcasters also used ContentAgent’s frame rate conversion as part of the ingest workflow, facilitated by integration with Tachyon software from Cinnafilm. This delivered

said Omnitek, which stated its in-service AV delay measurement solution allows highly accurate audio-visual delay measurement without the need The OTM 1000 waveform monitor and signal generator for specific clapper provides a combination of video-audio analysis tools partnered with a full-motion signal generator system board test patterns, and also works on highly customers alike as they provide compressed video. compliance tools that are Alan Wheable, technical needed around the clock in support manager, Omnitek, the production of SD and HD said: “The OTM and OTR television for QC and to help continue to be popular keep programmes on air.” products with new and existing 10.A24

motion compensated HD clips from 60i to 50i and 50i to 60i. In Rio, the BBC also used six CardAgent systems for automated ingest and job preparation; the broadcaster already has experience with the system, having deployed multiple ContentAgents at the 2014 FIFA World Cup. Root6 also reported that Timeline Television purchased its third ContentAgent

system, for use in a BT Sport compliance workflow based on Reach Engine, the asset management system from Levels Beyond. ContentAgent, with two JobAgents, will be used within the workflow to automate tasks including QC and transcoding into various formats for Avid editorial and viewing. 7.E21

02/09/2016 13:30

Multiformat matrix switcher

Datavideo is proud to announce their first multiformat video and KVM matrix switcher. This video router is capable of accepting up to 20 inputs (MTX-200) and uses a very intuitive in system GUI to control in- and outputs.

MTX-100 is a 12 input, 8 output system meant to be used with a variety of HDMI and 3G-SDI video sources. Next to that, 8 USB inputs guarantees the user to have enough flexibility in computer control.

The MTX-100 and MTX-200 handles multiple video formats and can serve as the hub for connecting a mix of computers, cameras, and videos to monitors and projectors. Capable of taking both HDMI and SDI source signals from a variety of AV/IT equipment, it delivers an integrated solution for signal routing and distribution concurrent monitoring as well as KVM switching for streamlined access to multiple systems.

MTX-200 is a larger 20 input, 16 output version that also delivers the user HDBaseT inputs and outputs. With flexible output configuration converting a regular 3G-SDI source to HDBaseT becomes easy. MTX series products are designed to give the user maximum flexibility, while maintaining easy operation.

MTX-100 Multiformat matrix switcher 4x 3G-SDI input 8x HDMI input 8x USB input for KVM Flexible output configuration

MTX-200 Multiformat matrix switcher 4x 3G-SDI input 14x HDMI input 2x HDBaseT input 8x USB input for KVM Flexible output configuration

With instant matrix crosspoint coupled with non-blocking switching architecture, MTX series products are capable of mapping varied sources to any one or multiple destinations. With extensive KVM features the MTX series products are more than just matrix switchers. With flexible output grouping a user is capable of using various PC systems and controlling them by just pointing their mouse cursor to the designated screen. For more information on where to buy Datavideo, or other products in our comprehensive product line up, please visit www.datavideo.com

Visit our booth at IBC 2016! Weâ&#x20AC;&#x2122;re in hall 7, booth D.39!

Fully design your OBV or portable production rack with the Datavideo Rackbuilder! Visit www.rackbuilder.info to start with a blank canvas!

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Advancing on every front

Our role is to help turn your business aspirations into practical reality, outlines Christoffer Kay, director/COO, Danmon Group The 12 months since IBC2015 have seen continuing fastpaced progress right across the broadcast media industry. Increasing attention has centred on higher video definition and wider dynamic range, as well as the relative merits of SDI versus IP. Progress within the Danmon Group has proved similarly fast. We announced during IBC2015 that our Madrid-based Datos Media company had acquired Oporto-based VANTeC. Celebrating its quarter-century this year, VANTeC is a leading Portuguese systems integrator which has built a highly successful company designing and integrating virtual studios,

robotic cameras and real-time 3D graphics. We will benefit greatly from the experience VANTeC brings. We have also welcomed Marquis Broadcast into the Danmon Group just weeks after its success in winning the IABM Design & Innovation Award for Edit Bridge. The technical expertise and knowledge base within the Danmon Group is now stronger than ever. With all the companies working closely together to share resources, we are able to ensure that we have the engineers best positioned with the right skill-set available for any given project. This has already proved highly beneficial for recent projects in London

and Abu Dhabi with engineers outside of those regions in the Group supporting their deployment. At IBC2016, the Danmon Group will be commemorating its 35th anniversary, a period which has seen the transition from analogue to digital technology and file-based content management. As a team our role is to evolve our skills and capabilities so that we are able to advise customers on the technologies that offer them clear operational and cost-effective advantages. Our value-add is to help customers through these transitions with the technical challenges they bring, such as increased

virtualisation, hybrid SDI/ IP systems, and ensuring that software from multiple vendors operates efficiently when combined into a single operating environment. 4K UHD has moved from aspiration to must-have in the minds of many content owners and broadcasters, and we have already implemented such systems for a number of customers. The Danmon Group recently completed a five-camera UHD flyaway for Universal Music Group. The project centred on the design of a complete 4K production system housed in flight cases which can be deployed rapidly at music events. The Danmon Group has also built a UHD channel for Viasat Sports in Stockholm. This is the first UHD channel in Scandinavia and it will be used for live sports events, including the recent Rio Olympics. The core element of our activity as

a systems integrator is to support our customers with solutions which operate as efficiently as possible in an industry which demands high productivity as well as creativity. By maintaining a close and constant eye on new technical developments both in the broadcast mainstream and the parallel IT world, we can ensure that the systems we design perfectly match the needs of today and tomorrow. Our role is to help turn your business aspirations into practical reality. Whether your needs are SD, HD, 4K or beyond, come and talk to us at IBC. 8.B51

Picture Perfect Solutions For all screen delivery

Appear TVâ&#x20AC;&#x2122;s XC5000 Series combines state of the art technology with an innovative modular design philosophy for video and signal processing solutions for delivery to any screen. Deployed to broadcast satellite, cable, terrestrial and IP network operators in 90 countries, it can be uniquely customized to each operator's application in a single integrated platform providing; - Leading class channel density in robust modular HW platform - Content acquisition from any source, decoding and descrambling - High performance, high density, flexible transcoding and encoding - Multiplexing, statistical multiplexing and multi carrier modulators - Powerful transport stream processing, scrambling, EPG and audio levelling - Flexible integrated redundancy options Find out how the unique advantages of Appear TV can enhance your operational performance and competitive advantage. Tel: +47 24 11 90 20 / info@appeartv.com / www.appeartv.com

Visit us at IBC stand 1.C61

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02/09/2016 13:31

Be the first on air. R&S®VENICE.

Meet us at booth 7.E25

Streamline your production workflow from ingest to playout up to 4K with the R&S®VENICE ingest and playout platform. Be the first on air with R&S®VENICE. It is especially suited for the high demands of live production, content creation and distribution. Benefit from the system’s open platform, advanced connectivity, smart operations and vast selection of broadcast and production codecs out of the box. Get more information here: www.rohde-schwarz.com/ad/media-solutions

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Overhauling the consumer experience New data-driven experiences present a golden opportunity to shape the next generation of TV, declares Per Borgklint, SVP, chief innovation officer and head of business unit media, Ericsson Itâ&#x20AC;&#x2122;s no secret that TV and media is experiencing its greatest period of disruption; yet the biggest changes of all are still to come. The convergence of the internet with media has sparked a seismic shift towards new data-driven experiences, and when combined with an unprecedented rate of technological innovation, there is now a golden opportunity to shape the next generation of TV. Access to such large volumes of data and continued technology evolution is instigating a shift in power. The consumer is dictating the pace of change through their unwavering desire for high-quality content across all screens, whenever and wherever they want. The consumer experience is being overhauled. Advancements in data science and access

to more sophisticated, realtime data and analytics are enabling media businesses to better understand their audiences and meet their demands. Contextual information is facilitating opportunities to deliver local, bespoke experiences and advertising to individuals. Large-scale data collection, machine learning and predicative analytics are being leveraged to optimise content delivery, providing intuitive, smart experiences. The arrival of 5G will herald a new dawn for the TV and media industry in terms of quality of experience, raising the bar by providing data rates of tens of megabits per second for tens of thousands of people. Consumers will receive a level of quality in their services like never before, enabled by 5Gâ&#x20AC;&#x2122;s ultimate speed and efficiency,

to all platforms. Itâ&#x20AC;&#x2122;s clear that technology has transformed the consumer TV experience beyond recognition; but it is also having a fundamental impact on the broadcast and media industry. What more can we hope to achieve? 5G will be critical. In addition to handling high bandwidth applications, IoT and billions of video-enabled devices, it will drive seamless, borderless coverage, allowing media companies to go beyond the geographical restrictions of fibre and become true global players. As global broadband connectivity, cloud-based technology and seamless mobility expands, content delivery is becoming more complex. Global CDNs are helping content providers scale content delivery and extend their reach with valueadd services on both a local

and global level. Machine learning will also contribute to new innovative delivery techniques such as edge computing and caching. Collaboration is increasingly vital to the entire media value chain, and combined ecosystems are encouraging greater interplay between companies. The Ericsson Unified Delivery Network (UDN), for instance, enables service provider partners to work collaboratively to deliver enhanced business and customer values, aggregating regional service provider capabilities to a global scale and connecting content providers with the last mile reach of service providers. The use of micro services will be instrumental in helping businesses to adapt their media applications more efficiently, leveraging the

flexibility of the cloud and a more nimble componentised architecture. This will enable the delivery of TV platforms to all form factors, increasing speed to market and offering the potential to scale up to DevOp models. Content owners, broadcasters and TV service providers must capitalise on this wave of innovation. They must mirror new agile market entrants by adopting web methodologies and mentalities, building their business models around continual innovation and service delivery. At IBC2016, Ericsson will show how its ongoing and pioneering commitment to the industry will help realise the rapid growth potential and limitless opportunity. 1.D61

Indigo back in the frame Crystal Vision By Will Strauss The Indigo frame system is getting another outing at IBC this year. Displayed alongside the new Vision 3 Frame system, Indigo offers a choice of three frame sizes. Included among the 75 interface and keying boards in the Indigo range are the Safire 3 real-time chroma keyer for virtual applications and the MultiLogo three-layer logo keyer for video and audio station branding. The latter has internal storage for up 500 graphics. Also being shown is the Safe Switch 3G fail-safe 2x2 routing switch. 2.B11

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OUTLINED

Zylight’s latest passivelycooled F8-300 Fresnel uses quantum dot LED technology

Zylight By David Fox The silent new F8-300 LED Fresnel from Zylight is an addition to its more portable F8-200; both of which are more powerful versions of its collapsible F8. The 13.6kg passively cooled 320W F8-300 is claimed to be brighter than a 575W HMI Fresnel or a 2kW tungsten fixture, and comes in 3200K or 5600K versions. It uses a 20cm glass lens that offers traditional single shadow Fresnel beam shaping, with an adjustable beam spread (16-70 degrees) for spot and flood. It can be controlled via DMX or via the built-in ZyLink wireless link, which allows multiple Zylights to be linked for simultaneous remote control. The F8-300 uses quantum dot LED technology, which Zylight claims delivers excellent light quality with a high TLCI rating. Also new is Zylight’s ProPanel V2. The variable colour temperature (2700-6500K) LED soft light is available in 1x2 and 2x2 configurations, without the harsh glare and multiple shadow effects often associated with budget LED panel lights. The flicker-free light is fully dimmable with a wide, 110-degree beam angle and a TLCI rating of 98. The rear panel includes colour and dimming control knobs, plus two custom preset buttons. It includes a honey comb louver to block unwanted light spill, gel frame for light effects, and an adjustable yoke for mounting on portable stands or hanging from a studio grid. It ships with an AC power cable, but can also use batteries via its three-pin XLR port. 12.D46s

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Checking for Rec. 2020 and DCI P3

OUTLINED

Juergen Nies, EVP, broadcast and media, Rohde & Schwarz Has IBC come at a good time for the electronic media industry? Why? We will showcase our product portfolio under the heading ‘Every frame counts’, because we think there is a big need in the industry to ensure reliable and trouble-free transmission for every frame, especially in times of ever higher resolutions and HDR. This is regardless of whether ingest, playout, encoding or delivery are involved. Even when it comes to IP transmission and cloud business models, every frame counts.

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

The focus will still be on higher resolutions such as UHD/4K, HDR colour space or new IP transmission standards. There is an increasing demand for this content on the consumer side. With its file-based content production workflows, Rohde & Schwarz offers tailored solutions for processing and mastering UHD/4K content.

Why should delegates visit your stand at IBC? We have long supported all the high-resolution standards with our extensive product range. As a system solution our headend offers full UHD encoding in 2RU, further reducing complexity. Our R&S CLIPSTER mastering station now allows playout

X-Rite By Carolyn Giardina

of uncompressed 4K content with 120p to meet the highest demands. R&S VENICE is the first ingest and production platform to enable efficient media production from ingest to playout in 4K. We will present a technology study based on our AV multiviewer and monitoring solution, with innovative enhancements for IP-based‚ mezzanine media-transmission formats in the playout/contribution environment. 7.E25

Making its debut appearance on the IBC exhibition floor is X-Rite, a maker of colour management products for the photographic and video markets. At IBC, it’s showing an update to its i1Profiler software featured in its i1 line-up, including i1Display Pro, i1Basic Pro 2 and i1Photo Pro 2. This update adds calibration support for the Rec. 2020 and DCI P3 standards. The software already supports standards such as NTSC, ITUR Rec.BT.709 and PAL SECAM. Last November, X-Rite launched its first ColorChecker products designed solely for filmmakers and videographers, the X-Rite ColorChecker Video and the X-Rite ColorChecker

Passport Video. X-Rite has already announced third-party software support with DaVinci Resolve, Color Finale and 3D LUT Creator, and display calibration partnerships with Atomos and SmallHD. Liz Quinlisk, marketing director, photo and video, X-Rite, said: “X-Rite has been educating photographers for many years on the benefits of controlling colour throughout their workflow, and we know we have the same task with filmmakers. We’re committed to giving as many filmmakers as possible the control they need over their colour, whether on-screen, at camera, or in post production, and making that process as simple as we can.” XP Distribution is the distributor for X-Rite’s products. 9.LP8

Viewers are Listening.™

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Market stabilises after difficult 2015 OUTLINED

The broadcast and media technology industry is in the midst of change, explain Peter White, CEO, IABM, and Joe Zaller, IABM DC The combination of and potential for new digital and online delivery platforms, the shift to file-based workflows, the increasing drive for digital monetisation, and the promise of COTS IT hardware managed by software-defined networks have acted as catalysts for an industry-wide rethink of the types of technology required to support media company business models, and whether it is procured on a capex, opex, or outsourced basis. The effects of these factors are being felt throughout the broadcast and media technology supply sector, as the commercial models of broadcasters and media companies have changed dramatically over the past several years. For executives at suppliers and buyers of media technology, the requirement for market data that is both accurate and actionable has never been greater. The IABM DC 2016 Global Market Valuation and Strategy Report (GMVR) meets this need by providing comprehensive information about the size, evolution and growth prospects for the broadcast and media technology sector.

Broadcast and media technology market sizing The total market for media technology products and services was $49.3 billion in 2015, a decline of 4.3 per cent versus the previous year. A number of factors contributed to the year-on-year decline in media technology spending. These include significant currency fluctuations, ongoing consolidation among media organisations, the strategic move from capex to opex as end-users evolve their business models, the impact of software revenue recognition at traditionally hardware-based suppliers, and for the first time in six years, negative growth in services as well as products. Sales of hardware and software products declined 4.4 per cent in 2015 to $22.01

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billion, or 46.6 per cent of total industry revenue. 2015 services revenue declined 4.2 per cent to $27.3 billion, or 55.4 per cent of total industry revenue. Although product revenues have been in decline since 2012, this is the first time that services revenues have also decreased since the GMVR was first published in 2006. For the four-year period from 2012 to 2015, the compound annual growth rate (CAGR) for the total industry was -1.0 per cent. During the same period, the CAGR for media technology products and services was -2.4 per cent and +1.0 per cent respectively. Foreign exchange rate fluctuations had a significant impact in 2015. In Brazil and Russia, steep currency declines effectively doubled the prices for some media technology products, thus deterring investment. Other currencies including the Canadian Dollar, Euro and Japanese Yen also declined versus the US Dollar, changing the competitive dynamic for many players. While many media technology suppliers have both revenues and costs in multiple currencies and are able to mitigate swings in foreign exchange to some extent, the same is not true for managed service providers that operate in a single territory. Much of the decline in Europe reported for the services segment resulted directly from the weakening of the Euro against the US Dollar in the period. Other notable drivers for the decline in overall revenues range from the end of governmentbacked analogue switch-off programmes in many countries, to the ongoing consolidation of major media companies, and a pronounced shift in technology procurement strategies among end users.

Aggregate figures do not tell the whole story While total broadcast and media technology industry revenues declined overall in 2015, it is not

Joe Zaller

After sustained growth from 2009-2012, aggregate media technology product revenues declined from 2012-2015, while revenue from services slowed substantially

Peter White

The 2016 GMVR provides detailed analysis of more than 150 product categories in nine market segments

appropriate to apply these highlevel figures across all product and service categories. In a dynamic and evolving market environment, it is only natural that revenues in some product categories will experience a decline, while other categories will show strong growth. The GMVR is the only source of comprehensive information that allows stakeholders to understand the performance of the entire industry, including how each market segment and product category has performed in the past and how it is likely to evolve in the future. Built on an underlying data model that encompasses approximately 3000 suppliers of media technology products and services, the GMVR provides the granularity that companies need to make informed business planning and strategy decisions.

Outlook for 2H 2016 and 2017 Despite the downward pressure seen in 2015, there are multiple public data points that suggest the market stabilised in 2016. In addition to these results, executives from many private companies interviewed prior to

IBC2016 expressed cautious optimism regarding their performance during the current year. Looking forward, executives from multiple technology suppliers believe that their continued investment in research and development will pay off in 2017, as broadcasters and media companies move beyond the proof-of-concept stage, and begin to deploy a new generation of technology to replace their legacy infrastructure.

Essential reading for industry strategists Emerging technologies, industry M&A, market cyclicality and changing end-user buying habits are explored in detail throughout the 2016 GMVR, along with a discussion of the drivers affecting the market, and an analysis of how changing markets and technologies may shape the future composition of the broadcast and media technology industry. In addition to 600 pages of written analysis and commentary, the 2016 GMVR provides market sizing and forecast information for approximately 150 product categories across nine market segments. The data tables that

accompany the written report provide regional splits for product and service revenues, as well as forecasts to 2019 at segment and sub-segment levels. The information and analysis in the 2016 GMVR was informed through in-depth interviews with hundreds of industry participants, including technology vendors, and end users including broadcasters, pay-TV operators, service providers and OTT platform platforms.

Call for participation The GMVR is the only industrywide collaborative project that brings together suppliers of media technology products and services to share data via a framework that guarantees confidentiality, while providing relevant, accurate and actionable market information and insights. It is published by IABM DC, a 50/50 joint venture between industry trade association IABM, and Devoncroft Partners, a leading media technology market intelligence provider. All providers of media technology products and services are encouraged to participate in the GMVR initiative. More information about how to participate is available from IABM, Devoncroft Partners, and at www.iabmdc.com. The 2016 IABM DC Global Market Valuation Report is available for immediate delivery.

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OPINION

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Vive la rĂŠvolution! Manipulating video to share with an audience is no longer the preserve of the established few, says Christian Dutilleux, CEO, Deltacast It is a tradition in the TV broadcast market to consider that the world is permanently in evolution and that all component parts have to make changes regularly. However, it is obvious for everyone that the market is now going through a revolution. In a breath: manipulating videos to share with a significant set of viewers is no more reserved to a set of companies well established in the TV industry. It is an activity almost accessible to anybody. The vertiginous increase of the amount of generated videos implies the strong involvement of major internet companies to manage issues such as storage

and streaming, and obviously their solutions will be applicable to the high-end market segment that TV broadcast represents. The message is clear and many players are today quite reactive, with a series of very positive initiatives, addressing virtualisation and cloud for instance. The consumption of video is also changing: zapping is no more reserved to people watching TV but is now a standard. The quality of the video production is far from being a significant feature for the majority of videos shared by people. To make a buzz is much more important. â&#x20AC;&#x2DC;Multiscreenâ&#x20AC;&#x2122;, â&#x20AC;&#x2DC;content

anywhereâ&#x20AC;&#x2122; and â&#x20AC;&#x2DC;social networksâ&#x20AC;&#x2122; are now common language. Again, TV market players react to this evolution, for instance with the development of low-cost production solutions, trying to play a role in other market segments. A revolution is something complex. For a lot of TV broadcast companies, the question is no more about how to adapt their products to make more money, but rather to find a new role in the new world that the revolution is creating. Acquisitions and mergers are common in the TV market but their rhythm is accelerating and it is not always easy to understand

the rationale of those moves. We now evolve without our traditional landmarks and have to navigate in uncertainty. Conversely, there is knowledge, culture and experience in the traditional TV market that have to be protected and exploited. So we should not forget the past but rather find a way to build the future on the basis of our strengths. This implies creativity and the investment of significant resources, in most cases. This also implies new partnerships with companies that have started to address the technological aspects of the revolution some

years ago and can provide guidelines and a solution on which to rely. Initiatives such as SMPTE 2022, TR-03, VC-2, Sony IP Live, NewTek NDI, Intopix TICO or Evertz Aspen demonstrate how key players in the market are challenging the situation. Thatâ&#x20AC;&#x2122;s great, but itâ&#x20AC;&#x2122;s not sufficient: we have to consider that new production workflows will emerge in the near future. I am convinced that the players present in a show like IBC will find the right way to go on spreading the high values of our industry. 7.A14

Building the Next TV Broadcasting Transmitter Generation Enriching peopleâ&#x20AC;&#x2122;s lives: informing, educating, inspiring, entertaining and bettering communication between people, this is what the TV broadcasting industry strives to do every day. Our goal is to build the bridge that connects engineering to TV Broadcasting by designing breakthrough solutions, by skilfully exploiting knowledge, state-of-the-art technologies, materials and softwares in order to improve the quality of the transmission and signal processing and, in so doing, guarantee TV Broadcasting content to reach people no matter where they are.

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The DTG and virtual reality: an IBC session preview OUTLINED

Simon Gauntlett, CTO of the DTG and chair of SMPTE’s UK Section The DTG is the non-profit UK collaboration centre that brings together TV industry stakeholders to develop and implement digital TV standards. Our members’ work has been central to the distribution of TV in the UK over two decades. We enable cross-industry innovation based on the belief that it is more effective to work in collaboration than in isolation, and that providing our members with unparalleled industry insight gives them the power to shape the future of digital media technology. The DTG has a long history of supporting the development, standardisation and conformance testing of emerging technologies. Our unique, collaborative approach has built a series of technical and commercially successful platforms, and now we’re supporting the next generation of video delivery technologies. One area we are delving into deeply is virtual reality (VR), and I’ll be discussing our progress at IBC2016 tomorrow (Saturday 10 September) in a session titled ‘Exploring New Ideas in VR & 360º Immersive Media’.

There’s great interest in VR from media and technology businesses large and small (not to mention consumers and the media). Investment opportunities abound, and Deloitte Global has predicted that virtual reality will have its first billion dollar year in 2016. There’s also no shortage of affordable VR headsets — the cornerstone of the VR experience — driving consumer awareness and demand. Devices range from the Oculus Rift, featuring built-in dual 1080 screens, to simple devices that allow VR content to be displayed via a smartphone. The DTG believes that the key to ensuring viewers enjoy the best possible VR experience — and businesses in the VR ecosystem enjoy maximum success — is to build VR devices on shared best practices, carefully considered standards, and robust testing and conformance. In fact, the DTG has already started looking into common guidelines around the creation, capture and delivery of cinematic VR. One area that the VR industry needs to agree

on is terminology and common language. The aim is to bring various existing applications and their terms — such as fixed viewpoint (360 video), virtual theatre, interactive VR and augmented reality — under a common heading. We need a glossary of terms and probably even a new production language. The VR creative process itself merits further discussion. The power of virtual reality is that it immerses viewers and offers them autonomy. While the opportunities for creating a new level of viewer experience are enticing, they present content makers with an entirely new set of creative challenges: where do you put the camera operator, sound operator and lighting? How much movement and cutting can you do before making people feel unwell? How do you direct the attention of the viewer? There are also technical challenges, such as the lack of approved technical standards for interoperability and variations in geometry of the capture array. And we still need to address the unknowns: do we need to know head position

to make efficient decoding decisions? What are the psycho-physiological effects of VR? During the VR session at IBC, I will be discussing the challenges and opportunities for VR, share insights gleaned from a recent DTG seminar and two industry roundtable dinners that explored the future media applications of VR, and report on trials for different genres. The DTG’s view is that improvements in the

technology for the capture, post production, delivery, and display of virtual reality; increasing consumer acceptance; and the backing of corporate giants means this is a technology whose time is near. We hope you will work with us and the VR Interest Group as we apply our proven collaborative approach to help align and refine existing UK and international audio and video standards and guidelines.

Q&A Winfried Deckelmann, CEO, Lynx Technik Has IBC come at a good time for the electronic media industry? Why? IBC is an ideal environment for us to spend time with customers, suppliers and other partners that we work closely with or are meeting for the first time. We also take advantage of this platform to identify new and emerging trends in the market for the development of new products and features. The broadcast market is in the midst

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of some interesting changes including OTT, IP and 4K/UHD, and we look forward to seeing how these trends translate into new solutions.

What do you think are the key developments in, or threats to, your market sector at the current time? Our industry is facing significant changes, whereby innovation cycles are getting shorter and

shorter and ROI is becoming a concern to some. As we watch the continued shift towards IP (although there is no common standard so far), we are witnessing some customer confusion and investments are being put on hold. We do however see a few promising approaches. Facilities require solutions that protect their new investments and provide flexibility for the future.

Why should delegates visit your stand at IBC? Lynx Technik is debuting greenMachine, a unique concept for signal processing. greenMachine is a combination of general-purpose hardware, apps and control software. First, you select a hardware processing platform, a powerful general-purpose programmable AV appliance. Then you build specific functionality by stringing together apps from the Lynx

greenStore: greenGUI, a powerful software application provides intuitive control and automation; and greenMachine enables the hardware investment to be easily adapted into new applications as required. 8.C70

02/09/2016 15:06

AMOS - 6 Coming in 2016

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Radio Wroclaw adds Content Manager OUTLINED

David Systems By Will Strauss Radio Wroclaw has installed the browser-based Content Manager service for both its main channel and its Radio RAM, it has been announced at IBC. The move to the new David Systems application follows

an initial implementation for the launch of Radio Wroclaw Kultura, a digital-only channel, and was made to allow for contextual searching. According to David Systems, Content Manager provides radio producers with contextsensitive, centralised project oversight and allows them to improve the way that they handle day-to-day workflows

OZO goes live for VR Nokia USA

By Adrian Pennington Even though the VR industry continues to build momentum, one of the biggest challenges it faces is sluggish consumer adoption. Nokia hopes to overcome this by announcing the upcoming availability

of OZO Live, a ‘broadcastquality’ live VR streaming solution. 2D 360 projections are also supported for broader distributions to web platforms such as YouTube 360. OZO Live integrates with standard 4K (UHD) broadcast equipment, using standard SDI signal protocols. Nokia says existing production switchers,

including importing, converting and integrating audio files from field reporters for newscasts. The upgrade is said to ‘significantly reduce the amount of time employees invest in administrative tasks and training, allowing them to instead focus on stories, publishing and other efforts that directly add value to the station’.

Key Content Manager features include: workflows can move between platforms, providing independence from operating systems; new workflows can be developed, integrated and adapted without the need for external help; and projects can be accessed and managed from any location using a web-enabled device. Vincent Benveniste, co-owner and chief

colour correctors and other gear can be used to build out a full professional workflow. It processes the raw signal from the camera in real time, stitching panoramic images and outputs monoscopic or stereoscopic video. OZO Live is a software product running on standard reference server hardware with GPU acceleration. The OZO itself contains eight microphones recording 360x360 surround sound and eight

sensors with 195-degree field of view per lens capture. The audio is software rendered to follow headset orientation. Each interchangeable digital cartridge provides 45 minutes of record time, and saves all media to a single file – rather than a handful of SD cards. The video sensor contains a progressive scan with a global shutter. 8.F02

executive, David Systems, said: “We pride ourselves on having a forward-looking mindset and we are excited to provide our strategic partner Radio Wroclaw with a service that enables them to be a true radio pioneer.” Studiotech provided localisation services and completed the installation. 3.A31 OZO captures full 3D 360-degree spherical video and spatial audio

Three great reasons to visit Tektronix in Hall 10 Stand D41 1. See PRISM, our new IP Media Analysis Solution 2. Get a demonstration of our new support for HDR 3. Pick up a voucher worth 25% off your next purchase Visit us in Hall 10 Stand D41

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MPEG-DASH for personalised ad insertion OUTLINED

Yospace By Anne Morris

across all major online platforms and devices. Yospace’s system enables ad breaks to be replaced in live simulcast on the serverside, whereby transitions to and from ad breaks are also frame-accurate. Personalisation can be applied, meaning that viewers can see ads that are relevant to their interests. Yospace said its announcement is particularly good news for providers of

Dynamic ad insertion (DAI) technology specialist Yospace has announced support for MPEG-DASH. The development complements Yospace’s DAI solution for HLS and allows broadcasters to monetise their live and on demand content, in a DRM-protected environment,

live sports and major event broadcasting, as it frees them from many of the complications brought about by device fragmentation. By running a combined HLS and DASH strategy, broadcasters are able to reap the benefits of personalised ad insertion while maintaining the integrity of their hard-fought broadcast rights. 14.C18

LogServer gets updated Mediaproxy

stream analysis. The Monwall IP multiviewer now features data monitoring options, including TS sections, ETR290 ASI priority events, new caption and subtitle monitoring as well as dedicated Loudness panels. Updates also include OTT monitoring at scale for HLS,

By Carolyn Giardina The Mediaproxy stand has updates to the company’s LogServer products for broadcast monitoring, content logging and transport

IBC Daily ad ContentAgent.qxp_Layout 1 05/08/2016 12:42 Page 1

SmoothStreaming and DASH sources/profiles that Mediaproxy said enables tens and hundreds of streams to be monitored concurrently on both outgoing streams and return CDN. These are also integrated in the Monwall IP multiviewer. Also new is support for

Ads can be targeted to meet user interests, particularly during live sports and major events

4K/HEVC sources, as well as a mobile app for real-time broadcast stream monitoring

supported on iOS/Windows Mobile and Android devices. 7.J07

The Monwall IP multiviewer with enhanced TS, OTT and SCTE monitoring

A Perfect Partnership See

us a

Hall

7.E2

Made for each other. ContentAgent’s powerful workflow management and automation capabilities are now certified by Avid for seamless integration with its MediaCentral platform. Guaranteed interoperability means you’re able to automate an extensive range of common tasks within your Avid ecosystem from camera card ingest to file-based QC and deliverables. Integration with powerful third party software for automated framerate conversion, forensic watermarking, accelerated delivery and more, puts best of breed technologies at your fingertips. Now you can save time and money by freeing up your editorial staff and edit suites for all-important storytelling. Sweet.

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Turbo-charged Dedolight doubles power Dedo Weigert Film By David Fox The compact new Dedolight Turbo DLED7 replaces the previous 40W DLED4, offering almost double the performance in the same size housing. The bicolour version houses two 90W sets of LEDs, but despite added (almost silent) active cooling

systems, its weight is identical to the DLED4. Only the ballast has grown slightly, to accommodate the increased power. Alternative power supplies still allow battery operation. The bicolour versions are continuously adjustable from 2700K to 6500K. Single colour versions in daylight or tungsten are also available.

The rugged light is also available with DMX and pole operation. Kits can include soft boxes and imager/projection attachments. Complete three-light kits with plenty of accessories are still light enough for checked-in baggage on flights, packed in sturdy cases with wheels and a pull-out handle. 12.D31

Monetising OTT with SaaS Easel TV

By Anne Morris Multi-screen cloud video software company Easel TV has enhanced its Suggested TV SaaS platform. Advanced marketing functionality, in the form of pre-roll video and promotional overlays, allow its clients to add brand sponsorship, promotions and vouchering to help monetise their service. Joe Foster, CEO, Easel TV, said: “Operators, content providers and brands need to maximise the opportunity to monetise their OTT offerings, so we’ve focused on minimising their costs, by eliminating expensive systems integration, and then adding advanced marketing functionality to increase revenue.” These advanced marketing tools allow Easel TV’s clients to look beyond just subscription, transactional or advertising (SVoD, TVoD

or AVoD) income towards more advanced and creative options for commercial success. Promotional overlays enable Easel TV’s clients to sell sponsorship of movies, TV shows/series and video collections, providing wider scope for Suggested TV helps clients to make use of diﬀerent tools to monetise their services monetising the offering. Video pre-rolls can also be created flexibility and capability to as part of the same campaign bring in a lot more income or offered separately to bring for the content they’ve in further commercial value. paid out on. On top of all this, associated This rich set of tools now discount vouchering can be forms part of the Suggested added as part of a campaign TV Engine, a comprehensive to actively engage the suite of management tools consumer in the service, with a common interface for providing wider publicity and the complete end-to-end tangible value to consumers operation of the multiscreen as part of these brand cloud video service offered campaigns. This all gives by Easel TV. Easel TV’s clients far more 14.C08

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OUTLINED

Compact and versatile: The new Dedolight Turbo DLED7 carry-on kit

Hexagon on track for robotic control Vinten

By David Fox The Hexagon track system is an advanced new robotic dolly system on tracks. It has been developed with Italian dolly specialist Tecnopoint to work with Vinten’s VRC control system. The company claimed it offers fast setup and easy assembly with no cables outside of the track, making it suitable for both news studios and outside broadcasts, such as concerts or sports events. It means that x-y pedestals, elevation-only pedestals, track systems and head-only systems can all be operated by the same control system. This will enable current VRC users to integrate the Hexagon System as an alternative to robotic pedestals or cranes. The Hexagon Dolly’s motorised column and robotic head natively interface to the

Vinten control protocol and can be fully managed from the VRC. With a height of just 30mm from the ground, the system is claimed to use the lowest profile track design available today while retaining stability and ease of movement. The system uses four traction wheels with dual synchronised motors, and provides an optional positioning belt so that the track position can be very accurately measured and sent to a graphics engine for use in an augmented/virtual reality environment. The new track system enables flexible configurations, including straight or curved track shape, and up to two dollies on one track with collision avoidance as well as the option for either high-speed/ low payload or low-speed/ high payload options. 12.E65

WeatherSuite shines at IBC MeteoGroup By Will Strauss Weather experts from MeteoGroup are using IBC to show broadcasters how they can maximise cost efficiency when producing weather shows using virtual sets.

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Included among the demonstrations is MeteoGroup’s WeatherSuite, a system that enables weather presenters to generate 4K, VR and 3D sets with minimal studio space. MeteoGroup is also showing 360-degree videos for weather presenters. Using

this application a presenter can create virtual flights over 3D terrain while simulating the changing weather conditions. In addition, the company’s weather app portfolio is on show. The app RainToday features real-time rain alerts with a high-resolution radar. 2.C48

Vinten’s new Hexagon track system, developed with Tecnopoint

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In command: Telemetricsâ&#x20AC;&#x2122;s new RCCP-1 Robotic Camera Control Panel

OUTLINED

Telemetrics By David Fox The RCCP-1 Robotic Camera Control Panel provides a single operator with powerful control over robotics, camera and lens positioning, camera shading and control of peripheral devices. It can be used as a standalone unit or networked with a group of panels sharing a common database, allowing it to scale from an entry-level robotic facility to multi-studio or multiremote applications. The RCCP-1 is available customised for both studio (RCCP-STS) and legislative applications (RCCP-LGS), and its control panel has an assortment of buttons, knobs and rocker switches to control pan, tilt, zoom, focus, elevation and trolley position. It uses an integrated touchscreen graphical user interface, and features include key-frame motion support, polarise filter control, studio automation support and automated event triggers. It offers support for a range of third-party devices, including video switcher, character generators and PTZs. Telemetrics has also introduced RCCP Telesoft, a production controller with a touchscreen for easy-to-find camera functions. It features pan, tilt and zoom speed control knobs, illuminated push buttons for easy camera selection, large focus knob for fine control with auto/ manual toggle and a threeaxis Hall-effect joystick. Although it can be used for entry-level applications, it can be upgraded to advanced user control. It offers universal support of all major PTZs, a 10.4-inch colour touchscreen for full camera image controls and scene presets, and modular tactile controls for manual operation. 12.E36

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Quality choice for iPhone lenses Zeiss

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Europe’s biggest OB vehicle OUTLINED

By David Fox There are a lot of iPhone lenses available, but few of them are particularly high quality, however Zeiss’ collaboration with ExoLens aims to bring ‘never-before-seen quality and versatility’ to this market. Together they have developed three new lenses, with Zeiss’ T* anti-reflective coating, which screw into a machined aluminium exoskeleton bracket available initially for the iPhone 6/6s and 6/6s Plus models.

The 0.6x wide angle and 2x telephoto lenses use aspheric lenses and have no focal length (the focus is set at infinity), making it easy to shoot objects from close up to infinity, claimed Zeiss. The most interesting of the lenses is the macro, which has a zoom function, something not seen in these sort of accessory lenses before, permitting the full-

Zeiss and ExoLens team up to oﬀer iPhone lenses ﬁt for broadcast

frame capture of objects with diameters of between three and eleven centimetres. It promises no discernible distortion or chromatic aberration, and has an attachable, semi-transparent diffusor, to let light reach the subject. 12.F50

New DVMon, DVStor make debut Torque Video Systems By Ian McMurray Making their debut at IBC are two new products from Torque Video Systems. The Torque DVMon S/S2 is described as a multi-user, affordable satellite transport stream probe that succeeds the Pixelmetrix DVStation ASLF. Its key attributes include HTML5 remote GUI, monitoring and engineering analysis, combined technical analysis, video thumbnails, video wall, service component validation and combined IP monitoring, as well as historical logging and graphing. It is available with a range of interface options.

The DVStor XS, for transport stream recording and playout, is being announced at IBC

In a similar compact form factor and with the same highperformance Intel CPU as the DVMon, the new DVStor XS models come pre-installed with the latest DVStor version 8 application software. Running on a robust enterprise Linux, the new application software is said to feature improved performance and reliability. Danny Wilson, founder and CEO, Torque Video Systems, said: “These days, almost every aspect of television delivery

is rapidly changing, and we believe our latest products meet head on the challenges those changes present. Under the threat of new media players, traditional terrestrial, cable and satellite operators are driven to find lower cost and innovative solutions to their delivery problem, while they struggle to find and adopt new business models.” 1.F34t

AMP Visual TV’s Millennium Signature 12 has 75 square metres of work space

Videlio – Media/ Toutenkamion By David Fox AMP Visual TV’s Millennium Signature 12 (MS12) is claimed to be the biggest OB truck in Europe. On display in the outside exhibits area, it was built by Toutenkamion and can cater for the largest multi-camera events. The 75 square metre vehicle made its debut over the summer at Le Mans, with 24hour non-stop programming, 45 cameras around the circuit, and a further 52 cameras on board race cars. Thanks to its modular design and mobile partition system, MS12 can also turn into a 2-in-1 OB for joint operations with two production areas, two audio areas, two vision rooms, up to 42 modular workspaces (slowmo, editing, graphics), and a record number of 12 technical bays. Its two

expanding sides run the full length of the 12.5m trailer, increasing the width from 2.5m to 6.1m. MS12 is designed around Riedel’s MediorNet infrastructure, which handles routing and processing for video, audio, data, and intercom, deployed in a fully redundant configuration built on a 10Gbps fibre network, with 68 MicroN high-density signal interfaces, eight MetroN core routers, three MediorNet Compact Pros and two MediorNet Modular frames. The truck carries up to 24 Sony HDC-4300 cameras (but can have up to 44 in total or 22 in UHD mode), 10 HD EVS 8-channel HD servers (up to 14 with fly away units or 7-10 4-channel UHD), a Sony XVS 8000 10M/E (5M/E in UHD) switcher (plus Sony MVS 8000 3M/E – HD only), plus Calrec Apollo and Artemis audio desks. 10.A16, 0.E02

Small monitor – high dynamic range SmallHD By David Fox The 13-inch 1303 HDR is the latest in SmallHD’s new high dynamic range monitor family, boasting a bright 1500+ nit display suitable for both studio and outdoor use. It is particularly suitable for directors, DoPs and camera assistants. The 1303 HDR builds on the HDR technology

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that SmallHD developed for its recently introduced 17-inch, 24-inch and 32inch monitors, displaying 1920x1080 images on 10-bit IPS LCD panels, with a four-up signal view. The HDR render is customisable to various camera gamma settings. It supports a 32-point 3D LUT workflow using SmallHD’s ColorFlow technology, so that previously created look-up tables can be used on set.

LUTS can be applied via the full-size SDI jack on the monitor, and can also be pushed downstream to other monitors. LUTs altered on-set with third-party software, such as LiveGrade, can be uploaded to an SD card for use in post. It has HDMI and SDI inputs and can output to either format, with a single frame cross conversion time. Its RapidRail system allows

SmallHD’s latest 13-inch HDR monitor launched at IBC

quick mounting of accessories like wireless receivers or focus systems, and it can be

battery powered for complete wireless use. 12.E65

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Hall 7 | Stand # G20 September 9 - 13, 2016 Amsterdam RAI

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Practical applications for live production

MAKE BROADCAST EASIER Visit us at IBC 9-13 Sept. Stand F34, Hall 12

Migration to IP is a focus for many media businesses but they need to make the switch at their own speed, says Muriel De Lathouwer, CEO, EVS

IBC is always a great opportunity for visitors to see and learn about the latest technological innovations. For EVS it’s also an important opportunity to help visitors discover practical applications for live production that can deliver them major workflow benefits while meeting their current and future business needs. At the EVS stand, in addition to demonstrating new innovations centred around the industry’s current trends – 4K, IP, virtualised processes and cloud-based applications – and workflows that make quality out of quantity in live production, we’ll also be talking about how many of these innovations and workflows are working in real-world, high-level applications. For instance, during this summer’s important global sporting events, we saw how broadcasters are quickly adopting our new technologies into their existing workflows in order to improve live production capabilities and deliver better stories. One great example of this has been the implementation of EVS’ live connectivity solutions. By allowing production teams to instantly share content, data and edits – no matter where they are located – our workflow solutions created significant advantages and business benefits for the broadcasters and producers. Visitors to IBC will see the how our connectivity solutions can bring real value to multi-site productions; whether cloud-based,

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through IP or optimising SDI, many businesses can now operate more efficient, cost-effective live productions. We’re also seeing the fast implementation of 4K, and with it, the high demand for reliable and practical ways of delivering live 4K content. Enter the new EVS XT4K and XS4K live production servers. These dedicated UHD servers use 12GB SDI with a built-in IP option for those wanting to connect workflows to a network, and are the perfect answer for our many customers and partners who want to upgrade their existing infrastructure to 4K without completely switching their facilities to IP infrastructure. How and when to migrate to IP continues to be a hot topic for many of our customers, and we recognise that while many of them may be looking at switching to IP, they may not be fully ready. We’ve made it a priority to have technologies that will allow broadcasters to make the switch with confidence at their own speed while continuing to protect the investments they’ve already made. We’re excited to have a range of practical, powerful and future-ready solutions to present, and we’re looking forward to helping visitors identify what works best for them in terms of technology adoption, productivity and cost efficiency that will lead to delivering the best viewing experience possible. 8.B90

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SECURING THE CONNECTED FUTURE

The world of video is becoming more connected. And next-generation video service providers are delivering new connected services based on software and IP technologies. Now imagine a globally interconnected revenue security platform. A cloud-based engine that can optimize system performance, proactively detect threats and decrease operational costs. Discover how Verimatrix is defining the future of pay-TV revenue security.

www.verimatrix.com/verspective

Visit us at IBC 2016 RAI Amsterdam â&#x20AC;˘ 8 - 13 September â&#x20AC;˘ Booth #5.A59

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Acquisition & Accessories

Media Asset Management

Broadcast Solutions

Audio & Radio Displays

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Cable & Satellite

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Home Systems & Broadband

Studio Systems

System Integration & Consultancy

iTV

Telecine & Film

Transmitters

iPTV

VFX

Mobile Systems

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Service & Broadcasters Transmitters & Set Top Boxes

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ASPERA, an IBM company

Avid

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China

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China

ARRIS Global Limited Grass Valley, a Belden Brand

KAONMEDIA China

Humax Co. Ltd Evertz Harmonic Inc

Samsung

The Israel Export & International Cooperation Institute

China

IBC Hackfest (10-11 Sept) Great Britain ArabSat Akamai Technologies Limited

Dolby Laboratories

Huawei Technologies Co. Ltd.

Eutelsat SA

5 Skyworth Digital

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France Ericsson Appear TV arqiva

Canada

Elemental Technologies and Amazon Web Services

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Cisco Intelsat Corporation

13 ent)

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Booth 5.C41 www.cube-tec.com

IBC Future Reality Theatre Free-to-attend presentations, panel discussions and live demonstrations Located in the IBC Future Zone, Park Foyer

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24i Media...................................................14.F27 OUTLINED 25-Seven Systems ...................................8.D47 2CRSI........................................................... 5.B16 2wcom Systems GmbH ...........................8.E78 3D Storm .....................................................7.K21 42 Consulting Media & Telecom ........... 2.A27 4EVER-2.......................................................8.F24 4MOD ........................................................14.C15 9.Solutions Technology.........................12.C72 A A.C. Entertainment Technologies.........12.E71 Aaton - Transvideo..................................12.F30 ABC Products ..........................................12.G30 ABE Elettronica ......................................... 8.A25 Abekas, Inc ..............................................11.B06 ABonAir ...................................................... 2.A58 ABOX42 .................................................. 14.J20a ABS...............................................................2.C28 Accedo.......................................................14.E14 Accenture................................................... 3.B39 AccepTV ....................................................14.F11 ACCESS.....................................................14.D14 Accusys Storage Ltd.................................7.J31 AccuWeather Inc. ..................................... 3.A68 Ace Marketing Inc.............2.A50/3.A21/3.B37 ..............................5.A41/6.A29/11.B22/12.B61 Acebil ........................................................12.A65 Acetel Co., Ltd. .......................................... 2.A09 Acorde .........................................................5.C49 Actia Telecom ........................................... 5.B10 Actus Digital .............................................. 3.B61 ADB ............................................................. 5.B60 ADCOR MAGnet Systems......................8.G03d Adder Technology .....................................7.C30 Adobe.......................................................... 7.G27 adremes GmbH Co. KG............................8.E30 Adtec...........................................................1.D01 Advanced Media Workflow Association (AMWA) ...................................................... 3.B22 Advantech................................................11.C22 Advantech Wireless ..................................1.F40 AEQ...............................................................8.C55 Aeta Audio Systems................................. 8.A24 AFL................................................................8.E06 Agama Technologies............................... 5.A73 Agile Remote Cameras Limited...........10.D42 AheadTek..................................................10.F33 AirTies Wireless Networks ......................5.C70 AJA Video Systems...................................7.F11 Akamai Technologies Limited ............... 5.B49 AKD Sat-Comm..........................................0.F03 Aladdin Co., Ltd.......................................12.A70 Albrecht Elektronik ................................10.A40 ALC NetworX GmbH..................................8.F57 Aldena Telecomunicazioni ...................8.A41u ALi Corporation ..........................................5.C01 Alpha Networks SA.....................5.A25/14.F05 Alphatron Broadcast Electronics ........12.B36 Altera, now part of Intel......................15.MS45 Alticast Corp. ..............................................1.F36 Alva Cableware.........................................8.D70 Amagi Media Labs Pvt. Ltd..................... 2.B19 Amazon Web Services .............................5.C80 Ambient Recording GmbH.......8.C73s/12.E79 AMD............................................................. 7.H35 amily gmbh.................................................8.E30 AMIMON Ltd. ...........................................12.G74 Amino........................................................14.K20 Amir Aharonovich ..................................3.B56a Amos - Spacecom.....................................1.C65 AMP Visual TV.........................................10.A16 Ampegon....................................................8.D35 Amphenol-Tuchel Electronics GmbH.11.B12 Amphinicy Technologies ........................ 6.B03

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Amptec .......................................................8.D70 Amy Cimpan.............................................. 2.A20 AnaCom, Inc. ..............................................1.C97 Anevia ......................................................... 5.B66 Angelbird Technologies GmbH...............7.J31 Anglatecnic...............................................14.J15 ANNOVA Systems GmbH ........................ 3.B36 ANT Group SRL .........................................8.D65 Antelope Camera Systems GmbH i. G. ................................................10.C49 Antik Technology.....................................14.E05 Anton Bauer..............................................12.E65 Anvato........................................................14.L24 ANYWARE VIDEO ....................................8.B36b Apace Systems Corp. ...............................7.K27 APANTAC.....................................................8.E37 Aperi.............................................................2.C27 APEXSAT .................................................... 5.B03 Appear TV....................................................1.C61 Appiness ................................................ 10.F34a Applicaster...............................................3.B56b Aputure.....................................................11.B49 AQS Inc. ...................................................... 1.A06 ArabSat....................................................... 1.B38 Arbor Media...............................................7.D25 Arcadyan Technology Corporation....... 3.A27 Archiware GmbH .......................................7.F06 Arctic Palm Technology Inc. .................2.A41f AREPLUS ................................................ 12.E56c ARET video and audio engineering........0.E01 Argon Design Ltd...................................... 8.G14 Argosy.......................................................10.C51 Arion Technology Inc............................... 5.A81 Arista........................................................... 8.A11 Ariston BTS SA..........................................8.D03 Arkena/TDF................................................ 1.B79 arqiva .......................................................... 1.B61 ARRI ...........................................................12.F21 ARRIS Solutions UK Ltd........................... 1.B19 Artec Technologies AG.............................7.C28 Artel Video Systems...............................10.B20 Artesyn Embedded Technologies ....15.MS34 Arvato Systems......................................... 3.B38 Askey Computer Corp ............................. 1.A40 ASL Intercom B.V.....................................10.F30 Aspen..........................................................8.D12 ASPERA, an IBM company ..................... 7.G20 Associated Press/AP ENPS ....................7.D30 Astro Strobel Kommunikationssysteme GmbH ...........................................................3.C41 ATEME ........................................................1.D71 Aten Infotech NV.....................................10.D20 ATES Networks .......................................2.B39g ATG Danmon UK .....................................8.B51a ATG Middle East FZ-LLC .......................8.B51a ATHENSA, LLC........................................... 8.A33 Atomos .....................................................11.D25 ATTO Technology, Inc...............................7.F41 ATX Networks .........................................14.G16 Audio AG.....................................................8.D70 Audio Ltd ....................................................8.D97

Audio Network .......................................... 7.H09 Audio Wireless Ltd ....................................8.E98 Audisi / Stereo Tool / Pluxbox.................8.E38 Autel Intelligent Technology Corp., Ltd. .................................................11.A09 Autocue .....................................................12.E65 Autoscript..................................................12.E65 AV Stumpfl GmbH .....................................8.C58 Avanti Communications ....................15.MS42 Avateq Corp. ............................................2.A41c Aveco .......................................................... 3.B67 AVerMedia Technologies, Inc. ............... 3.A46 Avid ..............................................................7.J20 Avitech International Corporation........10.F26 Aviwest....................................................... 2.A29 AVL Technologies..................................... 5.A45

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AVMEDA LLC ..............................................6.C19 AVP Europa...............................................10.E52 AVT Audio Video Technologies GmbH ..8.E76 AWEX - Wallonia Foreign Trade and Investment Agency ................................10.D31 Axel Technology SRL............................... 8.B81 Axia Audio..................................................8.D47 Axinom .....................................................14.H15 axle Video...................................................7.D07 Axon ............................................10.A21/10.B21 Ayecka Communication Systems Ltd...5.C73 Azden Corporation ....................................8.E81 Azercosmos............................................... 5.B22 AZURE SHINE TECHNOLOGY CO., LTD. ..5.C05 B B&H Photo, Video, Pro Audio................11.D20 BABA ENTERTAINMENT ........................ 9.LP13 Band Pro Munich GmbH .......................12.D21 Barco Silex.............................................10.D31a Barnfind Technologies ............................ 3.B19 Barrowa.....................................................1.F34s BBC Research & Development ...............8.F20 BBright......................................................2.B39c BCE - Broadcasting Center Europe....... 7.G15 BCNEXXT.................................................... 2.A49 BE - Broadcast Electronics......................8.C91 Beamr ........................................................3.B56f Beenius.....................................................14.C30 Beijing Feiyashi Technology Development Co., Ltd....................................................12.B61c Beijing Fxlion Electronic Technology Co.,Ltd.......................................................12.A14 Beijing HKL Telcom Co. Ltd .................... 3.A16 Beijing Hualin Stone-Tech Co.,Ltd .......10.F45 Beijing Lightstar Electronic Co., ltd.....12.G54 Beijing Novel-Super Digital TV Technology Co., Ltd........................................................ 5.B51 Beijing Realmagic Technology Co. Ltd......................................................... 2.A32 Beillen Battery - JIADE Energy Technology ..............................................12.B52 Belden.........................................................1.D11 Belintermedia............................................ 5.B24 Benel B.V. Falcon Eyes ..........................12.B69 BenQ.......................................................... 9.LP10 BES ............................................................10.D57 BETSO ELECTRONICS s.r.o.......................8.E34 Bexel ..........................................................12.E65 BEYE............................................................ 5.B13 BFE Studio und Medien Systeme GmbH .......................................................... 8.B70 Bindinc. Programme Data Services ....14.L23 BIRTV .......................................................... 6.A04 Bitmovin, Inc.............................14.H08/14.M22 Black Box Network Services...................8.E32 Blackmagic Design.................................. 7.H20 BLANKOM systems GmbH...................... 1.A91 BlockBattery............................................12.B36 BLT .............................................................. 8.A65 Blue Lucy Media ....................................... 7.G07 Bluebell Opticom .....................................10.F24 Bluefish444.................................................7.J07 Blueshape ................................................12.A20 BMC UK........................................................5.C45 BMS Broadcast Microwave Services GmbH ...................................................................... 1.A10 Boris FX / Imagineer .................................7.K29 Boxx TV Ltd..............................................10.C49 BR Remote................................................12.F67 Brainstorm Multimedia ............................7.C12 BRAM Technologies ................................ 8.B15 Bridge Technologies ...................1.F68/14.J05 Brightcove.................................................. 5.B69 Bristol/VFX ...............................................12.G38 British Kinematograph Sound & Television Society (BKSTS) ........................................ 6.B01 Broadcast Bionics ....................................8.D71

Broadcast India 2017............................... 6.A08 Broadcast IP Systems ............................. 1.A78 Broadcast Manufactur GmbH.................8.C60 Broadcast Partners ...................................8.C81 Broadcast Pix ............................................ 7.B21 Broadcast RF...........................................11.D12 Broadcast Solutions GmbH ........ 0.D02/8.A74 Broadcast Traffic Systems......................2.C18 Broadcast Wireless Systems Ltd .......... 1.A78 Broadcom Limited.....................................2.C25 Broadpeak ................................................. 5.B72 BroadStream Solutions Inc .................... 8.B35 BroadView Software..............................2.A41a Brother, Brother & Sons ........................12.A41 Bryant Unlimited.....................................10.D15 BT Media & Broadcast .............................0.C01 BTESA - Broad Telecom...........................8.C19 Bubblebee Industries................................8.E34 Burli Software Inc..................................... 8.B03 BW Broadcast Ltd .....................................8.E73 BYDESIGN .................................................. 2.A48 C C2m Solutions.........................................2.B39h Cadnique Ltd ............................................1.F33c Calrec Audio ............................................ 8.C61s Cambridge Electronic Industries Ltd..11.A36 Camera Corps Ltd ...................................12.E65 Camerobot Systems GmbH..................10.D30 CAME-TV LIMITED................................11.B22g Camgear Inc ............................................12.B62 Canara Lighting Industries Pvt. Limited......................................................12.C59 CANARE ELECTRIC CO. LTD.,................12.G48 Canford.....................................................11.D01 Canon Europe Ltd...................................12.D60 Cantemo...................................................7.K01a Cartoni .......................................................12.E30 castLabs GmbH .......................................14.L02 CASTPAL TECHNOLOGY INC., SHENZHEN ...............................................3.B37e CASTWIN .....................................................2.C50 Casu ..........................................................12.C77 Cataneo GmbH.......................................... 3.B27 CatDV (Square Box Systems)................7.J15c Cavena Image Products AB ....................2.C32 CCBN ........................................................... 6.A03 CCI Paris Ile-de-France ...................................... .....................2.A36/2.B39/8.B36/8.D82/12.E56 C-COM Satellite Systems Inc. .................5.C53 Cedar Audio Ltd ........................................8.D98 Cedexis .....................................................14.G17 CEITON - expertplace solutions GmbH .......................................................... 3.A60 Celeno ........................................3.B56k/15.MS2 Census Digital .........................................2.A41e Cerevo Inc. ..................................................2.C41 CHANGZHOU AVI ELECTRONIC CO.,LTD .....................................................5.A41c ChangZhou HaoCheng Electronics Co.,Ltd.......................................................3.B37d Checkers Saftey Products ...................... 6.A07 CHINA HUAXIN ANTENNA. .......................1.C95 China Starwin Science&Technology Co.,Ltd.......................................................3.A21a Christie .....................9.MS71/9.MS72/9.MS73 Christy Media Solutions - Broadcast Recruitment Specialists...........................6.C29 Chrosziel GmbH ......................................12.G64 CHYRO.......................................................2.B39a ChyronHego...............................................7.D11 Cinedeck / cineXinsert .......................... 9.LP14 CINEGEARPRO LTD.................................12.A73 Cinegy ............................................. 7.A30/7.A41 Cinela ........................................................ 8.C73s Cinematography Electronics................12.C79 Cineo Lighting .........................................12.D39 Cineroid ....................................................12.G27

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Cinex X-Jib...............................................11.A12 Cinfo ..........................................................5.B19s Cires21 Live Streaming Solutions .......14.K06 Cisco ........................................................... 1.A71 ClassX SRL................................................. 8.A84 Clear-Com................................................10.D29 ClearView Imaging.................................12.B75 Cmotion GmbH........................................12.G46 COAX Connectors ltd ..............................10.F39 Cobalt Digital Inc. ...................................10.B44 Cobham .....................................................0.B01t Coemar Lighting Srl ...............................12.B45 Cogent Technologies .............................6.C28a Colibrex GmbH ...........................................8.E43 Collabora ...................................................14.L14 Comarch...................................................14.C07 Comcast Wholesale ................................14.E27 Comigo ....................................................... 3.B52 Comrex .....................................................12.G11 Comtech EF Data.......................................1.F80 COM-TECH Italia SpA................................8.C41 Comtech Telecommunications Corp.....1.F80 Comtech Xicom Technology, Inc. ..........1.F80 Conax...........................................................1.C81 Concurrent ................................................. 2.B31 CONTENTARMOR....................................2.A36e ContentWise .............................14.K05/14.M24 Convergent Design.................................12.A34 Conviva.......9.LP22/9.MS68/9.MS69/9.MS70 Cooke Optics Ltd.....................................12.D10 Corning Optical Communications LLC ..7.J31 COSHIP ELECTRONICS CO., LTD. ............1.F50 Cosmolight...............................................12.B30 Cotech Filters...........................................12.B71 Cowe Co., Ltd. .........................................8.B30e CP Cases Ltd............................................10.A44 CPI ASC Signal Division............................1.C51 CPI International Inc................................. 1.B41 CRAFTWORK ApS ..................................... 5.A25 Craltech Electronica, S.L. ......................11.C02 CreateCtrl AG............................................. 3.A40 CreateLED ................................................10.B41 CreNova Multimedia Co., Ltd. ................ 5.A74 CRM.COM..................................................8.B38f Crucial IP Inc............................................2.A41d Cryptography Research ......................... 2.A20 Cryptoguard................................................3.C69 Crypton Ltd. ............................................... 7.A06 Crystal ........................................................ 1.A78 Crystal Vision............................................. 2.B11 CRYSTOP GmbH.........................................5.C19 CSG International......................14.N26/14.N28 CSTB Russia .............................................. 6.B06 CTM ............................................................. 7.B11 CTP Systems ..............................................8.E83 Cube-Tec International GmbH ................5.C41 Cubiware, a TiVo company .................... 5.A31 Cuescript Ltd ............................................12.F41 Custom Consoles Ltd.............................8.B38e CW Sonderoptic ......................................11.A48 Cyber Media Television BV......................5.C61 CYTAGlobal ................................................ 1.B22 D Dac Systems SA ....................................... 8.A12 dâ&#x20AC;&#x2122;accord broadcasting solutions GmbH .......................................................... 3.A33 DAIWA/Tokina.........................................12.A30 Dalet Digital Media Systems .................. 8.B77 Damery ...................................................10.D31b Dan Dugan Sound Design ......................8.D96 Danmon Asia Ltd....................................8.B51a Danmon Group........................................8.B51a Danmon Group Denmark A/S..............8.B51a Danmon Group Norway AS ..................8.B51a Danmon Group Sweden AB .................8.B51a Danmon Group Systems A/S ...............8.B51a DataPath......................................................1.F56

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Datavideo Technologies Europe B.V.....7.D39 Datos Media Technologies S.A............8.B51a DAVID Systems GmbH............................. 3.A31 dB Broadcast ...........................................10.A28 China DB Digital Broadcast..............................8.D15s DB Video..................................................... 0.B02 dBD Communications ..............................5.C74 DDN Storage.............................................. 7.B33 Decimator Design..................................... 7.B35 Dedo Weigert Film GmbH .....................12.D31 China Defy Products..........................................11.D15 Dega Broadcast Systems Ltd ................7.D01 Dejero........................................................12.C56 DEK optics.................................................. 8.B15 DekTec........................................................ 2.B40 Delta Meccanica s.r.l. ...............................8.E39 DELTACAST developer solutions........... 7.A14 DELTACAST sport solutions ................... 7.A14 The Israel Export & International Deltron ItaliaInstitute SRL.......................................8.E35 Cooperation Deluxe..........................................................9.LP1 DENZ..........................................................12.B79 DeSisti - ILT Italy S.r.L............................12.B45 DEV Systemtechnik GmbH & Co. KG .... 1.B31 DEVA Broadcast Ltd.................................8.D79 DEXEL Lighting........................................12.A26 Dexin Digital Technology Corp. Ltd.....5.A41b DGQoS SRL ..............................................8.D37u

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DHD ............................................................. 8.A21 DiGiCo UK Limited ...................................8.C61t DiGiDiA.........................................................8.E89 Great Digigram......................................................8.C51 China Britain Digisoft.tv .................................................14.N31 Digispot System GmbH ...........................8.D74 Digital Forecast CO., Ltd........................11.A18 Digital Screens LLC ...............................14.M16 ARRIS Global Limited Digital Vision.............................................. 6.A14 KAONMEDIA DigitalConn srl / Telmec RF srl ............8.A41s Dimetis........................................................ 1.B30 DirectOut GmbH.........................................8.E85 Disk Archive Corporation....................... 8.B38i Divicon Media Holding GmbH .................8.C81 Humax Co. Ltd DK-Technologies .......................................8.E60 DLP - Digital Tech Co., Harmonic Ltd ....................11.A43 Inc DMG Lumiere ..........................................12.A40 Dmlite co. Ltd. ..........................................8.B30f DMT..............................................................5.C26 DOCOMO Digital......................................14.H17 Dolby Laboratories................................... 2.A11 Dongguan Dishstone Electronics Co. Ltd.......................................................3.B37a Dongguan LanParte Television Equipment Technology Co.,LTD ...............................12.A50 ArabSat Doteck Digital Technologies ...................2.C49 DOTSCREEN..............................................2.B39f

AJA Video Systems

Rohde & Schwarz

ASPERA, an IBM company

Great Britain

Blackmagic Design

Avid

Adobe

Double D Electronics Ltd........................1.F58c Doughty Engineering Ltd ......................12.A58 DPA microphones ....................................8.D70 Dreamspace ...............................................8.F05 Drone Volt ................................................11.B42 DSPECIALISTS GmbH ...............................8.E69 DTC Domo Broadcast ...............................1.F41 DTS .............................................................. 2.B50 DVB..............................................................1.D81 Grass Valley, a Belden Brand DVBControl - MediaControl .................... 3.B41 DVEO division of Computer Modules, Inc................................................................ 2.A34 DVLab...........................................................5.C04 DVMR ........................................................2.A36c Dyn .............................................................. 5.B14 Evertz Dynacore Technology Co., Ltd. ............12.D45 Dynamic Drive Pool.................................. 7.H15 Dynamic Perspective..................0.F01/12.F71 Samsung DynamiCam Ltd......................................11.D13 E Earda Electronics Ltd................................5.C67 Easel TV ....................................................14.C08 Easy Media Suite .......................................8.C92 EasyBroadcast .......................................14.M25 Easyrig ......................................................12.A59 ebs.tv.........................................................14.B01 EBU (European Broadcasting Union)...10.F20

Eddystone Broadcast Ltd......................8.B38d Edgeware .................................................14.C36 EditShare.................................................... 7.G37 EDL-REC ..................................................... 7.A05 Eela Audio / EA Broadcast......................8.D74 Egatel S.L....................................................8.D40 Egripment BV ..........................................12.A21 EKT .............................................................. 5.B30 Elber SRL..................................................8.D37s Elecard.........................................................2.C26 Elemental Technologies and Amazon Web Services..............................................5.C80 ELEMENTS | Syslink GmbH..................... 7.B08 Elite Antennas Ltd ...................................1.F33b ELTI..............................................................8.D44 eMAM ........................................................ 7.B33 Embrionix................................................... 8.B92 EMC ............................................................. 7.H10 Emerson Network Power – Avocent .... 8.A19 Emotion Systems....................................6.C28c EMS Technical Personnel Ltd ................ 1.B09 China ENCO ........................................................... 8.A59 Encompass Digital Media....................... 5.B75 Enensys ...................................................... 2.B30 Great Britain Ensemble Designs, Inc............................ 8.B91 EPGdata.TV ...............................................14.L27 Akamai Technologies Limited Epiphan Video ............................................9.LP6

Equinix ........................................................ 3.B25 ERECA .......................................................11.C49 Ericsson......................................................1.D61 ERSTREAM...............................................14.K14 Es’hailSat - Qatar Satellite Company ... 5.B64 Espial........................................................... 5.B27 Etere ............................................................ 8.B89 Etilux .......................................................10.D31c ETL Systems.............................................. 1.A33 ETRI ..............................................................8.F30 Euro Light System .................................12.D46t Eurofins Digital Testing............................5.C30 Eurotek S.R.L .............................................8.D88 Eutelsat SA.................................................1.D59 Evertz ...............................................1.D31/1.F29 EVS Broadcast Equipment.......... 8.A96/8.B90 Exir Broadcasting .....................................8.D28 Exterity......................................................14.H13 eyevis GmbH............................................11.B40 Ezako ......................................................... 2.B39j EzyInsights................................................. 8.B05 F F&V Europe B.V. .......................................12.F51 F.A. Bernhardt GmbH, FAB ..................... 2.A21 Facilis Technology Inc............................. 7.B40 Factum Radioscape.................................8.D90 Fairlight....................................................... 8.B20

Dolby Laboratories

Huawei Technologies Co. Ltd.

57-68 IBC D1 2016 Centre Section v6.indd 5

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farmerswife .............................................11.C32 FAST LTA AG.............................................. 8.A01 FASTCOM Technology SA........................5.C35 Federico Cueva ..........................................0.C03 OUTLINED Ferrofish.....................................................8.D70 Fiberfox.....................................................12.G53 FiberLink ..................................................10.B20 Fidus Systems Inc. ................................2.A41m FileCatalyst ................................................ 7.H37 Filmfabriek................................................. 7.A15 Filmgear Lighting ...................................12.D39 Filmlight.......................................................7.F31 Filmpower.................................................. 8.B04 Filmstro..................................................... 9.LP21 Fischer Connectors .................................12.F34 Flanders Investment & Trade..10.F34/10.F42 Flanders Scientific .................................10.B10 Flowcine...................................................12.A59 FocalPoint Server ......................................7.J38 Focusrite Audio Engineering Ltd ........... 8.A42 Fonix..........................................................11.A20 Fonsview Technologies Co., Ltd.............1.F92 FOR-A.......................................................... 2.A51 Force Servo................................................ 8.B06 Forscene...................................................7.K01b Fortium Technologies............................14.K02 Fraunhofer Digital Media Alliance......... 8.B80 Fraunhofer FOKUS.................................... 8.B80 Fraunhofer HHI.......................................... 8.B80 Fraunhofer IDMT....................................... 8.B80 Fraunhofer IIS............................................ 8.B80 Friend MTS................................................. 1.A44 FSN Inc.......................................................10.F29 Fujifilm Europe GmbH ...........................12.B20 FujiFilm Recording Media GmbH ........11.C36 Funke Digital TV.........................................3.C60 Furukawa.................................................12.G25 G G. L Optics .................................................12.F76 GatesAir.......................................................8.C30 GB Labs .....................................................7.J15b GearCam ..................................................12.D52 Gearhouse Broadcast............................10.B39 GenArts........................................................7.J05 Genelec OY.................................................8.D61 General Dynamics SATCOM Technologies ............................................. 1.A41 Geniatech Inc,Ltd....................................5.A41e Genmix Technology ................................. 8.B10 Geritel Giomar ............................................8.E33 Gigabyte Technology .............................14.K04 Gigatronix Ltd..........................................11.B47 GkWare e.k. ................................................2.C51 Glensound...................................................8.E72 Global Distribution.....................................7.J31 Global Invacom ......................................... 5.B03 Global Satshow......................................... 1.A50 Global VSAT Forum .................................. 6.B05 Globecast ................................................... 1.A29 GLOOKAST .................................................7.D03 GOAL SPORT software (DAITE s.r.o.) ..11.B10 GODOX Photo Equipment Co.,Ltd. ........12.E75 Gold Best .....................................................5.C52 Good Mind Industries ...............................5.C75 Google....................... 14.M04/14.M05/14M09/ .....................................................14.M10/14.N03 Goonhilly Earth Station Ltd ...................5.B48e GoPro ........................................................11.C40 GOSPELL Digital Technology Co., Ltd., ..3.C67 Gotech International Technology Ltd .5.A41a Grace Jin ..................................................11.C47 Gracenote.................................................14.H20 Grass Valley, a Belden Brand......1.D11/1.E02 GraVue Co. ...............................................11.B18 GrayMeta Inc. .............................................7.J01 GREAT Britain Pavilion................ 1.F33/5.B48/ ..........6.C28/7.J15/7.J38/7.K01/8.B38/11.B30

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GreenPeak Technologies (a Qorvo company)................................... 1.A30 GRUS ............................................................2.C29 Gsertel..........................................................8.E11 GT - SAT International ............................. 5.A09 G-Technology.............................................7.J31 Guangdong Nanguang Photo&Video Systems Co .,Ltd ......................................12.E10 Guangshun Suitcases And Bags Industry Co., Ltd....................................................11.B22d Guangzhou Jianguang Lighting Co,.Ltd ...................................................................11.B22f Guangzhou Wowo Import & Export Co Ltd........................................................11.A31 Gulfsat Communications Company...... 5.B78 Guntermann & Drunck GmbH................ 1.B10 Guramex...................................................10.B31 GYRO - STABILIZED SYSTEMS...........12.E56d H Haivision....................................................14.L16 Hangzhou JUSTTONG Network Technology Co., Ltd......................................................12.G76 Hangzhou Xingfa Transmission Equipment Co.,Ltd.......................................................5.A41d Harman Professional ...............................8.D60 Harmonic Inc............................................. 1.B20 Hedge For Mac........................................ 9.LP17 Hellas Sat ................................................... 1.B38 Hewlett Packard Enterprise .14.H05/15.MS21 HEXAGLOBE..............................................14.L10 HF Prints ......................................................8.E05 HGST............................................................ 7.H39 HHB Communications Ltd ......................8.D56 Hi Tech Systems ........................................8.E62 Hibernia Networks ................................14.M33 Hibox Systems .........................................14.L12 Highlands Technologies Solutions .....8.B36c Hiltron GmbH ............................................. 5.B80 HiMedia Technology Limited ...............2.A50b Hisilicon Technologies co., Ltd ...1.A74/2.C30 Hispasat......................................................1.D40 Hitachi Data Systems ...............................5.C16 Hitachi Kokusai Electric Europe GmbH .....................................................................12.F38 Hitomi Broadcast.......................................2.C17 HMS GmbH ................................................ 3.A33 Hohem Technology Co.,Ltd ................11.B22c Holkirk ........................................................ 1.A78 Homecast Co., LTD................................... 1.A27 HONGKONG HAIFEI Electronic Ltd. ......5.A41g Horizon Teleports ......................................5.C65 HP Inc.......................................................15.MS3 HPRC Cases .............................................11.A05 HS-ART Digital / DIAMANT-Film Restoration .................................................5.C41 HTS Ltd ........................................................9.LP7 Huawei Technologies Co. Ltd. ............... 5.B52 Hubee.........................................................14.L20 Huizhou City Latu Photographic Equipment Co., Ltd......................................................11.A23 Humax Co. Ltd............................................1.C27 HwaCom Systems Inc. .............................5.C50 Hyundai Fomex Co. Ltd .........................10.D23 I IABM...............................................8.F51a/8.F54 IBAS - Italian Broadcasting Advanced Solutions ..................................................8.A41s IBC Content Everywhere Hub Theatre .....................................................................14.J10 IBC Future Reality Theatre...................... 8.G01 IBC Future Zone Showcase ..................8.G03s IBC IP Interoperability Zone....................8.D10 IBC Partners’ Pavilion ...............................8.F51 IBC Sales Office ......................................14.K30 IBC Technology in Action Theatre......... 3.B22 IBC TV........................................................13.A05 IBM ..................... 15.MS22/15.MS40/15.MS41

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IBM Cloud Object Storage....................... 7.G18 IBM Cloud Video .....................................14.A10 IDX Technology.......................................12.C25 IEEE............................................................10.D25 IEEE Broadcast Technology Society ....8.F51b IET - The Institution of Engineering and Technology ...............................................8.F51c Ifootage international (HK) Limited.....11.A37 Igalia...........................................................5.B19t IGP b.v........................................................1.F58d IHSE GmbH................................................. 7.B30 Ikegami Electronics (Europe) GmbH ..12.A31 Image Engineering GmbH & co. KG .....12.E16 Image Matters.......................................10.D31d Imagen Ltd..................................................7.F39 Imagine Communications ...................... 4.A01 IMC Technologies..................................... 7.H03 I-MOVIX ....................................................12.A37 INA - Institut National de l’Audiovisuel ...................................................................... 6.A20 Indiecam GmbH......................................12.G75 IneoQuest ................................................... 2.B20 Inetsat ..........................................................2.C53 Infomir GmbH...........................................14.L09 Inmarsat...................................................0.B01s INNOPIA Technologies, Inc..................... 5.B08 Innowave Technologies, S.A.................14.L15 Inovativ .....................................................12.D52 Inside Secure...........................................14.G15 instaDIGITAL............................................14.H07 InSync Technology....................................9.LP4 InsysPlay .................................................. 9.LP23 Intech- Greenwave................................... 8.A40 Intek Digital., Inc........................................5.C38 Intel.............................................................. 5.B65 Intelsat Corporation ..................................1.C71 Interra Systems......................................... 7.B13 Interxion ....................................................14.L13 Intinor AB ..................................................14.J14 INTOPIX...................................................10.D31e INTV Co. Ltd .............................................. 8.B15 Inverto......................................................... 5.B25 Invest in Cornwall...................................5.B48h Inview .......................................................14.D27 IO Industries Inc......................................12.D75 iO Media Group Ltd. ..................................9.LP9 IPcopter GmbH & Co. KG..........................5.C19 IPE..............................................................11.D30 IPV Limited.................................................8.D41 Irdeto...........................................................1.D51 Iris Gateway Satellite Services Ltd........ 1.B22 IRT (Institut fuer Rundfunktechnik GmbH) .....................................................................10.F51 IRT b-com ...................................................8.F28 ItalTelec S.p.a .............................................8.C95 Itelsis............................................................8.E19 Ittiam Systems .......................................... 8.A54 iWedia ......................................................... 5.B40 iZotope........................................................8.D70 IZT GmbH.................................................... 8.A68 J J.L. Fisher.................................................12.C40 Jampro Antennas, Inc. ............................ 8.B96 JetHead Development, Inc. .................... 5.A25 Jinni...........................................................3.B56e JK Audio ...................................................12.G11 JLCooper Electronics................................7.C03 JOANNEUM RESEARCH............................5.C41 JoeCo Limited ............................................8.E97 JOYmechanix ..........................................11.A06 JSC Gazprom Space Systems ............... 5.B68 Junger Audio...........................................10.A49 Jutel..............................................................8.E91 JVCKENWOOD..........................................12.F31 JW Player ................................................... 8.A48 K K5600 Lighting .........................................12.E28

Kaltura ........................................................ 3.A63 KAONMEDIA............................................... 1.B16 KATHREIN-Werke KG................................8.C29 Keepixo........................................................1.C29 KenCast ...................................................... 2.A24 Kinemaster ................................................ 7.A02 Kino Flo/Cirro Lite (Europe) Ltd............12.D26 KINORG .....................................................12.A75 Klotz Ais GmbH ..........................................5.C21 Knox MediaHub ......................................5.B19s KOBA 2017................................................. 6.B07 Kodak........................................................8.B38c Konova Korea Inc ...................................12.A66 Konvision...................................................10.F35 KOREA AVICS ..........................................8.B30a Korea Pavilion ............................... 5.B11/8.B30 Kratos Integral Systems Europe............ 1.A01 Kudelski Security.......................................1.C81 Kupo Grip .................................................12.G63 Kvant-Efir ....................................................8.E75 Kvarta...........................................................5.C85 L L-3 Narda-MITEQ...................................... 1.A18 Lacie............................................................ 7.G17 Lanclan bv ................................................. 8.A19 LaON Technology Co., Ltd......................10.F23 Lasergraphics ............................................7.F01 LATTO Media ..........................................3.B56m LAWO .......................................................... 8.B50 LCA - Lights Camera Action.................12.D39 Leader Electronics Europe Corp ..........12.A10 Leader Light s.r.o....................................12.B45 LeaseWeb. ..............................................14.J10s Lectrosonics, Inc. ....................................8.C73t LEDGO TECHNOLOGY LIMITED.............12.G68 LEMO Connectors...................................12.D42 Lentequip Inc...........................................2.A41h Level 3 Communications .........................9.LP2 Levels Beyond......................................15.MS38 Leyard .......................................................11.B35 LG Electronics ........................................... 5.A28 Libec..........................................................12.A53 Liberty Global plc......................................1.D39 Lilliput (Zhangzhou) Electronic Technology Co., Ltd....................................................12.B61e Limecraft................................................ 10.F42c Limelight Networks.................................. 3.A23 Linear Acoustic ..........................................7.J40 Linius ........................................................14.N31 LiteGear ....................................................12.D39 Lith Technology Co., LTD ....................12.B61b LiveLike .....................................................8.G03f Livestream ................................................. 7.A10 LiveU.............................................3.B62/15.MS4 Livewire Digital Ltd.................................5.B48c LMP Lux Media Plan ...............................10.F21 Lockit Network GmbH ............................12.E80 LogicKeyboard ...........................................7.F49 LookAt........................................................ 3.B56j LS Telcom ...................................................8.E43 LTO Program ............................................. 6.A21 LUCI .................................................7.A45/8.C04 Luma Tech ...............................................12.D52 Lumantek....................................................3.C63 Luminex Network Intelligence........... 10.F42a Lund Halsey (Console Systems) Ltd ..... 2.B10 Lupo SRL ...................................................12.F61 Luso Microwave ....................................... 1.A32 Lynx Technik AG........................................8.C70 M M&I Broadcast Services ..........................8.E17 Macnica ......................................................2.C57 MACOM ...................................................... 8.A15 Magine.......................................................14.E10 make.tv........................................................7.J14 Mandozzi..................................................8.D37v Manfrotto ..................................................12.E65

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Marine Camera Solutions Ltd ..............10.D42 Mark Roberts Motion Control Ltd.........12.F11 Marketgraph BV .....................................12.A21 MARLINK (entreprise accompagnée par 92) ..................................................................... 2.B39i Marquis Broadcast................................... 7.G05 Marquise Technologies........................... 7.H03 Marshall Electronics ..............................12.D20 Marvell.........................................................5.C09 Massive ....................................................14.B20 Masstech Innovations Inc. ...................2.A41k Masterclock, Inc. ....................................10.A42 Masterplay Digimedia ............................. 8.A16 MASV.io .................................................... 9.LP15 Matrox ........................................................ 7.B29 Matthews Studio Equipment Inc.........12.G71 MAXING ELECTRONIC TECHNOLOGY CO.,LTD ....................................................................3.B37b Maxon Computer GmbH ..........................7.K30 MEDIA BROADCAST................................. 1.B79 Media Broadcast Technologies (MBT) ....................................................................8.D82a Media Excel ..............................................14.L30 Media IT Profy ............................................7.J43 Media Links EMEA ....................................1.C31 Media Motive............................................. 3.A54 Media Networking Alliance.....................8.C94 Media Utilities B.V..................................... 8.A21 Media-Alliance SRL ................................8.A41t Mediacast .................................................. 5.A17 Mediactive ...............................................2.B39b MediaGeniX ................................................3.C59 MEDIAGURU.............................................10.A29 Mediamano................................................ 8.A52 Medianet Vlaanderen ..........................10.F42g MediaPower ...............................................7.J42 Mediaproxy Pty Ltd ...................................7.J07 Mediaware................................................. 5.A26 Megahertz.................................................12.F20 Merging Technologies..............................8.E96 Metaphor..................................................14.G10 MeteoGroup................................................2.C48 MetraWeather .......................................11.B30c Metrological..............................................14.E20 METUS ........................................................ 7.A09 Meway Srl ...................................................5.C10 Microfilms................................................12.A61 Microsoft ...............................15.MS1/15.MS39 Microtech Gefell GmbH ...........................8.D77 Mikros Image Belgium.........................10.D31f Miller Fluid Heads (Europe) ltd.............12.D30 Minerva Networks.................................14.M18 Minglvision .................................................8.F29 Minnetonka Audio Software ...................7.J40 Mirada......................................................... 5.A63 MiraVid ......................................................14.L03 Mirror Image.............................................. 3.A24 MIS .............................................................. 2.A16 Mistserver ................................................14.K13 mLogic.........................................................7.J31 Mobile Viewpoint.....................................14.F21 Mode-AL...................................................10.A38 MOG - Technologies ................................ 7.G30 Mogami ......................................................8.D56 Morpho, Inc................................................ 2.A08 Moso Power................................................3.C16 Motama ....................................................14.H19 Moti Nevo .................................................3.B56a Motion Impossible..................................8.G03e Movicom, LLC..........................................12.G80 MovieTech AG .........................................12.G30 MPP Global ..............................................14.K01 MSA Focus International Ltd................ 9.LP11 Mstar Semiconductor, Inc. ......................2.C33 MT-C .......................................................10.D31g MTF Services LTD....................................12.F44 M-Three Satcom / M-Three Media....... 5.B24

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MTS Media Technical System .............12.G30 MULTICAM SYSTEMS..........................12.E56a Multidyne Video & Fiber Optic Systems ....................................................................11.D40 Murraypro Electronics...........................8.B38h MusicMaster | ON AIR...............................8.E30 Muxlab........................................................ 3.A30 MWA Nova GmbH......................................7.E30 Mware Solutions Ltd...............................14.F10 MX1 ............................................................. 1.B24 myMix.........................................................8.D70 N NAB Show...................................................3.C18 nablet GmbH.............................................. 7.A49 NAGRA .........................................................1.C81 Nagra Audio................................................8.E96 nangu.TV .................................................14.M07 Nanjing Cleanwave Communication Technology Co.,Ltd....................................5.C34 Nanjing Magewell Electronics Co.Ltd ...5.C79 NANJING YINGCHEN PROVIDEO EQUIPMENT CORP. LTD. .............................................11.B22a nanocosmos Informationstechnologien GmbH .......................................................... 2.A10 Nanuk By Plasticase Inc. .......................10.F37 Narda Safety Test Solutions GmbH........8.E24 Nativ ..........................................................14.D20 Nautel...........................................................8.C49 ND SatCom ................................................ 5.A60 NEC Corporation ....................................... 8.B37 Neetra-AEV Broadcast .............................8.E92 Neotion ......................................5.B53/15.MS43 NEP ............................................................14.C34 Net Insight..................................................1.D30 Net Insight/ScheduALL ........................... 1.B40 NETA............................................................ 3.A18 Netgem ....................................................... 5.B33 Netgen ........................................................ 8.A08 NETIA............................................................8.C77 Netsweeper .............................................2.A41o NetUP .........................................................14.J18 Network Innovations ............................... 2.A46 NeuLion .....................................................14.F34 Neutrik AG...................................................8.C90 Nevion......................................................... 1.B71 New Japan Radio Co., Ltd........................5.C71 Newland ......................................................1.C91 NewsBoss ..................................................8.C91 Newtec........................................................ 1.A49 NewTek .......................................................7.K11 NEXGENWAVE .........................................8.B30c NexGuard ................................................... 2.B41 Nexstreaming..........................................14.D24 NEXTO DI Co., Ltd....................................12.G37 NGCodec......................................................9.LP3 NHK.............................................................. 8.G20 Nice People At Work ..............................14.D01 Nicepower Tech. Inc .................................8.C02 Nila LED Lighting ....................................12.A48 Nimbus, Inc..............................................11.A34 Ningbo Eimage Studio Equipment Co., Ltd ....................................................................12.B55 Ningbo Haida Photo Supplies Co., Ltd. ....................................................................11.A44 NINSIGHT.................................................... 7.B11 Nippon Control System Corporation...10.A12 NKK Switches Co., Ltd. ............................ 8.A70 NOA .............................................................8.D91 NoisyPeak Sarl........................................14.H16 Nokia......................................................15.MS25 Nokia USA Inc.................................8.C25/8.F02 Nordija .......................................................14.L06 Norigin Media..........................................14.C11 North Telecom........................................... 5.A65 Norwia ......................................................10.C10 Novella SatComs Ltd...............................1.F58b NovelSat ..................................................... 3.B26

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NOWSONIC..................................................8.E25 NTP Technology A/S ..............................8.B51b NTT Group ...................................................2.C58 NTT Service Evolution Laboratories.......8.F22 Nuance Communications, INC. .............................................9.LP26/9.MS63 Nuance Communications, INC............... 1.A81 NUGEN Audio.............................................8.D56 NVidia GmbH ..........................................15.MS3 NyeTec Limited ..........................................2.C31 O Object Matrix Ltd ....................................6.C28b Ocilion IPTV Technologies GmbH.......14.M32 Oconnor.....................................................12.E65 OCTOPUS Newsroom............................... 7.G11 OMB Broadcast..........................................8.E27 OMNI REMOTES founded by Philips ..... 1.A81 Omnia Audio..............................................8.D47 Omnitek....................................................10.A24 Onair Medya Ltd ....................................... 8.A14 ONE CONNXT ............................................. 1.A97 Onetastic SRL.............................................8.C20 Ontario, Canada ........................................ 2.A41 OOYALA ....................................................14.D20 Open Broadcast Systems Limited........7.J38b OpenIO ........................................................ 3.A58 Opentech Inc. ..........................................5.B11c OpenTelly ................................................10.F42f Opera TV...................................................14.N29 Optical Cable Corporation......................10.E59 Optispeech................................................14.L22 OPTOCORE GmbH .....................................8.C60 OptoMedia Technology Inc......................1.F13 Optoway Technology Inc. .......................8.E41 Optral, S.A. ................................................10.E50 Oracle...........................................................7.C11 Orah............................................................2.A36f Orban Europe GmbH ................................8.D93 Ortana Media Group Limited................8.B38c OSEE TECHNOLOGY CO., LTD. ..............10.D59 Osprey Video ............................................. 3.A26 Outsight ..................................................12.D46s OVERLINE - Systems.................................8.E94 Ovide Smart Assist.................................12.G41 P P+S Technik ............................................12.B12 Packet Ship Technologies ....................14.H11 PacketStorm Communcations ...............2.C57 PAG UK......................................................12.B36 Panaccess...................................................5.C20 Panasas, Inc. ..............................................7.J31 Panasonic Marketing Europe GmbH ..11.C45 Panda O.S................................................... 3.A20 Paneda.........................................................8.E04 Panodic Electric ( Shenzhen) Limited .. 3.A52 Panther GmbH..........................................12.E20 Paradigm Communications ....................1.F49 Paralinx......................................................12.E65 Parallax LLC................................................0.C03 Pathpartner Technology ..........................5.C59 Paywizard Group plc...............................14.F32 PBI ............................................................... 2.A30 Peak Communications Ltd. .....................1.C33 Pebble Beach Systems ............................8.C71 Peer5 .......................................................... 3.B56i Perceptiva Labs ......................................8.D82d Percon........................................................10.E51 Perfect Memory ......................................8.D82c Pesa............................................................. 7.G41 Phabrix .....................................................10.B12 Phoenix7 Ltd...............................................3.C21 Phonak Communications AG..................8.E95 Photon Beard Ltd....................................12.G38 PINEONE Communications Co., Ltd ....5.B11d Pixel Power LTD........................................ 7.A31 Pixellot Ltd ............................. 3.B56d/15.MS44 Playbox Technology Europe Ltd............ 5.A02

PLAYBOX Technology Limited............... 8.B71 Pliant Technologies................................11.A02 Plisch - The Transmitter Company.......8.D32 PLURA Europe GmbH............................... 8.B73 Pluxbox RadioManager............................8.E38 Polecam ...................................................10.C49 Polytron Vertrieb GmbH .......................... 1.A91 Pomfort GmbH ........................................12.A38 Portabrace ...............................................12.D52 Portaprompt Ltd .....................................12.G49 Portrait Displays/SpectraCal................10.A26 Postium Korea Co., Ltd..........................8.B30d Prime Focus Technologies ..................... 7.B12 Primestream..............................................7.D21 PRISMAHUB- BURLI................................. 8.B03 ProConsultant Informatique................... 2.B21 Prodys......................................................... 1.A39 PROFITT Ltd ............................................... 7.A07 Profline ....................................................... 8.A34 Progira Radio Communication .............. 8.A50 Projectbuilders (a Videohouse division)....0.C02 Promax Electronica S.L. ...........................8.E44 ProMAX Systems...................................... 7.A04 ProSup ......................................................12.C73 ProTelevision Technologies ....................8.C48 Providius Corp.........................................2.A41p Provys ......................................................... 2.B49 PRO-X CO., Ltd .........................................12.E53 Prysmian Group (Draka Comteq Germany) ....................................................................12.C31 PSI Audio.....................................................8.E96 Pufferfish Displays....................................8.F03 Pyras Technology, Inc ..............................5.C75 Q Q dep Q ..................................................... 9.LP35 Qarva..........................................................14.E30 Qbit GmbH...................................................8.E49 qinematiq GmbH.....................................12.G75 Qingtian Yoohon Technology Co.,Ltd. 2.A50a Qligent..........................................................8.E47 Quadrille ...................................................2.B39e Quadrus.......................................................7.K25 Qualcomm Technologies Inc.9.LP24/9.MS64 QUALES.TV S.L. ......................................... 8.A26 Quantenna Communications............15.MS36 Quantum Corporation.............................. 7.B27 Quantum5X Systems Inc. ...................... 2.A41i Quicklink .................................................... 3.B30 Quickplay .................................................14.A30 QUICTools Ltd........................................11.B30b Quintech Electronics and DEV Systemtechnik .......................................... 1.B31 Quobis.......................................................5.B19s Qvest Media............................................... 3.B40 R R Systems Inc. .......................................... 5.A25 R.V.R Elettronica ........................................8.E36 Rabbit Labs................................................ 3.A44 Radica Broadcast Systems Ltd. ..........8.B38g Radio Communication Technology Co., Ltd. ...................................................................... 1.A03 Radio Frequency Systems...................... 8.B45 RaLex Solutions ........................................8.D73 Rambus Cryptography Research.......... 2.A20 RAMI..........................................................8.B36a Rascular Technology Limited .................1.F33 RASSID Ltd................................................. 8.A28 RCS..............................................................8.D16 RCW Technology Co. Ltd......................... 5.B15 RED Digital Cinema ................................12.C71 Red Hat GmbH........................................... 3.B17 REDPRO ....................................................11.D22 RedRat Limited ......................................11.B30f Reinhardt GmbH ....................................... 8.A20 Reliable Source Ltd ...................................8.E02 Remote Solution Co., Ltd......................... 5.A04 RemoteCamSystems GmbH ................11.A30

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Research Concepts Inc ..........................1.F58a Revgo Global Inc........................................5.C43 Rewind.........................................................8.F08 RF-Design ...................................................1.F45 OUTLINED RFE Broadcast........................................... 8.B23 RGBlink.....................................................10.A41 Riedel Communications GmbH & Co.KG ........................................................0.B02, 10.A31 Rilix Ltda. Epp.............................................8.F09 Rincon Technology ................................ 9.LP18 Rip-Tie, Inc...............................................12.A64 RIZ - Transmitters Co............................... 8.A22 RJS Electronics Ltd ................................6.C28d RME .............................................................8.D70 Robe Lighting s.r.o ................................... 8.B44 RØDE Microphones ..................................8.D56 Rohde & Schwarz......................................7.E25 Roku.....................................15.MS47/15.MS48 Root6 Technology......................................7.E21 ROSCOLAB ...............................................12.G21 Rosenberger - OSI GmbH + Co - OHG .12.E51 Ross Video Ltd ............11.B08/11.C10/11.C23 Rotolight ...................................................12.G77 ROVER BROADCAST & OPTIC................. 8.B67 Rovi..................14.G01/14.G03,14.G04/14.G05 .......................................14.G06/ 14.H01/14.H02 RRIOO Technology Co.,Ltd....................3.A21b RSG Media Systems ..............................14.H04 RT Software Ltd .........................................7.F33 RTI Group ....................................................7.F07 RT-RK.......................................................... 5.B32 RTS (Royal Television Society) .............8.F51d RTS Intercom Systems..........................10.B48 RTW.............................................................8.D89 Ruige China ..............................................12.E45 Russian Satellite Communications Company (RSCC)..........................................................1.F89 ruwido.........................................................1.D69 Rycote Microphone Windshields Ltd. ...8.C64 RYMSA RF...................................................8.C65 S S3 Satcom Ltd........................................... 1.B91 S-Pro Systems ......................................... 8.B15 Sachtler .....................................................12.E65 SAE Inc....................................................... 2.A41j SAF Tehnika .............................................. 8.B01 Sagemcom ................................................1.D41 ‘SAM’ - Snell Advanced Media .. 9.A01/9.A02 Sam Woo Electronics Co., Ltd..............12.G29 SamJin Co., Ltd.......................................5.B11b Samsung....................................................1.D35 Sanken Microphone Co.,Ltd....................8.C93 Sans Digital Technology Inc....................7.F04 SAPEC ..........................................................1.F27 SatCube .................................................... 9.LP20 Satellite Interference Reduction Group (IRG) ................................................ 5.B48 Satmission ................................................. 5.A19 SatService GmbH.......................................1.F47 Scale Logic................................................. 7.H39 SCALITY...................................................... 7.H30 SCEO............................................................ 8.B02 Schill GmbH & Co. KG ............................12.C21 Schneider-Kreuznach............................12.D53 Schoeps Mikrofone...................................8.C64 Schulze-Brakel Schaumstoffverarbeitungs GmbH ..........................................................8.D75 SCISYS Deutschland GmbH ................... 8.B61 Screen........................................................8.D15t Screen Subtitling Systems ......................1.C49 Screenz.....................................................3.B56c SCTE ...........................................................8.F51e SDNsquare.............................................10.F42d SeaChange..................................................1.F70 Seagate....................................................... 6.A16 Secced ......................................................12.G73 SED Systems ............................................. 1.A52

SELEVISION..............................................2.A36a SELFSAT ..................................................... 5.B18 Sematron.................................................... 1.A78 Semtech Corporation..............................10.F46 Sencore|Wellav ..........................................1.F76 Senna Ltd. .................................................12.F79 Sennheiser Electronic GmbH & Co. KG ...........................................................8.D50/8.F21 Servicevision Bis SL...............................12.C43 Servicios Especiales de Accion, S.L. .....0.C03 SES .............................................................. 1.B51 Setplex......................................................14.H12 Seven Star Works Co., Ltd ....................10.D26 SGL .............................................................7.J15a SGO.............................................................. 6.A11 SGT .............................................................. 8.A98 Shanghai National Engineering Research Center of Digital Television Co., Ltd .......8.F10 Shanghai Tekcare Industrial Limited ..14.F33 Shaoxing Rising Electronic Co., Ltd.....5.A41f Shape........................................................12.C51 Shenzhen Rishenghua Technology Co.,Ltd. ....................................................................5.A41h Shenzhen AOTO Electronics Co., Ltd ..11.B24 Shenzhen C&D Electronics Co.,Ltd ....... 8.B07 Shenzhen Crystal Video Technology Co. Ltd.......................................................11.A32 Shenzhen Datamax Technology Co. Ltd..........................................................5.C25 Shenzhen Gudsen Technology Co. Ltd.......................................................11.A29 Shenzhen Hollyland Technology Co., ..................................................................12.B61d Shenzhen Justek Technology Co., Ltd .....................................................................14.J01 Shenzhen Konka Information Network Co.,Ltd......................................................... 5.B05 Shenzhen Liantronics Co., Ltd .............11.C15 Shenzhen MTC Co., Ltd ..........................3.A21f Shenzhen New Glee Technology Co., Ltd. .......................................................................2.C45 Shenzhen Nicent Electronics Co., Ltd....5.C14 Shenzhen Nitze Photo Industrial Limited......................................................12.G35 Shenzhen Portkeys Electronic Technology Co.,Ltd.....................................................11.B22e SHENZHEN SDMC TECHNOLOGY CO., LTD .............................................................14.J02 Shenzhen Seneasy Industrial Co., Ltd...1.F90 Shenzhen Shiningworth Technology Co., Ltd. ....................................................................14.C06 SHENZHEN SOSCI TECHNOLOGY CO., LTD ....................................................................6.A29b Shenzhen Tianzehua Electronic Co., Ltd., ....................................................................3.A21d Shenzhen Xinghuoyuan Photoelectric Technology Co.; Ltd ...................................................................3. A21c Shlomo Turgeman .................................3.B56a Shooting Partners Group ......................11.D10 Shotoku Broadcast Systems ................12.E42 SHOTOVER Camera Systems ...............11.B44 SI Media...................................................... 8.B93 Sichuan Changhong Network Technology Co. Ltd.......................................................6.A29c Sichuan Jiuzhou Electric Group Co., Ltd ...................................................................... 3.B45 SICHUAN VIDEO ELECTRONIC CO.,LTD..3.C31 Sielco SRL .................................................. 8.A58 Siemens Convergence Creators .........14.K18 Sigma Corporation .................................12.B68 Sigma Designs...........................................2.C35 Signiant .....................................................14.L08 Signum Bildtechnik GmbH .....................7.D31 Silver Brain...............................................11.A46 SilverStone Technology GmbH .............. 8.A23 Simplestream........................................14.G11s

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Singular.Live............................................14.N30

SVP Broadcast Microwave......................2.C55

Thum+Mahr .............................................. 8.A21

Venera Technologies ............................... 7.G43

WorldDAB..................................................10.F27

SintecMedia............................................... 2.B32

Swedish Microwave AB...........................1.F71

TIANCHANG TIANLIDA ELECTRONIC CO.,LTD

Venztech......................................................5.C15

Wowza Media Systems............................5.C42

Sinuta...........................................................5.C02

swissaudec................................................ 8.G18

....................................................................6.A29a

Verimatrix .................................................. 5.A59

wTVision......................................................7.C10

SIRA-SISTEMI RADIO................................8.C31 OUTLINED

SWIT Electronics Co., Ltd ......................12.C61

TIE Kinetix ...................................................8.F26

Verizon Digital Media Services ............14.C17

Wyplay ..........................................5.A25/14.N33

SIS LIVE........................................................1.C55

Switchcraft, Inc.......................................11.D45

Tieline The Codec Company....................8.E74

Versatile Remotes ..................................10.D42

Sixty...........................................................14.C20

SYES.............................................................8.C74

Tiger Technology.......................................7.K28

Veset ...........................................................8.D31

XCRYPT, INC. ...........................................5.B11a

SKARDIN INDUSTRIAL CORP................14.N33

Symply, Inc. ....................................6.C10/6.C11

Tilta Technology Co., LTD .....................12.G58

Vestel ........................................................14.A20

XD MOTION ............................................12.E56b

SkillBill ........................................................ 5.A25

Symply, Inc./Promise Technology ...................

Timecode Systems Ltd........................11.B30a

Viaccess-Orca........................................... 1.A51

x-dream-media GmbH ............................ 3.A29

Skyline Communications........................ 1.A23

...........................................................6.C10/6.C11

Tinkerlist.................................................10.F42h

ViaLite Communications......................... 1.A21

XenData...................................................... 7.H47

Skyware Global ........................................ 5.B03

Synaptop ..................................................2.A41g

TiVo.............................................................. 5.A31

Vianeos.....................................................2.A36a

X-Rite ...........................................................9.LP8

Skyworth Digital ....................................... 5.B61

Synterra Media CJSC............................... 8.B15

TIXEL ........................................................... 7.B01

VIDAU SYSTEMS....................................... 8.B15

Xstream.....................................................14.F15

Slidekamera .............................................12.E77

SYRP Ltd....................................................12.E73

TMD Ltd ...................................................... 2.B59

Vidcheck .................................................... 8.A30

Xytech Systems .........................................6.C22

Slomo.TV .................................................... 8.B40

System House Business partners......... 8.B15

TMG ............................................................14.F11

VIDELIO - Media...........................0.E02/10.A16

Small Town Heroes.............................. 10.F42e

Systembase Ltd .........................................8.E93

To The New...............................................14.J17

Video Clarity................................................2.C57

Yamaha Commercial Audio ................... 8.A69

SmallHD ....................................................12.E65

System-On-Chip Technologies Inc.....2.A41b

TokBox.........................................................5.C31

VideoFlow ................................................3.B56n

Yangaroo................................................... 2.A41l

SmarDTV .....................................................1.C81

TOLIFO (DONGGUAN) PHOTOGRAPHIC

Videomenthe ...........................................2.A36b

Yegrin Liteworks ....................................12.G55

Smart Fun .................................................. 3.A48

TAG V.S. .......................................................1.F94

EQUIPMENT CO., LTD ...........................11.B22b

VideoPropulsion.........................................5.C11

Yellowtec.................................................... 8.A21

SmartLabs ...............................................14.C19

TAKTIK ....................................................10.D31h

Toner Cable Equipment UK Ltd.............. 5.B06

Videosolutions Group .............................. 7.A06

Yospace....................................................14.C18

SMIT (HK) LIMITED ....................................1.F86

Talia Limited .............................................5.B48f

ToolsOnAir Broadcast Engineering GmbH

Videostrong Technology Co.,ltd...........3.A21g

Yuan High-Tech Development Co., LTD

SMK............................................................. 1.A46

Tally Technologies ....................................7.J31

...................................................................... 7.G45

Vijay Kumar R.............................................5.C59

...................................................................... 8.A82

SMPTE ........................................................8.F51f

Tango Wave................................................5.C77

Torque Video Systems ............................1.F34t

Vimmi Communications Ltd. ...............3.B56g

YUYAO LISHUAI FILM & TELEVISION

SoftAtHome ............................................... 5.A51

Tata Communications ........................15.MS23

Toshiba Electronics Europe GmbH ........6.C23

Vimond Media Solutions........................14.F19

EQUIPMENT CO., LTD. ..........................12.B61a

SoftLab - NSK............................................ 7.A08

Tata Elxsi Limited ..................................... 1.A58

Total Technologies, Ltd. ...........................5.C33

Vimsoft .....................................................11.A40

SoftNI Corporation.................................... 1.B28

TBS Technologies International LTD .....5.C69

Touchvie..................................................... 8.B27

Vindicia.....................................................14.H14

Zacuto........................................................12.F55

Softron Media Services ........................... 7.G12

TC Electronic..............................................8.D56

Toutenkamion.........................................10.A16

Vineet Sharma............................................5.C59

Zappware nv ............................................. 1.A81

SOFTVALLEE...............................................2.C21

TCL Technoly Electronics (Huizhou) Co., ltd

TP-LINK....................................................... 3.B14

Vintage Cloud .............................................8.C01

Zattoo TV Solutions ..............................14.J20b

Solid State Logic .......................................8.D83

.......................................................................3.C26

Tract ............................................................ 8.B15

Vinten.........................................................12.E65

Zaxcom Inc. ............................................. 8.C73s

SOLITON SYSTEMS .................................. 2.A31

Teamcast ................................................... 2.B51

TRACT Ltd. .................................................8.D74

VISIO Light................................................12.G45

Zeiss...........................................................12.F50

Solveig Multimedia .................................. 8.B09

TECH4HOME, LDA......................................3.C46

TRANSRADIO SenderSysteme Berlin AG

Vision III Imaging, Inc. .............8.G03a/8.G03b

Zero Density................................................7.K31

sondor......................................................... 7.H01

Technica Del Arte BV ....................7.A45/8.C04

......................................................................8.D35

Vision Research ......................................12.B42

ZHANGZHOU SEETEC OPTOELECTRICS

Sonifex Ltd ..................................................8.E61

Technicolor ..............................15.MS5/15.MS7

Transtech LED Co., Ltd ..........................11.A25

VISLINK....................................................... 1.A69

TECHNOLOGY CO. LTD ...........................11.C42

Sonnet Technologies ............................... 7.G02

Technocrane S.R.O.................................12.C35

TRedess......................................................8.D23

Visual Research Inc. ................................7.D05

Zhengzhou Generalink Lighting Equipment

Sonosax.......................................................8.E96

Tecsys Video Networks Ltd..................3.B56h

Triada-TV ................................................... 8.A43

VisualOn, INC.............................14.G13/14.G14

Co., Ltd......................................................12.A54

sonoVTS GmbH......................................... 8.B68

Tedial .......................................................... 8.B41

Trilogy Communications Ltd................10.D12

Vitec ............................................................ 7.G16

Zhengzhou Sanhe Video Technology Ltd.......

Sony ..........................................................13.A10

Tektronix ..................................................10.D41

Trinnov Audio Pro..................................... 8.A86

Vitec Group ...............................................12.E65

.......................................................................5.C08

Sound Devices, LLC ................................. 8.B59

Tele Systems Communications PTE Ltd

Triple ............................................................2.C21

VIXS Systems Inc. .................................... 3.A28

Zhengzhou Taiying Video Equipment

Sound Service European Music Distribution

...................................................................... 5.B17

TriVis Weather Graphix ............................7.F05

Vizrt ............................................................. 7.A20

Co,Ltd........................................................11.C47

.......................................................................8.E25

Telebreeze.................................................14.L04

True Lens Services (TLS) ......................12.G61

vMix...........................................................11.A01

ZHONGSHAN XINHUANG ELECTRONIC

Sound4 .......................................................8.D79

TELECAST TECHNOLOGY CORPORATION

TrueDR Ltd. .................................................8.F27

V-Nova Ltd. ..............................................14.K17

CO LTD ......................................................3.A21e

SPA “PERSPEKTIVA”, JSC...................... 8.B15

....................................................................3.B37c

Tryo Communications ..............................8.E40

Vocas ........................................................12.D56

Zippy Technology Europe GmbH........... 8.A09

Spacepath Communications Ltd.........5.B48b

Telechips.....................................................2.C11

TSF.be ......................................................10.D31i

Voice Technologies ................................ 8.C73s

Zixi LLC ......................................................14.E13

SPB TV .......................................................14.E17

Teleidea .......................................................1.C90

TSL.............................................................10.B41

VoiceInteraction......................................14.H18

Zlense........................................................ 9.LP19

Spectra Logic .............................................7.J30

Telemetrics ...............................................12.E36

TST Kommunikationstechnik .................5.C19

Volicon, a Verizon Digital Media Services

ZOO Digital PLC .......................................5.B48d

Sphericam................................................8.G03c

Telenor Satellite ........................................ 1.A59

TTI................................................................ 1.A54

Company.................................................... 7.G23

Zoom ...........................................................8.D56

Spideo........................................................14.L18

TelergyHD & Mware solutions ..............14.F10

TV1 miniCASTER®................................... 1.A76

Vortex Communications Ltd ................12.G11

ZOOM Corporation.....................................8.E25

Spin Digital..................................................1.F11

Telesat .........................................................1.C39

tv2u.............................................9.LP12/9.MS67

VOYSYS AB ................................................ 5.B12

ZTE............................................................... 5.B45

SPINNER GmbH..........................................8.C28

Telescript International ..........................12.F74

TVC ..............................................................0.D01

VSN..............................................................7.D25

ZyCast Technology Inc. ............................5.C12

Squadeo ...................................................2.B39d

Teleste .........................................................5.C72

TVIP ...........................................................14.H09

VT3 ............................................................2.A36d

Zylight .....................................................12.D46s

Squared Paper Ltd .................................8.B38a

Telestream................................................. 7.G30

TVPlayer ..................................................14.G11t

VTQ Videotronik GmbH..........................11.A08

SSI COMPUTER CORP ...............................5.C13

TELETOR, LLC ................................ 7.A08/8.B15

TVStorm.......................................................5.C83

Vualto........................................................14.C37

ST Video - Film Technology Ltd............12.F72

TELIKOU TECHNOLOGIES CO., LTD. .....12.A12

TVU Networks ........................................... 2.B28

Stage Tec Gmbh ........................................8.C80

Telmaco S.A................................................7.K40

TW Electronics (Newbury) Ltd ............... 5.B35

Starfish Technologies Ltd.....................8.B38b

Telos Systems...........................................8.D47

Twist Cluster..........................................10.D31k

W.B. Walton Enterprises Inc................... 1.A62 Walimex Pro ............................................11.A03

Starline Computer GmbH........................ 7.H05

Telsat Srl....................................................8.D37t

WASP3D ......................................................7.C21

Stereo Tool audio processing .................8.E38

Telstra ........................................................14.F37

UHD Alliance.............................9.LP16/9.MS62

Wave Science Technology ..................... 8.A44

Stirlitz Media.............................................. 7.H32

TEM ..............................................................8.E45

UHP Networks Inc. ................................... 1.A95

WaveArt...................................................... 8.A25

Stoneroos..................................................14.L26

Tempesta Trading .................................... 6.A06

Ultimatte Corporation ...............................7.C27

Wavenet ..................................................... 8.B08

StorageDNA ............................................... 7.B42

Tempower.................................................. 6.A07

Ultra Electronics GigaSat .........................1.C57

Weather Metrics, Inc................................ 3.A68

STORDIS GmbH......................................... 6.A15

Teracue eyevis GmbH............................11.B40

Unified Streaming ..................................14.D30

Wedel Software ........................................8.D92

Stream Circle..............................................3.C14

Teradek .....................................................12.E65

Unilumin Group Co., Ltd ........................11.C19

Well Buying Industrial Co., Ltd............... 8.A64

Stream Group ..........................................14.A12

Terrasat Communications, Inc. ..............1.F61

uniqCast ...................................................14.C04

WeTek Electronics Limited..................14.M28

Stream Labs .............................................. 7.G47

Unitron Nv ..............................................10.F34b

Wheatstone Corporation......................... 8.A51

Streamroot...............................................14.D02

TFI Digital Media Limited ......................14.H03 Thales Angenieux....................................12.E33

Universal Electronics bv...........................1.C41

Wildmoka................................................... 5.A25

StrongBox ...................................................7.J31

The Broadcast Bridge............................5.B48g

Utah Scientific.........................................10.A21

Winmedia.................................................8.D82b

STRYME.......................................................7.J03

The Good Life Co., Ltd............................8.B30b

UXP Systems Inc. ...................................2.A41n

Wipro Ltd...................................................14.J13

Studio Network Solutions....................... 7.H40

The Israel Export & International Cooperation

Wise Advanced Co. Ltd. .......................... 7.G09

Studiocast .................................................. 8.B25

Institute....................................................... 3.B56

Valtech......................................................14.D10

Wisi Communications GmbH &

Studiotech...................................................8.C07

The Qt Company .....................................14.C02

ValueLabs .................................................. 2.A42

Co. KG.......................................................... 5.B50

Studiotech Belgium ..................................8.C07

The Telos Alliance ....................................8.D47

VANTeC Danmon Group Portugal ......8.B51a

Wisycom SRL ............................................8.D78

Studiotech Hungary ..................................8.C07

The Weather Company, an IBM Business

Vantrix........................................................14.J06

Witbe ........................................................... 5.A69

Studiotech Poland .....................................8.C07

...................................................................... 7.G19

Varavon ....................................................12.C11

Wiztivi ........................................................14.L01

stYpe ..........................................................12.F73

The Wireless Works ...............................11.D12

VBOX COMMUNICATIONS.....................3.B56a

WNM ........................................................10.D31j

Suitcase TV Ltd. .............................2.C10/2.C15

TheLight....................................................12.G81

vBrand ....................................................... 3.B56l

Wohler.........................................................8.D56

Sumavision Technologies Co.,Ltd..........1.C30

ThinkAnalytics Ltd ...................................1.D92

VDB Audio ...................................................8.C93

Wooden Camera.....................................12.D73

Sundog ........................................................9.LP5

thinklogical ..............................................10.D46

Vecima Networks......................................5.C23

Work Microwave GmbH.......................... 5.A77

Surface Heating Systems ........................1.F59

Thomson Broadcast .................................8.C35

Vector 3 .......................................................7.C01

WorldCast Systems.................................. 8.B60

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OPINION

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OUTLINED

Moving data requires movable storage When everything is digital and every frame stored on hard disks, data protection is not an option, it is essential, says Hannes Heckel, director marketing, FAST LTA When I joined a company called FAST Multimedia in 1993, movable storage was 3.5-inch floppy disks and Betacam video tapes. A few years later, FAST Multimedia developed the Digital Player/ Recorder as a companion to one of the most successful computer-based video editing systems, the Video Machine. It was a challenge to set up a hard disk configuration that could handle two streams of full resolution (SD) video. The biggest hard disk had 1GB capacity. Data protection was not such an issue, neither was

portability. The raw footage, as well as the final cut, was still going to be on tape. The sneaker network was the preferred method of moving ‘data’ between locations. Things have changed a lot. Today, we have 8K resolution in HDR, full digital workflows and a variety of output formats. Everything is digital, every frame is stored on arrays of hard disks. Data protection is not an option, it is essential. Moving data seems just an issue of squeezing bits through networks, but if moving means covering some miles, cities,

countries, continents, and the amount exceeds terabytes, this is not an easy, let alone a quick, task. Sure, we have the internet, with 4G networks everywhere. But the race between data explosion and bandwidth growth is not going to stop. The fastest way to move terabytes from one location to another in most cases is: copy (often to tape), ship, copy again. Moving data ‘all over IP’, as promoted by some industry leaders, might be an option for some use cases, and for some

investment-friendly setups, but it certainly is not ready for all – and won’t be available everywhere. Now, FAST LTA is exhibiting at IBC for the second year in a row, presenting an innovative storage system, the Silent Brick. The Silent Brick is a storage container with 12 hard disks (12 or 24TB raw), providing dual, triple or quadruple parity and encryption for data protection. A solid aluminium frame protects the hard disks from physical damages. Systems include the Drive with two slots, suited for in-field use, and the Library with a fiveslot Controller and 14-slot Extension Shelves. Silent Bricks can simply be unmounted on one system and mounted in another one, the data is instantly available.

Moving data on a Silent Brick is both secure and convenient. Silent Bricks are also among the inexpensive enterprise storage solutions. FAST LTA is not the successor of FAST Multimedia, but founder and CEO, Matthias Zahn, head of development, Ali Adelstein, and many employees, including myself, are the same as 1993. The spirit is, too. An innovation only makes sense if people actually use it, Matthias once said, and that is still very true. Visit FAST LTA and meet the Silent Bricks in Hall 8. 8.A01

Network bonding solution launched Livewire Digital By Ian McMurray IBC is witnessing the launch of RazorLink by Livewire Digital. Described as a flexible, scalable software solution, it is designed to offer network bonding, resilience, traffic prioritisation, increased network security and network statistics. 3G, 4G, WiFi, DSL and satellite can be bonded to increase available bandwidth

or offer a backup network to critical applications; the RazorLink protocols manage link aggregation, correct errors and minimise latency. Livewire claimed RazorLink technology can overcome the limitations of using UDP across wide area networks for streaming applications, implementing what the company says is sophisticated error correction that offers the resilient delivery of UDP streams without the need for

the high overheads associated with FEC. Livewire Digital said this results in more efficient use of network capacity and lower latency for live feeds. The technology is also claimed to overcome the delay and packet loss that can occur when operating over a wide area network, substantially improving the performance of applications. The intelligent RazorLink protocols are designed to overcome the limitations of TCP

RazorLink is said to oﬀer network bonding, resilience and traﬃc prioritisation

and accelerate data transfer by using available link capacity efficiently, independent of distance. According to the company, tests have shown

FileZilla with RazorLink can outperform the ‘gold standard’ accelerated file transfer solutions. 5.B48

Skype multi-call system shown Quicklink By Will Strauss A Skype video call management system that allows multiple calls within a single hardware unit is on show at IBC for the first time. The Quicklink TX Multi transceiver was designed in partnership with Microsoft,

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Quicklink TX Multi Quad can handle four incoming Skype calls

owner of Skype, and allows one or multiple calls to be fed into a TV studio without the need for additional rack space or cables.

It is available in three options: the Multi, which can accept up to four incoming calls and has a single switchable HDMI, SDI and

analogue video input and output; the Multi Quad, which accepts up to four calls and includes four SD or HD-SDI inputs and outputs; and the Multi Xstream. The latter has dual Xeon multi-core processors allowing management of up to eight simultaneous full frame HD two-way Skype calls. Richard Rees, chief executive, Quicklink, said: “In partnership

with Microsoft, Quicklink has developed the multi-call management system into one hardware unit to serve the requirements of the live broadcasting industry. We have welcomed the continued opportunity to work with Microsoft on these innovative solutions.” 3.B30

02/09/2016 15:57

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OPINION Enno Littmann, managing director, IHSE, explains how to achieve a highly flexible solution for modern sound production studios switching system that can be controlled through the S6 Master Touch Module; the engine of the S6 Surface. Operators can access multiple Pro Tools and other audio workstations from a single S6 console, in both single and dual operator arrangements. They can use the touchscreen controls to manipulate large numbers of audio tracks and track settings during a recording session. The Draco tera | S6 KVM switch takes the Avid Pro Tools | S6 to an even greater level of performance and capability; maximising operational efficiency and vastly simplifying the production workflow. It allows audio professionals to

focus on their jobs, rather than be distracted by the equipment. As Tim Carroll, Avid’s VP of product management for audio, said about the combined solution: “The Pro Tools | S6 delivers efficient workflows for fast precision mixing. The performance of the KVM is so fast that the audio-mixing engineer cannot perceive that a switch has actually been made.” The advantages extend way beyond switching. The integral extension capability allows all source equipment to be situated in a central location: in an environmentallycontrolled and secure room, rather than spread around

Interactive content finds users TIE Kinetix

theibcdaily

individual studios, generating unwelcome noise and heat and providing unsecure USB ports. In a multi-room facility all digital audio workstations can be reached from all studios. Editors and sound mixers can use the most suitable room, which greatly enhances the deployment of valuable resources. Organisations operating on a global basis can construct all facilities to the same standard, which allows operators to continue work on individual projects in any editing suite, in any studio, in any country. Assets, including software programs and licences, can be shared and costs reduced; installed as needed, rather than per studio. This solution has already been integrated into the infrastructure of several global sound studios, at Technicolor Sound, Deluxe, Todd Soundelux and Electric Entertainment for example. In

By Adrian Pennington By Adrian Pennington

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SAM’s breakthrough content discovery uses a method called syndication

as a second screen production platform to produce a second screen experience. The SAM dashboard offers broadcasters – and other content providers – the opportunity to expand the use of existing content by creating a second screen experience. The production platform imports metadata from a data repository, with a built-in mapping tool. This facilitates importing of data and automatically finds and suggests related data from data repositories in the SAM marketplace and external content

such as Wikipedia. It also allows synchronisation of the related content with the primary video. “This tool has proven its usefulness especially for videoon-demand in a learning or workshop-type environment,” stated a spokesperson for SAM. “The result of the second screen production can be previewed in the platform and the result can be viewed immediately in the smart TV playout showing first and second screen content as an end user.” 8.F26

some cases it forms part of a much larger switching matrix. Jonathan Wales, COO of Wildfire Sonic Studios, is an advocate: “Our IHSE KVM system is one of the most integral and important enablers of our workflow. We need to use multiple machines in collaborative and secure environments and have been simply blown away by the robustness, speed and easeof-use of our system. The integration with the Avid S6 system was something we were very keen on. It enables the workstation monitor to literally ‘follow’ what you’re working on as you work on the control surface. Everyone here loves it.” 7.B30

Beast of a 360-cam Sphericam

Socialising Around Media, or SAM, is about content finding the user’s second screen through syndication. The EU-funded multi-partner project, coordinated by Tie Kinetix, aims to change the ‘inactive viewer’ into a proactive prosumer with social media interaction and decisionmaking on content. Content shown on the first screen is supplemented by related content on one or more additional screens, with active use by the consumer, explained the SAM team. It has developed a media production tool for content providers to enrich their content and make more and better use of existing content. Content aggregators, meanwhile, can enhance their knowledge with advanced semantic linking. Demonstrated in the Future Zone is a smart TV native app with multiscreen related content on various mobile devices, as well

OUTLINED

High fidelity sound control

More than 1,000 broadcast studios, post houses and sound studios have been built around Avid’s revolutionary Pro Tools | S6 control surface, bringing together picture editing, sound editing and mixing onto a single platform, enabling audio professionals to customise individual workflows to their personal preference and way of working by adjusting the layout as desired to suit individual projects. Audio engineers need to access and rapidly switch between several different digital audio workstations during a recording session. To address this need, IHSE and Avid engineers worked together to develop an instant

theibcdaily

There aren’t many people who want to go through the months of training required to operate six sports cameras stuck together, and the tremendous amount of tricky post processing that is needed to make such footage watchable. But with the likes of Oculus Rift and Samsung outbidding each other to create the best VR viewing platforms, there is a critical part of the puzzle still missing: how do you create stunning VR content in the first place? No bigger than a tennis ball and made from anodised aluminium, Sphericam 2 is a 360-degree video camera with six lenses outputting 4K 60p. It features automaticstitching, WiFi and streaming capability. An

app allows users to start/stop recording, monitor the view and transfer video. Onboard software is claimed to completely synchronise capture of every pixel in every direction. Even more exciting, Sphericam – which is based out of Delaware – is launching a new version in the Future Zone called the Beast. 8.G03 Sphericam 2 captures totally spherical video in 4K

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Take the first VR dolly for a spin

The remote control dolly Mantis zooms into the Future Zone at IBC

OUTLINED

Motion Impossible By Adrian Pennington The world’s first solution to remotely moving and stabilising 360-degree cameras on the ground has arrived in the Future Zone. The 360° Evo is said to be almost invisible in the 360-degree spherical image

and uses gyro stabilisation to eliminate roll, tilt and vibration. It can carry 360-video cameras up to 5kg in weight and attaches to the V-Con XL, a high level vertical axis stabiliser. Marry the 360° Evo to a Mantis dolly – also from British developer Motion Impossible – and you have a solution to remotely move and stabilise

360-degree and VR cameras on the ground. “We have been working on the Mantis 360º for some time now after being contacted repeatedly by frustrated 360-degree video filmmakers, all wanting to move their cameras,” explains CEO and BBC wildlife camera operator Rob Drewett. “There are many challenges to moving 360-degree video, like

10,000nit display dazzles in the Future Zone TrueDR By Adrian Pennington High dynamic range is all the rage but visitors to the Future Zone are witnessing HDR of

the future. TrueHDR is showing a 10,000nit HDR display, claimed to be the first ever shown, anywhere. “There is growing evidence that the HDR video codecs being considered and adopted

by the manufacturers and standards bodies, such as Perceptual Quantisation (PQ) in the SMPTE ST.2084 standard and Hybrid Log-Gamma (HLG) in ARIB STD-B67, are not the best,” contended

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smooth controlled movement, eliminating vibration and keeping the cameras level. The Mantis 360 kit is everything you need to make your 360 video come to life.” The Mantis is a modular system, with an operating range up to 300m/1,000ft and a quiet electric motor system allowing users to drive the camera into difficult filming

Professor Alan Chalmers for TrueDR. The exhibit comprises HDR video content played side-by-side on a prototype 10,000nit display from Italian partner company SIM2 and a consumer Samsung HDR display. A novel HDR video player developed by TrueDR

areas, generate on-the-spot shots with no set up times, and film in a new and creative way. A camera could be positioned at a low level using the V-Con module, a vertical axis stabiliser, or at eye level using the V-Con XL. 8.G03

shows the content using a range of HDR formats, including PQ, HLG and the new Power Transfer Function (PTF) which Chalmers claimed is able to fully exploit the potential of future HDR technologies. 8.F27

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The highly versatile LogServer platform offers comprehensive live broadcast monitoring for any SDI, ASI/IP and OTT source. Unlimited access to the leading edge Monwall IP multiviewer enables proxy and native MPEG decoding. New data panels open up new workflows to enable low bandwidth transport stream and OTT monitoring.

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Delivering the future of television, today There are no longer any reasons to delay modernisation of media facilities, declares Charlie Vogt, CEO, Imagine Communications Over the past three years the media industry has come full circle on the transition of operations to a new technology foundation based on next-generation architectures that leverage IP, virtualisation, the cloud and other attributes of the IT industry. In that short timeframe, we have gone from rigorous debate, to experimentation, and are now entering a phase marked by active adoption. That is why Imagine Communications has chosen ‘The Future of TV, Now’ as the theme of our IBC2016 experience. The products and solutions that enable broadcasters, content distributors and other media companies to modernise their networks,

expand monetisation opportunities and deliver new and personalised video consumption experiences are not only available today and on display at IBC2016, they are already powering many of the most innovative media companies in the world. It is nearly impossible to overstate the significance of this milestone. Even though broadcasters and other portions of the television ecosystem have understood the need for a more agile and versatile technology foundation to accommodate evolving customer requirements for the past few years, many media companies have been slow to take action due to concerns about making false starts or squandering investments.

The good news is that there are no longer any reasons to delay modernisation of media facilities. Media companies can – and are – investing in hybrid and next-generation architectures. The issues that were causing media companies to hesitate or delay investments as recently as a year ago have been resolved, or are well on their way to being resolved. Uncertainty over the interoperability of IP-based equipment, for example, is nearly an artifact of the past. The Alliance for IP Media Solutions (AIMS), an industry trade association dedicated to the promotion of mediaover-IP solutions co-founded by Imagine Communications in December of 2015, has attracted nearly 50 members

from all corners of the media and entertainment industry. The soaring popularity of the organisation indicates that IP-based equipment is well on its way to providing media companies with the same assurances of multivendor compatibility that SDI has provided for the past couple of decades. Imagine Communications, along with dozens of other technology companies, are participating in extensive interoperability exercises throughout IBC2016, offering media companies additional assurances that they can begin constructing IP-based facilities today. Ample evidence also exists – and is on display at IBC2016 – that IP-based production facilities are now ready for

primetime. The reality is that we have reached a tipping point in the maturation of COTS-based platforms and virtualised environments as suitable hosts for all media operations. There is no longer any doubt that a well-architected IP-based production facility is able to provide the same robustness, reliability and performance as traditional SDI-based infrastructures. The big news at IBC2016 is that the future of the media and entertainment industry is now fully in view. Barriers have been cleared. The brakes are off. Media companies now have the greenlight to put the pedal to the floor and start realising their futures today. 4.A01

Bolting on longer distance wireless connections

FM transmission on display

Teradek

Jampro

By David Fox Two new zero delay wireless video systems, the Bolt 1000 and Bolt 3000, that can transmit up to 304 metres and 914 metres respectively, have been introduced by Teradek. Both models offer greatly improved wireless performance Wide ranging: The new Teradek Bolt 1000 and Bolt 3000 transmitters

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with visually lossless image quality. The devices use new firmware that allows them to achieve their maximum range right out of the box, even in difficult environments. Reconnect times are now instantaneous following a dropped signal and both models perform better under extreme conditions.

The flagship Bolt 3000 uses an all-new RF radio, allowing it to operate over 20MHz channels. This enables it to maintain a robust wireless link in the worst conditions. It also allows more than twice as many Bolts to operate simultaneously at the same location without interfering with one another. Both models can also make use of two new DFS channels, giving more options for an interference-free experience in the US and Europe. The transmitters are lighter and 20 per cent smaller than previously. Features include 3G-SDI and HDMI I/O, USB 3.0 GRAB Engine, 3D LUT support, standards conversion, metadata support and manual frequency selection. To better identify which systems are paired on set, a removable top plate on the TX and RX can be swapped out for a colourful anodised version. 12.E65

By Mark Hallinger On show is a three-element FM Yagi antenna line, available in two models suitable for medium and high power FM stacked array accommodating bands from 87.5-108MHz. These directional antennas can be used in vertical or horizontal polarisation to set up

systems having directional, semi-directional and omnidirectional diagrams. Jampro has a number of additional FM products in its line-up, including the JFWD Band II dipole antenna, the JAVA broadband log periodic FM antenna system for high gain directional applications, and the JCPB broadband FM antenna. 8.B96

Two models suitable for medium and high power FM stacked arrays are available

02/09/2016 16:06

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Mezzanine contribution encoder unveiled

OUTLINED

Andreas Hilmer, director marketing & communications, Lawo Has IBC come at a good time for the electronic media industry? Why? Definitely yes, since the industry has reached a crucial point in its transition to IP. The agreement of a common set of open, interoperable standards as established in the AIMS roadmap, and the significant advantages of IP-based video infrastructure solutions that have been proven in real-world live productions such as MotoGP, the football tournament in France, or the recent Games in Brazil leave only one answer to the question “When can I start with IP?”: The answer is “now!”

What do you think are the key developments in, or threats to, your market sector currently? I might be repeating myself, however, the current key

development is the transition to IP. And this is not only a transition with regards to technology and production workflows, but also with regards to our understanding of broadcast. New players like Netflix, Google, Apple, and their distribution via the internet are a reality today – and I’m sure there’s more to come soon. From my perspective, only technical and workflow flexibility allow us to cope with the challenges of an uncertain future. And IP is an enabler for turning these challenges into great opportunities.

Why should delegates visit your stand at IBC? If delegates want to know how IP helped realise the TV productions of this year’s big sporting events, B50 in Hall 8 is the place to come to. And if you’re currently

DVEO By Will Strauss

looking for a proven IP solution for video core infrastructure or remote production, make sure to visit us as well – be it for new installations or step-by-step migration. In addition to our existing range of V__line video products, we will celebrate the European debut of V__matrix, a software-defined IP-based video routing and processing platform. On the audio side we will show significant additions to the mc² console family, e.g. for even further pushing the envelope in automated high-end sports production. And anyone interested in on-air radio should make sure not to miss our latest products for virtualising radio production. 8.B50

A low latency 4:2:2 mezzanine encoder to be used for content contribution during coverage of sport and other live events has been launched at IBC. DVEO’s Premio DIG/IP: Telco is a real-time encoder that can receive one SDI or HD-SDI input from a camera, editing system or video server and encode it to a single mezzanine quality H.264 or H.265 1080p stream at .1 to 50Mbps, complete with 4:2:2 or 4:2:0 colour sampling. Laszlo Zoltan, vice president, DVEO, said: “This is a premium quality 10 Bit 1080p encoder, able to encode video to mezzanine quality, that is designed for critical contribution applications and has many redundancy features.

With a latency of 200 milliseconds and 50Mbps support, this system is ideal for streaming sports, concerts and other events to telco and cable headends.” The system is Linux-based and allows users to overlay logos, text and closed captioning to the stream. It also supports SCTE 35 triggers for ad insertion via SCTE 104 triggers. In addition the Premio DIG/IP: Telco features up to four audio pairs in order to support different languages. 400GB of stream archiving is also included. The H.265 output is available as an optional extra. Further options include H.265/HEVC and/or DVEO’s patented DOZER UDP packet recovery technology for sending video reliably over the public internet and across long distances. 2.A34

New tool for multi-site workflows Netia

By Mark Hallinger The full Netia Media Assist digital software suite, which includes radio automation, media asset management and workflow management solutions, is being showcased. In a news environment, Netia Media Assist software suite acts as a multimedia hub for content in any format, including audio, video,

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The Snippet Tool, here integrated in Avid iNEWS, is included with Media Assist software

text, or images. The cloud-ready system enables radio stations to deploy their back-office applications in a dedicated SAN or host them securely outside the station’s premises. By offering safe access to outside entities, the station can foster cooperation and exchange with its affiliates and partners. At IBC2016, Netia is showing a new monitoring tool for Media Assist, giving radio staff a single, easy-to-use interface

for managing and optimising multisite workflows. Staff can monitor priority levels on all launched processes to help minimise their impact on bandwidth, while facilitating content delivery in the group and increasing time-to-air ratios. The API within Media Assist enables interoperability and integration of multiple business- and public-facing systems, said Netia. 8.C77

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Mission to legalise IMF packages OUTLINED

Cube-Tec International By Ian McMurray The Interoperable Master Format (IMF) is an emerging SMPTE standard for the exchange of final film master files, in a mezzanine format used for downstream transcoding to all the required distribution format and language versions. At IBC, Cube-Tec is giving a European launch to its

IMF Legalizer, which it claims is the industry’s first product for quality control and automated rule-based correction of IMF packages. To fix issues with noncompliant MXF-containers, JPEG 2000 code streams and XML data, IMF Legalizer combines what the company describes as a rigorous QC concept with a lossless data correction procedure. The last step before generating the

final QC report for each IMF package is the audit trail. The already-corrected IMF package is automatically double-checked again by an independent, fullyintegrated third-party QC tool to attest its correctness. The IMF Legalizer report provides a detailed comparison view of the differences between the IMF input and the corrected output data. Thanks to the integrated second validation process, Cube-Tec said that

Compressing with quality Fraunhofer IIS By Mark Hallinger The Lici codec developed by the Fraunhofer Institute for Integrated Circuits (IIS) adapts image data streams to the available communication

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IBC sees the European launch of Cube-Tec’s IMF Legalizer

the IMF Legalizer QC Report can be seen as the authority reference, which can be used

image-by-image, lossless transmission of high-resolution images with compression ratios of 1:2 to 1:6. Fraunhofer IIS’ Lici codec within a KVM solution is being showcased with IHSE infrastructure and It also features bandwidth without extremely low latency, high image resolution high throughput and or dynamic range requires little logic enhancements falling to implement, said by the wayside. the institute. That Fraunhofer makes it possible claimed that the to integrate the Lici Lici codec allows codec into existing,

by the IMF producer to fix its implementation flaws. 5.C41 programmable modules or utilise low-cost modules. Lici is a cost-effective alternative for image processing and transmission systems used in professional production and for multimedia applications, said Fraunhofer. The Lici codec within keyboard/video/mouse (KVM) solutions is being showcased with partner IHSE at IBC. 8.B80

02/09/2016 16:44

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Q&A

It has indeed. The pace of change in the electronic media and broadcast sector has accelerated, and IBC will be the ideal opportunity for the industry to discuss developments, update itself on new trends and products,

and take a peek at innovative solutions in the IBC Future Zone.

What do you think are the key developments in, or threats to, your market sector at the current time? We are witnessing a major transformation both in the

Web-based on-air logger Anyware Video By Mark Hallinger A new compliance recording system has been introduced, which is fitted with MPEG-DASH streaming capabilities, coupled with a completely redesigned

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OUTLINED

Achim Gleissner, head of commercial management broadcast and media, Sennheiser Has IBC come at a good time for the electronic media industry? Why?

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graphical user interface. Previously functioning solely with a WMV-based encoder and a streaming server, Anyware Video’s compliance recorder system allows for media review through a web interface. Anyware Video’s new system, the Pige Antenne, is equipped

Why should delegates visit your stand at IBC?

media landscape and in the way that content is consumed. The democratisation of content has created the need for different tools: manufacturers need to widen their portfolios to accommodate quality solutions for smart devices, while continuing to serve broadcast productions with impeccable products.

Delegates will be able to discover audio products for all ‘broadcast and media worlds’ in their typical use environments: from new broadcast headsets to the latest products for mobile journalism and an action camera microphone for GoPro users. Also, don’t miss out on the opportunity to experience

with MPEGDASH streaming technology using H.264 encoding. The new GUI allows for simultaneous reviewing of Upgraded: The company’s compliance system now beneﬁts from MPEG-DASH live streams and previously recorded media through a in time to search for a past timeline view. Operators can recording and instantaneously now easily navigate to any point preview a desired media on

AMBEO 3D audio in our stand’s demo area. 8.D50

a web interface with just a few clicks of a button, said Anyware Video. According to the company, the responsive timeline enables users to easily select a desired segment, change its duration, its mark in and out point and export it in several formats for external use, all without being physically on the recording server. 8.B36b

World’s fastest 4K and IP multiviewer When it comes to speed and flexibility, there’s nothing to compare with our new SynView multiviewer for 4K and IP production. Powerful, modular and with unequalled low processing delay and start-up, SynView is the perfect fit for a range of applications from major fast-response production monitor walls to small OB van preview monitoring. Ready for 4K today? To see SynView’s power and versatility for yourself, with multiple screens running from just three cards, visit Hall 10 Stand A.21 & B.21 for a live demo!

See us at IBC2016 Hall 10 Stand A21 & B21

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Immersive is key for sports OUTLINED

Ericsson By Ian McMurray Sports content alone may no longer be enough to keep audiences engaged and loyal, according to Ericsson. At IBC, the company is demonstrating how it believes broadcasters and service providers can address this challenge, showcasing, via what it describes as a ‘state-of-theart’ sports zone, its solution designed to drive deeper viewer engagement and immersive experiences. Stella Medlicott, VP marketing and communications, media, Ericsson, said: “There are three main aspects media companies need to consider to provide immersive sports TV experience. How do you guarantee the best picture quality? How do you ensure relevant sports information is

Video acceleration technology in a card Artesyn Embedded Technologies By Adrian Pennington

Medlicott: “Turning viewers into fans and fans into viewers is the ultimate goal”

available, understandable and adds value? How do you allow fans to engage with the game and other viewers by sharing their experience in real time? “Turning viewers into fans and fans into viewers is the ultimate goal of every sports content owner, and providing immersive sports TV experiences is certainly one way to achieve this goal.” Visitors are witnessing how Ericsson believes sports

content can be further enriched during production with graphics and data visualisation using Ericsson’s PIERO sports graphics, as well as PIERO augmented reality. The company is also demonstrating its vision of bringing the sports experience to life in viewers’ homes by moving the game from the screen and onto the living room floor with AR and holograms. 1.D61

#IBCShow

The SharpStreamer and MaxCore technologies are designed to help organisations deploy virtualised broadcast, multiscreen, OTT and streaming applications for a fraction of the cost of typical server-based solutions,

according to Artesyn. Demonstrations on the company’s stand include the network functions’ virtualisation orchestration of accelerated, high-density video transcoding and high-density AVC/HEVC multimedia transcoding. Other demos include HEVC real-time or VoD encoding on Windows and encoding using Nvidia GPUs. 15.M234

SharpStreamer Pro card with Intel Xeon processors

Content Your Way Grass Valley empowers our customers to create, control and connect content wherever, however and whenever it is consumed.

Live Production

News

Content Delivery

Networking

Better than being there.

Stories as they happen.

Connect and monetize.

Build a solid foundation.

There should only be one way to create, control and connect content. Your way. Grass Valley has integrated solutions that content creators, aggregators and distributors need to sustain their businesses. And no two are completely the same. Each solution needs to be specially tuned to meet your unique requirements. It’s Content Your Way — and only Grass Valley is equipped to deliver.

Learn more by visiting grassvalley.com or visit us at IBC 2016, stand 1.D11.

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transPorters are camera bags reinvented Aspectra (formerly Alphatron Broadcast Electronics) By David Fox The camRade transPorter bags offer a new more flexible style with a large number of pockets and accessory pouches, which the company claims reinvents the camera bag. Initially there will be two camRade transPorter bags. The Medium bag has an interior length of 45cm, for compact camcorders, such as Canon’s XF205, JVC’s GY-HM170/200,

Panasonic’s AG-AC30, Sony’s PXW-Z150, and all DSLR cameras. The transPorter Large is for cameras up to 52cm long, such as Canon’s XF305; JVC’s GY-HM660, Panasonic’s AGHPX250, Sony’s PMW-200, and all other camcorders with a flip-up screen. René van der Reiden, international sales manager, Aspectra, said: “These days a lot of camera manufacturers cut out included accessories, and the user needs to purchase these items separately. We saw the opportunity to develop a safe storing solution for both

options.” The result is a compact, lightweight bag that van der Reiden, claimed is “very strong and flexible in use”. The Cordura bag includes a comfortable padded shoulder strap and suede handles, while a cinch strap in the main compartment keeps the camera secured during transport. The bottom of the bag has a protective plate, covered by a waterproof non-slip cover. A variety of differently sized pockets offer easy access, as do two removable dividers. The bag is

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OUTLINED

There are lots of pockets and pouches in the new camRade transPorters

supplied with three accessory protection items: a pouch to store an extra lens, a cover for the lens and hood on the camera, and a pouch to store small items such as cables. The items can be secured

Old lenses gain new life on large sensors Band Pro Munich/IB/E Optics By David Fox Two new expanders that allow lenses designed for smaller sensors to be used with new,

Expanding influence: IB/E Optics’ new HDx6K and S35x6K Expander

larger sensor cameras have been introduced by IB/E Optics. With its magnification factor of 1.1x the S35x6K Expander scales a Super 35 image (18x24mm) up to 24x36mm. It has been designed to ensure a minimum of light falloff and maximum imaging

inside the bag but can also be used separately, for greater flexibility. The bags’ triangular shape means they are easy to fold for storage, to take less space when not in use. 12.B36 performance up to the edge of the larger sensors, and the light loss is just 1.2 stops. The HDx6K is the next generation of IB/E’s HDx35 Mark II and allows the use of 2/3-inch HD ENG lenses with larger sensor cameras, such as the Red Dragon 6K, as its maximum image circle is 34.5mm. 12.D21

MobileViewpoint IP contribution solutions for live broadcast

Bonded Live Broadcasting Adaptive Encoding High Quality Video

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Testing UHD phase 2 OUTLINED

4EVER-2

Ultra HD developments are entering their next phase with a focus on HFR, HDR and next-generation audio technologies. In the Future Zone, French consortium 4EVER-2 is demonstrating its latest achievements in the evaluation of HFR including live HDR shooting, encoding and broadcasting. Part of the demonstration includes the synchronisation of binaural sound to highquality images to provide a fully immersive audiovisual experience. “The 4EVER-2 project’s goal is to define, experiment and evaluate live and end-to-end UHD TV phase 2 workflows, to provide the best and most costeffective quality of experience,” explained Christophe Daguet,

New service opportunities Alticast By Ian McMurray

By Adrian Pennington

AMP Visual TV’s truck, used for HDR HLG broadcasting over DVB-T2 and DVB-S2

research and development engineer at Orange. “Because the benefit of 4K resolution is too low under normal TV viewing conditions, HDR and HFR technologies, both included in UHD TV Phase 2, are mandatory to provide a valuable quality improvement over current HDTV. Paired with immersive audio technologies, UHD TV phase 2 will provide the highest quality of experience achievable today.” 4EVER-2 has worked on a number of HDR curves and has also studied backwards compatibility to non-HDR displays. HEVC encoding

adaptation to the signals have also been taken into account. “The Hybrid Log Gamma curve is a good candidate today for HDR, because it offers a compromise between HDR and non-HDR needs, for TV production but also for TV distribution,” said Daguet. 4EVER-2 is a French collaborative project with nine industrial and academic partners: Orange, AMP Visual TV, Ateme, France Télévisions, Globecast, Highlands Technologies Solutions, Insa Rennes, Teamcast and Telecom ParisTech. 8.F24

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A fully-integrated IPTV platform is being highlighted by Alticast, as well as Androidbased set-top box solutions that the company believes can unlock new service opportunities to drive future success. Alticast is showing how its platform is being used by a leading Vietnamese operator to deliver network PVR, IPto-tablet delivery and other services, creating deployment models that Alticast claims can be replicated by operators in Europe, APAC and other markets. The company is also demonstrating how it says its Alticast Application Framework provides the flexibility and versatility operators need to adapt

seamlessly to changing market needs – notably, the emergence of Android. Alticast supports Androidbased STB solutions as well as RDK, allowing use of native and HTML5 applications and providing a migration path to IPTV. In addition to IPTV and Android exhibits, Alticast is showing how its middleware and UI enablement has helped Videotron become the first pay-TV operator in Canada to deploy a 4K ultra highdefinition set-top box on a commercial basis across an entire market area. Also on show is the AltiView 3 user interface and other solutions that can provide operators with search, discovery and navigation across linear, on-demand, online and the subscriber’s personal content. 1.F36

IP connectivity goes Glass to Glass Grass Valley By David Fox Glass-to-glass IP is the eventual aim of the move to IP-based production. It is being pursued by Grass Valley, which is showing its Broadcast Data Centre concept. This employs IP and adds vertically accurate switching, extremely low latency and live production support. Grass Valley said it is embracing IP in all of its products and can already go

straight from its LDK cameras via IP. It is adding the GV Node IP processing and edge routing platform, which provides the bridge between the broadcast and IP worlds by delivering critical functions required by the broadcaster, but not available in traditional IP solutions. Other components include the GV Convergent IP router control and configuration system and the new Densité IPG-3901 SDI/IP Gateway with TICO 4K 1-Wire option. JP van Welsem, VP sales and marketing, EMEA, Grass

Driving HDR, UHD and VR SGO By Carolyn Giardina Advancing high dynamic range, Ultra HD and virtual reality workflows, all big topics this week at IBC, is the goal of SGO’s updated Mistika 8.7, which is on display in Hall 6. The new Mistika 8.7 equips

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professionals with its ‘immersive reality’ capabilities that effectively combine Mistika’s stereo toolset with its VR mode, giving content creators more capabilities as they explore the still-new area of VR production, as well as emerging areas such as augmented reality. Mistika 8.7 also offers VR streaming with integration

Valley, said: “Integrating IP interfaces into more products throughout the production workflow is a critical step in ensuring that an operation will be able to make the IP transition at their own pace as they upgrade their businesses. The industry is on the cusp of the shift that will bring IP into the mainstream, moving away from the earliest solutions, which were really just focused on IP routing with some ‘glue’ around them to make them work in the SDI environment.” 1.D11

of devices such as Oculus Rift. All together, the tools are developed to offer users a single system for colour grading, HDR, stereo and compositing as momentum builds around creating virtual reality content. Other key features to version 8.7 include new colour grading tools for HDR, smart copy/conforming and a new point-and-click 3D keyer. 6.A11

The AltiView 3 user interface is being demonstrated by Alticast

OTT tools for growth Beenius By Anne Morris Nuboly is a new cloud-based OTT service that is being presented in the Content Everywhere zone at IBC2016. Nuboly is software-asa-service (SaaS), created by Beenius to simplify the production of interactive television for service providers in need of a telco-grade solution and immediate market engagement. Beenius also designed Nuboly for those operators looking to offer an IPTV or OTT solution. Operators require a flexible,

scalable and cost-effective method to deliver high-quality, non-linear content in a multi-screen environment, said the company. Nuboly applications are cloud-enabled, support the acquisition of new customers, and ensure a ubiquitous presence on all types of access networks. According to Beenius, operators are thus given the tools to respond to competitive threats and consumer demands, grow their market share and revenue, and gain the flexibility to improve the viewers’ experience on a daily basis. 14.C30

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IBC Hall 8 Booth 8.3B0-F

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Lumos 700/700GT

Lumos 500/500GT

Hawk 400

Hawk 150

Lumos 300/300GT

Hawk 50

Lumos 200GT

Lumos 100MK

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Radeon Pro WX series aims for VR OUTLINED

AMD By Carolyn Giardina Representing a new graphics strategy, AMD is showing the new Radeon Pro WX series of professional graphics cards for content creation and engineering. Raja Koduri, senior vice president and

Thrill seekers wearing 3D glasses can get onboard a VR ride with the Rilix app

chief architect, AMD Radeon Technologies Group, said: “We have taken a long, hard look at the workstation space and chose to focus on what we define as ‘the art of the impossible’. Radeon Pro represents a powerful alternative to the old way of doing things, setting aside proprietary [systems] for

open source ones, and closed ecosystems in favour of greater choice and flexibility.” The new line, based on the Polaris architecture, includes the Radeon Pro WX 7100 GPU, aimed at design engineering and media and entertainment workflows and is AMD’s technology for virtual reality content creation; Radeon Pro

WX 5100 GPU, for product development; and Radeon Pro WX 4100 GPU, for small form

factor workstations. All three are expected to be available in Q4 of 2016. 7.H35

Experience rollercoaster VR in the Future Zone Rilix By Adrian Pennington A rollercoaster simulation ride which has been thrilling visitors at Brazilian and US theme parks, entertainment centres and shopping malls has been adapted by its makers into a

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Radeon Pro WX 7100, part of a focus on ‘the art of the impossible’

virtual reality app. Rilix designed the original rollercoaster simulator Rilix Coaster using virtual reality technologies. It takes thrill seekers wearing 3D glasses on a ride aboard a rollercoaster cart in 18 ‘unexpected’ scenarios, which can reach up to 140km/h depending on the chosen

scenario. These scenarios range from blizzards, through tropical mountains to beaches, as well as wars and science fiction. The Gear VR app is ready for IBC visitors to experience, if you are brave enough, in the Future Zone. 8.F09

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Hub set for resilient operation ACTIA Telecom By Ian McMurray The DEKA240/HDR Transportable Hub Compact Shelter for Ka Band is part of the range of ACTIA Telecom Satcom terminals for commercial and governmental applications. The company

said that its 2m40 antenna, which is fixed on the roof of the air-conditioned shelter, can be quickly deployed within less than two hours by a single operator, without special tools. The 48RU cabinet is mounted on shock absorbers for maximum resilience, providing what ACTIA claimed was superior stiffness

and stability. The hub is said to be compatible with all modem formats, and is Athena-Fidus and Global Xpress ready. The unit can be optionally configured with an optical link, multiband (X, Ku and Ka), simultaneous dual band (X-Ka) and motorisation and tracking. 5.B10

Panel gets breakout boost Barnfind By Will Strauss A Stage Box breakout panel for the BarnOne frame is being shown for the first time at this year’s IBC. The Barnfind Stage Box allows a BarnOne front panel to be customised based on the required connectors. Eight modules are available to serve as

the connection points to one RS422/485 with 4 x GPI and 4 x or more BarnOne units. GPO and controlling the signals All eight modules and the via an Ethernet/SFP port. 2RU chassis are made of solid The unit can serve as an aluminium. Barnfind offers intelligent bridge between many connectors for BNCs, RJ45, third-party devices, transferring, XLR female and male, for example, an RS422 signal Lemo for camera and Lemo for CCU. Also on show for the first time is the BarnMini-05, a compact module for combining Stage Box allows a BarnOne front panel to be customised

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OUTLINED

The DEKA240/HDR features a 2m40 antenna

or tally between two locations. Alternatively it can control an external optical changeover switch in a redundancy set-up. Able to work with any BarnOne frame, the BarnMini-05 is available as a standalone unit with a separate PSU, or mounted into the BarnMini BTF-Mini-16 frame. Other new Barnfind products on

show at IBC include an optical changeover switch, the BarnMini-06, and a fourchannel CWDM mux, the BarnMini-07-04. The latter module can transport 4K over different mediums and fits into the BarnMini BTF-Mini-16 frame. Wiggo Evensen, chief executive, Barnfind, said: “These additions enhance our flexible, scalable solutions and provide customers with the tools to do more with less gear, in less space and spend less money.” 3.B19

Implementing Media Technology

MEET US STAND 8.BAT 51

IP-Infrastructure · Work-flow management Storage solutions · OTT platforms Production systems · Playout solutions Asset management · Traffic & scheduling

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Multiviewers stay on target OUTLINED

Apantac By Mark Hallinger The new Mi-16 family of video multiviewers features low latency with single frame delay, windows that can be sized and moved

freely, and analogue and digital clocks. They also feature passive loop outs so that a user will never lose the source, even if the multiviewer is turned off. The family is made up of three models: the Mi-16 16x1 multiviewer, which features

Draco OPS extender unveiled IHSE By Carolyn Giardina A Draco OPS extender module for use with its KVM extenders and matrix switches is on display at the IHSE stand. The Draco OPS extender provides a single KVM CON unit in a module constructed to the OPS (Open Pluggable Specification) standard.

Developed in partnership with Eyevis, the module can be inserted directly into monitors with a compatible OPS slot, enabling the display to act as a monitor for the Draco tera KVM matrix switch with no additional external devices. Enno Littmann, managing director, IHSE, said: “Keeping the total number of devices to a minimum in any system helps increase reliability, power

Linked batteries get higher capacity PAG UK By David Fox The new PAGlink PL150 Series are PAG’s latest intelligent linking batteries, offering high-current capability in a more compact and lightweight format. They use high-capacity Liion cells, offering an increased capacity of 150Wh – 50 per cent more than PAG’s PL96 batteries – with no increase in size. The 150Wh model is housed in the same case as the 96Wh battery, and is claimed to offer the highest energy density of any Liion battery of equivalent capacity currently on the market.

The two V-Mount options offer a choice between PAG’s familiar five-light Run-Time & Capacity Indicator, or the higher-resolution, more convenient, numeric RunTime & Capacity Display. Both provide remaining run-time information at the press of a button. The Gold Mount PL150 features a numeric display and a higher individual current-draw capability (10A compared to the V-Mount’s 8A). When PAGlink batteries are linked, their continuous current-draw capability is increased to 12A. This is useful for powering digital cinema cameras and multiple accessories

16 3G/HD/SD-SDI inputs with passive loop-outs and HDMI and SDI output; and the Mi-16+, a single or dual output multiviewer in 16x1 OR 8+8 with 16 3G/ HD/SD-SDI inputs, passive loop-outs and dual outputs where each independent output consumption and integration complexity. The OPS system is ideally suited to multi-display installations, such as videowalls and control room displays, where Eyevis EYE-LCD displays are commonly used. Together we have produced a system that allows an HD monitor to be plugged directly into a KVM switch or extender, using just a single CatX or fibre connection, reducing the need for an additional interface box for each screen.” 7.B30

simultaneously. D-Tap, USB and other outputs are provided by the PAGlink PowerHub, a separate plate that sits between two PAGlink batteries, maintaining their hot-swap capability, and allowing continuous power. Two PL150s become 300Wh when linked, weighing little more than 1.5kg. Linking batteries for discharge also increases their cycle life, because the current demand is shared. 12.B36 PAGlink PL150s oﬀer the highest energy density of current Li-ion batteries

The range features low latency, passive loop outs, and video and audio alarms

supports the display of eight inputs. The final model is the Mi-16# (sharp), a dual output multiviewer in 16x2 that features 16 3G/HD/SD-SDI inputs with dual outputs. Each input can

be resized and duplicated up to 16 times and can be assigned to both outputs, and each independent output can display up to 16 windows. 8.E37

First dual 40Gig probe launched Bridge Technologies By Ian McMurray Making its worldwide debut at IBC2016 is the new VB440V 40 dual Gigabit probe, which is said by Bridge Technologies to be the first of its type in the world. Sitting alongside the company’s VB330V 10 Gigabit probe, the VB440 responds to the acceleration in customer demand for 40GB infrastructure. With line-speed 40G performance and what Bridge describes as a massive multiprocessor architecture, the VB440V is said to be able to deliver monitoring and analytics of thousands of streams and a multitude of technologies in real-time and in parallel. According to the company, the VB440V utilises the same visual and intuitive approach to monitoring and analytics as Bridge’s other probes. Simen K Frostad, chairman of Bridge Technologies, said:

Frostad: “Customer personnel are on a steep learning curve”

“As the market adapts to an IPbased infrastructure, customer personnel are on a steep learning curve. The VB440V’s interface is designed, not just to show data, but to enable users to fully understand what the data means – giving them the confidence necessary to implement appropriate corrective measures where necessary.” Two 40GB interfaces are provided by the VB440V. This allows customers to configure two 40GB routers in, for example, an OB truck, to provide the redundancy for fully failsafe operation utilising the SMPTE 2022.7 redundancy standard. 1.F68

Stand 8.D31 True Cloud Playout now available as a full Software-as-a-Service solution

· Professional all-in-one Playout · Launch full channel within hours · Zero client-side hardware required · No long term commitments · In-built resilience · Natively AWS

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02/09/2016 17:25

• DO EXTRAORDINARY THINGS Director of Photography, Serge Teulon, on the Canon EOS C300 Mark II. “Shooting Munich’s City Surfers on the Eisbach river presented many challenges, especially in terms of equipment. The fact that it’s in the city meant you can see buildings and cars going around in the back of the frame, which you didn’t necessarily want. Luckily, with our custom built rigs, we were able to put the camera almost at water level in front of the surfer and I think that really gave us that sense of being on the wave. The EOS C300 Mark II was absolutely perfect for the job. It handled even the toughest of challenges, one of which was lighting. Its 15 stops of dynamic range allowed us to shoot in low light and get absolutely great results. The new Canon Log 2 is also a great gamma setting which meant we could record an image and then manipulate it. More importantly, creatively, it gave us a really defining look, which we think really adds to the film. We really wanted to push the limits of this camera. It exceeded our expectations at every turn and it really brought this vision of Munich’s City Surfers to life.”

KEY FEATURES • 8.85MP Super 35mm CMOS sensor • Shoot 4K at up to 410Mbps/10-bit • 15 stops of dynamic range with Canon Log 2 • Dual Pixel CMOS AF, Face Detection AF and Auto White Balance • High-sensitivity, low-noise images up to ISO 102,400 • 4 channel 16/24-bit audio

Visit us in Hall 12, Stand D60

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OB trailer construction expanding OUTLINED

Aret Video and Audio Engineering By David Fox

A 14m-long triple-expandable trailer, suitable for very hot countries, and designed for

major productions, such as premier league football, is on display on the Aret stand in the outside exhibits area. Aret claims to be the only systems integrator doing the whole OB in-house, and the trailer shows off its coach building

technology (the latest version of which is AR-7, developed during the building of more than 450 turnkey vehicles). The company has recently delivered two double-expandable OB trailers: one in Europe and one of the most powerful

16-camera OB trailers for the Middle East, including one grip truck with diesel generator and two uplink support vans. It has also just completed a 10-camera OB truck for use in North Africa, which includes full production facilities, wireless camera systems and super slo-mo cameras. It has also completed two DSNG vans based on Mercedes Sprinters for a South-East Asian national broadcaster. At IBC it has announced new contracts for an OB truck and four trailers for the Middle East. 0.E01

Conference 8 – 12 September : Exhibition 9 – 13 September RAI, Amsterdam

IBC2016 Conference: Transformation in the Digital Era

Gearbox to accelerate Ultra HD proliferation Semtech Corporation

Leadership, strategy and creativity in media and entertainment

By Heather McLean

Reimagined for 2016, don’t miss 300+ thought-leading speakers exploring a new era of consumers, data and technology

Content and Production Challenging the Latest Trends

Advances in Technology Charting the Course of Emerging Technology

Platform Futures Exploring the Age of Consumer Choice

Audiences and Advertising Winning the Viewer with Analytics, Engagement and Monetisation

Business Transformations Implementing New Technology

Big Screen Experience Mapping Out the Future of Cinema

te s i g

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re / g .or

Horse power: Inside Aret’s latest 10-camera horse racing OB truck

Semtech’s GS12070 UHDSDI gearbox is a standalone fully integrated conversion solution that the company claimed will accelerate the proliferation of Ultra HD infrastructure in the broadcast television industry. A four-input and fouroutput device, the GS12070 converts between HD-SDI, 3G-SDI, 6G UHD-SDI and 12G UHD-SDI. The GS12070 also mitigates infrastructure level interoperability issues between different UHDSDI profiles. It enables manufacturers and broadcasters to reuse existing SDI infrastructures, thus lowering costs and accelerating the transition to Ultra HD broadcasting, claimed Semtech. UHD-SDI is standardised by both SMPTE and the ITU.The GS12070’s support for standardised interfaces is critical for the rapid deployment of UHD TV, stated Semtech. 10.F46

02/09/2016 17:25

HOTBIRD at 13° East Enriched viewing experiences

THE BETTER CHOICE

Reach PRUH WKDQ 13 million homes across EMEA with the HOTBIRD satellites at 13° East, leading DTH, DTT and cable delivery in Europe. Choose HOTBIRD for your HD signal and deliver your content into a market where 60% of DTH homes are already equipped for reception. The satellites are also boosted by smart innovations such as SmartBeam, for multi-screen delivery and connectivity, and Sat.tv, a new way of transforming free-to-air viewing.

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Come and find out about all this and more on our stand at IBC!

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Turbocharging bandwidth TICO offers a lightweight, low latency mezzanine compression, explains Gaël Rouvroy, CTO, intoPIX The increasing use of 4K, 8K, HFR, and VR are leading to a huge demand for more bandwidth and higher data rates for live production. This demand places significant load on the existing workflows of today’s media entities, from acquisition to display: new studio infrastructures require higher bandwidth, and power consumption is more of a factor for cameras and portable devices. However, there is a solution: ‘lightweight’ compression.

Very low compression is used to turbocharge the bandwidth and replace ‘uncompressed’ where necessary. This is the model promoted by the TICO Alliance and intoPIX, and disclosed at SMPTE as SMPTE RDD35. This ‘lightweight’ compression is simplifying everything. Typically having a compression of around 4:1, it enables users to map 4K over a single 3G-SDI, or 10GbE link: it offers a smart infrastructure upgrade to 4K at an

equivalent price to existing baseband HD operations. We see this compression model being used in many applications beyond video over IP and live infrastructures. The typical use cases where lightweight compression will turbocharge the bandwidth are also in supporting higher data streams on existing systems; increasing the number of streams; reducing the internal video bandwidth and power consumption; and to cost effectively

increase video buffer and storage capacity. For example, one way of moving from 60p to 120p in a camera while consuming the same battery power and the same amount of embedded memory, is to add frame buffer compression at a factor of 2:1. This is a simple example, but you can apply the same principle if you move from HD to 4K, or 4K to 8K – you would just have a factor of 2:1 or 4:1 in the data rate. That is the kind of value that can be extracted from lightweight compression, while retaining low latency, a minmal amount of lines, and low complexity while avoiding an over consumption of power.

By significantly reducing video bit rates to support UHD quality at HD bit rates, TICO is enabling content producers to deliver more compelling viewing to larger audiences. In addition to introducing new TICO implementations in CPU and FPGA, intoPIX and TICO Alliance members are showcasing multiple applications that demonstrate the tangible business benefits of TICO compression. Keep an eye out for more info at booth. 10.D31

GPU-based video decoding AV Stumpfl By Mark Hallinger A new GPU-based video decoding algorithm for the company’s media server line up is making its debut at IBC. The Wings Vioso RX software now has an algorithm that uses specialised GPU instructions instead of regular CPU

processes. AV Stumpfl said that, in the past, decoding of compressed video content has been done in the CPU of a media server and the decoded data was transferred via the PCI bus to the GPU for playout. Using the newly implemented technology, the data is transferred still compressed over the PCI bus, and unpacked and decoded in the GPU. This way a far higher

bandwidth and more decoding power becomes available, which results in higher image quality, more concurrent video layers and higher resolutions on the same physical hardware platform. The company said that the current Wings Vioso platform has no content limitations, even if they exceed the maximum texture dimensions of the GPU,

The new algorithm oﬀers higher image quality, more concurrent video layers and higher resolutions

but the new compression technology is a good solution to fill the gap between

uncompressed and regular video compression algorithms. 8.C58

Area 48 Studio offers precision dimming Debut for Ad Serter Brother, Brother & Sons By David Fox The new Area 48 Studio has been designed to provide ‘ultraprecise dimming’ throughout the entire dimming range, even in the last 5 per cent where other LED lights fall off, according to BB&S. It also operates silently thanks to fanless cooling. The fixture retains the form factor and features of BB&S’ compact Area 48 remote phosphor technology, which improves upon the colour rendering, consistency and light output of traditional LED lighting

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fixtures. It offers colour-rendering accuracy of more than 98 TLCI, with soft light output comparable to a 1K traditional soft light, yet it weighs just 3.6kg. Multiple power options supply its low power requirements (maximum 122W), including a standard V-mount or Gold-mount battery or standard AC power. The phosphor panels are interchangeable, allowing users to quickly change the fixture from Daylight to Tungsten, ChromaGreen, Chroma-Blue, new 10,000K or others, in seconds

without tools. The unit includes standard BB&S four-channel control of 8-bit, 16-bit, strobe and manual dimming, as well as On/Off. Every Area 48 includes integrated barn doors. BB&S also offers optional light shaping tools including grids and soft boxes for more control. 12.A41 ‘Just so’ dim: BB&S Lighting’s new Area 48 Studio

DVEO By Will Strauss A software-based playout system that inserts video clips, ads, graphics, text and logos anywhere into live or stored content in real time is being shown at IBC. The Windows-based Ad Serter from DVEO works with IP, ASI and SDI and can decode a transport stream, overlay graphics or text and transcode the result. For North America, where splicing local advertisements into live streams usually requires a playout server and an SCTE 35

based ad splicer, the Ad Serter combines the server and splicer, plus an SCTE 35 decoder. The Ad Serter employs Intel Xeon-based hardware and a modular multi-functional software platform. It works in both uncompressed and compressed video domains. Stuart Cameron, managing director at Cache Media, the UK distributor for DVEO, said: “This system represents a huge saving in time and inconvenience for those clients who buy in programmes from the US, for example, which have a lot of US adverts embedded in them.” 2.A34

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Rotating camera slider Ivory building and lightweight stabiliser OUTLINED

Benel/Falcon Eyes By David Fox The new Falcon Eyes 80cm Camera Slider Carbon (STK08C-0.8) has a quick and simple way of adjusting the camera axis to rotate as it is being moved. A very quickly adjusted tube between the two main rails enables the camera to keep focused on one point or make a panorama movement as it slides.

The slider rails are made of carbon fibre, making it lightweight, and the legs are collapsible, all of which makes it easily portable. It comes in a handy carrying case. The aluminium dolly, which is provided with a 3/8inch screw connection, moves smoothly and silently along

Rotation rate: Falcon Eyes’ new camera slider allows easy auto-panning

on the rails thanks to precision bearings. The €429 slider can be used on a table, on the ground, or mounted on a tripod. Also new is the Falcon Eyes VST-06-S

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lightweight camera stabiliser for smaller cameras. Made of carbon fibre, it has a precise three-axis gimbal and fully extended measures one metre. Costing €200, it has an adjustable base plate and a quick release, with lock.

There is a counterweight adapter at the bottom of the stabiliser, which allows users to add up to three counter weight legs; transforming it into a small tripod, so it can stand on a flat surface. 12.B69

ContentAgent sales Root6 Technology By Carolyn Giardina At last year’s IBC, Root6 Technology entered into an agreement with Paris-based European sales representation firm Ivory to manage its presence in France, Belgium and Luxembourg, and to build sales of its ContentAgent workflow management and automation system. One year on, Root6 reported that Ivory has ‘surpassed its expectations’, providing market insight and increasing sales of ContentAgent tenfold. During this period, ContentAgent, as well as CardAgent for automated ingest and processing of camera card media, has been

adopted by customers such as the European Commission, TF1, Elephant & Cie, M•Media, BTI Studios, AB Group, AMPVisual and Eliote to manage file-based workflows from card ingest to 4K transformation and multi-platform distribution. Julien Gachot, founder, Ivory, said: “We were very excited when Root6 Technology turned to us to help them accelerate the adoption of its cost-effective file-based management and automation tool. We were looking for such a platform to add to our portfolio. The success of ContentAgent is due to how well it solves the pains our customers are facing as they transition to file-based workflows and delivery.” 7.E21

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ZigBee 3.0 SDK now available OUTLINED

Greenpeak Technologies By Ian McMurray Availability of its ZigBee 3.0 software development kit (SDK) for smart home gateways that incorporate the new GP712 radio communication controller chip is the IBC focus for GreenPeak Technologies, now the Low Power Wireless business unit of Qorvo. The ZigBee 3.0 SDK allows

application developers to program a GP712-equipped gateway to communicate seamlessly with various sensors, controllers and systems. It includes simplified software development models (APIs) that enable quick development of GP712equipped gateway products as part of complete, end-to-end systems for the smart home. “GP712-enabled gateways serve as the central point for information gathering and

routing of communication between sensors, controllers and smartphone apps,” said Cees Links, general manager of Qorvo’s Low Power Wireless business unit. “Smart services like home monitoring, senior lifestyle, HVAC and lighting that use different communication standards will be around for some time. This SDK adds protocol intelligence to the gateway, enabling it to communicate simultaneously using a variety of technologies,

2/3-inch UHD studio/OB camera launch Ikegami Electronics (Europe)

Ikegami’s new UHK-430 three-chip camera is designed for live production

By David Fox A new Ultra HD 2/3-inch ENG-style broadcast camera has been introduced by Ikegami. The UHK-430 uses three newly developed 2/3-inch 8MP CMOS sensors, offering 3840x2160 resolution plus the depth of field required for studio and OB production. The sensor and B4-mount lens head can be separated (by up to 50 metres) for easy deployment on cranes or other remote heads. Peripherals for the UHK-430 will include a high framerate head, 4K Super 35mm head, operating control panels, three viewfinders and base stations. An optional SE-U430 expander allows use with large studio or OB lenses. The UHK-430 has a colour depth of 10 bits per

and helps ensure compatibility with current and future standards. We believe this important addition to our portfolio will allow the smart home market to continue to grow in a future-proof way.” The GP712 radio communication controller chip is said to enable optimal coexistence of multiple smart home systems based on the IEEE 802.15.4 radio standard, supporting ZigBee 3.0. 1.A30

Mastering live cloud playout Pixel Power By Carolyn Giardina

pixel instead of the current eight bits, and uses a new processor, the AXII, reducing power consumption and delivering such features as 16-axis colour correction and new focus-assist for 4K and HD video modes. The AXII also provides the processing for Ikegami’s new i-Log gamma, for a wider dynamic range. The ITU-R BT.2020 extended colour space specification is supported in 4K mode, while BT.709 is supported in both 4K and HD modes.

The companion CCU-430 camera control unit enables easy migration from HD to UHD live production, and includes switchable 4x3GSDI UHD output as well as HD. An optional plug-in board makes UHD, HD and HD cutout from UHD available simultaneously. 12G-SDI and video-over-IP interfaces will be introduced soon. A built-in 40Gbps optical transceiver delivers full bandwidth UHD RGB 4:4:4 from camera to CCU, for high-quality chroma keying. 12.A31

Links: “This will allow the smart home market to continue to grow in a future-proof way”

StreamMaster is designed to support virtualisation and the transition to IP. Pixel Power’s technology includes real-time DVE and 3D graphics, mixing of live feeds using a built-in software master control switcher, and automated branding and cross-channel promotion. At IBC, the company is working with Amazon Web Services to demonstrate live, linear playout from the cloud, incorporating realtime DVE and graphics. The demonstrations include simple channel playout where the schedule is fixed and there are no live events, through playout with live events and premium channels

including reactive scheduling, for instance around sports events whose end time is not known. James Gilbert, CEO, Pixel Power, said: “The opportunities that virtualisation and the cloud open up are transformative and positive for the industry.” Alongside the cloud demonstrations of StreamMaster, Pixel Power is showing its graphics and workflow products. These include new releases of automated content production system Pixel Factory, the Clarity Graphics system and Pixel Promote, which automatically creates and inserts marketing and promotional content based on the broadcaster’s objectives and future schedules. 7.A31

EZ TV beams in for enterprise networks Vitec By Carolyn Giardina The EZ TV IPTV and digital signage system is being showcased, intended for delivery of live streams, on-demand content and digital signage campaigns to TVs, PCs and mobile devices. Designed for

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integration with existing enterprise networks, EZ TV’s content management portal enables the set-up of live TV channels, streaming of in-house content and recordings, and establishing an access-controlled IPTV service to any user on the LAN or WAN. Vitec’s digital signage add-on for EZ TV 8.0 has uses such as corporate video-over-IP

applications and digital signage projects for sports venues. Visitors can also see technologies including MGW Vision, a 4K/Ultra HD HEVC realtime hardware-based encoder for IPTV, broadcast and point-to-point distribution; and PX Media Library, for media professionals to tag, edit, manage and share media files. 7.G16

EZ TV’s content management portal enables the set-up of live TV channels, streaming of in-house content, and recordings

04/09/2016 13:46

NEW LENSES Order Now

15 18 21 25 29 35

Available Now

40 50 75 100 135

See for yourself at Booth 11.A48 CW Sonderoptic GmbH Wetzlar, Germany | Los Angeles, USA

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Standing by… or not! ‘Feel like you’re drowning in new standards, technology, and opinion from all sectors of the market?’ asks Tracey J W Ford, chief sales and marketing officer, Norwia I admit that I’m in one vertical sector of the market and never have to think in-depth about the whole chain of the broadcast market from creation to viewer, or how the next generation of Pokémon viewers will watch TV. What I can say, as I am on the road a lot and thus hearing a plethora of views out in the marketplace, is that there is a wide, diverse feeling between people who have the responsibility and task of paving the future for their organisation. I don’t say it’s confusion but it’s the usual case of early

adopters, or pioneers as we like to call them. Then it’s the ones hiding close behind that are waiting for the early signs of success. The third group just love ‘tried and tested’ technology. There’s nothing wrong with that, it’s always nice to have something that works out the box, first time and every time, isn’t it? What type of person are you? Speaking as a manufacturer we have to be tactile in all areas of the market and our focus is a mixed business between delivering what the customer needs and delivering what is here and

Convergence brings opportunities and challenges

now. We have traditional SDI transport equipment that now takes us to 12G-SDI and we are venturing down the IP path with the SMPTE 2022 group of standards. We cannot afford to stand by and watch this space because the momentum will be forward; there is no stepping back. I’m not saying that the transitions will be extremely fast. Hey, there are people still using analogue video today. God bless them. The transition has been, and will be, in islands that have a splattering of technology. This will eventually blend in

Leader Electronics By David Fox By Ian McMurray

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Koopmans: “Homes have become a hub for a complex collection of devices”

subscription broadcasting, UEI, said: “As the broadcast and IT worlds continue to converge, the crossover may bring a host of opportunities to the market. However, it also presents a number of challenges – particularly as today’s homes have become a hub for a complex collection of devices, each speaking its own language. We’re very confident that we’re in the perfect position to help guide customers through those challenges and take back control of their environments.” 1.C41

so you have to open up your wallets and spend that hard earned cash. The free-to-air guys (even though some had been rumoured to be bringing content to the masses) have not delivered, albeit they had mentioned this some time ago. I’m not hedging my bets either way because I believe in the diversity of the market and the nature that we all have different ways of achieving our goals. Buckle up and relax, because you are not stepping off the merry-go-round tomorrow. Just make sure you have a comfortable seat. 10.C10

HDR-capable 4K waveform monitor

Universal Electronics

Quickset is the ‘world’s only’ automated discovery, set-up and control software, according to developer Universal Electronics (UEI). The company claimed that its technology has made the universal remote control a simple and user-friendly way to manage the connected home. The set-up and control solution is now available as both QuickSet (embedded) and QuickSet Cloud and includes a range of new features including predictive engine, IP discovery and control. Also being introduced at IBC is UEI’s new silicon solution specifically designed for remote control and smart home applications, supporting both ZigBee and BLE. The solution is said to pre-integrate all leading control and interaction applications, and comes with a suite of embedded support tools designed to reduce the efforts of system integration. Menno Koopmans, senior SVP,

to a full system that is ready for the next technological advancement. Sorry to disappoint but we are on a road of never-ending change. If I take a screen shot of the market attitude and adoption of the current technology today – once again being pushed along by the commercial sector of screen manufacturers – I do see some healthy investment in 4K technology. It might be the more cumbersome method but it’s the doable approach to 4K. The guys out front like Sky, BT, and Netflix are paving the way. At the moment, 4K is a pay dominated market,

High dynamic range measurement, 12G-SDI connectivity, as well as support for Sony’s IP Live Video and its Networked Media Interface technology, are three new options that have been introduced for Leader’s LV5490 4K waveform monitor.

An upcoming fourth option will provide support for analysis of high frame-rate 4K signals at up to 8x real time. The HDR measurement uses Leader’s intuitive Cinezone false colours to highlight areas of concern when operating with HDR content. The HDR display supports SMPTE ST2084 (Dolby PQ curve) and ARIB STD B-67 (BBC/NHK hybrid log gamma).

The 12G-SDI connectivity supports not only 12G-SDI, but also 3G-SDI quad link, 3G-SDI dual-link and HDSDI, each input handling a quarter of the 4096x2160 pixel 4K or 3840x2160 pixel Ultra HD image. The interface also incorporates a reclocked 12G-SDI output. 12G-SDI eye pattern with jitter measurements will be available as an option. Waveform, vector and picture display can all be viewed at the same time on the LV5490’s 9-inch 1920x1080 LCD monitor, which also allows simultaneous viewing of up to four SDI inputs, including overlays, and the user is not limited to fixedsize quadrants. The LV5490 also includes video frame capture, instrumentation screen capture, timecode display and ID display. 12.A10 Leader’s updated LV5490 waveform monitor with 4K Cinezone-HDR display

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New approach to managing graphics Etere By Mark Hallinger Launched at IBC is ETXG, commercial graphics management software with a new workflow which Etere claimed overrides any other graphics system on the market. It boasts an efficient

archive management system for all graphics databases, combined with an ‘intuitive’ user interface that enables SDI-supported, real-time previews and graphics

media management. Features include a multi-channel media manager with automatic graphics detection, version control, workflow management and a

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range of software support, including graphics editors from OUTLINED companies such as Adobe. The integration of ETX-G with Etere Airsales supports the logging of invoices for both automatically and manually triggered graphics. Once the

commercial graphics invoices are approved, users are able to send real-time information directly to Etere ETX for editing of multiple layers of graphics, squeeze, 3D graphic animation and flash graphics. 8.B89

IBC Content Everywhere Europe RAI, Amsterdam 8 – 13 September 2016

Korean DTT wants Extra3.0 TeamCast By Will Strauss The Extra3.0 exciter is being used by Korean broadcasters KBS, MBC and SBS as part of a project to upgrade the country’s DVB-T2 transmitters to ATSC 3.0, it has been revealed. The upgrade is supported by the MSIP (Ministry of Sciences, ICT and Future Planning) and the KCC (Korea Communications Commission) and is intended to allow for the delivery of UHD content, starting with the Winter Olympics in Pyeongchang. The full transition from HD to UHD is expected to happen in 2025. The TeamCast Extra3.0 exciter is on show at IBC. Jake BAE, a director at JNS, TeamCast’s Reseller in Korea, said: “As a unique real-time and standalone exciter, Extra3.0 has played a key role here in Korea enabling broadcasters to launch their very first live UHD transmissions over ATSC 3.0. Now our concern is to support the broadcasters in preparing the network roll-out starting early next year, and to be ready for the Pyeongchang Winter Games in 2018.” Also at IBC, TeamCast is demonstrating a multistandard compact Twister exciter that works in PAL, DVB-T and T2, ISDB-T and TB and DTMB. For satellite transmission the company is showing its end-to-end CID device and a new HTS modulator. 2.B51

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IBC Content Everywhere Europe 2016 Visit IBC Content Everywhere Europe to quickly and efﬁciently expand your knowledge of the latest trends, strategies and developments in online TV and video. ♦ Dedicated hall in the IBC Exhibition ♦ IBC Content Everywhere Hub featuring: ♦ Exhibitor demonstrations ♦ Independent panel discussions

Visit Hall 14 to ﬁnd out more! IBCCE.org

#IBCCE IBC Content Everywhere Europe Platinum Sponsor:

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USA debut for STB OUTLINED

SmartLabs

By Anne Morris Interactive TV specialist SmartLabs is showcasing a new high-end set-top box in the Content Everywhere zone this week.

SML-5112W is a premium SmartLabs STB featuring a CPU capacity of 12,000 DMIPS, HEVC and HDR support, and image resolution of up to 4K p60 Ultra HD. The company has also entered the US market with the new product, expanding its presence beyond the

Russian and European markets. SML-5112W has built-in 4x4 802.11ac dual-band WiFi that supports unicast and multicast content delivery. It is able to record up to six broadcast channels at the same time to an optional internal HDD. Customers can also share

STBs from SmartLabs are now available in the US for the ﬁrst time

content locally over any home IP-based network with other STBs, smartphones and tablets. SML-5112W is also the first

SmartLabs STB offering full support of the reference design kit (RDK). 14.C19

LED improvements offer brighter outlook Ledgo Technology By David Fox The new LG-900MSII/MCSII and LG-1200MSII/MCSII LED lights from Ledgo are considerable advances on its previous LG-900MS/MCS and LG-1200MS/MCS model. The new lights offer improved colour rendition (a TLCI of

93), high light output and low power consumption. They can be used with a lighting console, and are suitable for use both in studio and on location (with WiFi control). They are available in daylight (MSII – 5600K) or bicolour (MCSII) versions, and have a 45-degree beam angle, with a standard V mount for battery operation, as well as

passive cooling. The 54W, 4kg LG-900 has 900 LEDs, while the 72W, 4.275kg LG-1200 has 1200 LEDs. Also new are Ledgo’s 144W LG-T1440MC and (larger) 288W T2880LMC panel lights. These offer a very soft, cool bi-colour light (3200K to 5600K) with a TLCI of 93 to 96 (depending on colour). They are flicker free and intended

for studio use, controlled by DMX, WiFi, or via an iPhone app. The panel lights are 27mm thick, and can be

mounted on light stands and placed either horizontally or vertically. 12.G68

Panel beaters: Ledgo’s LG-T1440MC and LG-T2880LMC soft lights

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JOIN US TOMORROW TRENDS & INSIGHTS FROM INDUSTRY EXPERTS SEPTEMBER 10, ELICIUM BUILDING ROOM D203 (2nd FLOOR)

10:30 - 12:00 NEWTEC INFO SESSION SPEAKERS: Quantis, Newtec

MOBILITY MEETS EFFICIENCY: Why now is the right time

13:00 - 14:30 NEWTEC INFO SESSION SPEAKERS: Intelsat, Newtec

NEXT GENERATION SATELLITE NEWSGATHERING: How to leverage the power of IP

15:30 - 17:00 NEWTEC INFO SESSION SPEAKERS: Fibersat, Kacific, LeoSat, Yahsat, Newtec

INNOVATIVE SATCOM:

This is what the future holds

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SHAPING THE FUTURE OF SATELLITE COMMUNICATIONS

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Striving towards interoperability Mikael Vest, sales director, NTP Technology explains how to achieve high-performance professional AoIP networking The first use of Ethernet as a medium for interfacing realtime audio was Park Audio’s CobraNet, introduced in 1996. That was followed by other proprietary formats such as Livewire from the Axia Audio division of Telos, Q-Lan from QSC and WheatNet-IP from Wheatstone. A variety of other proprietary formats have since emerged. These include Audinate’s Dante in 2006 and ALC’s Ravenna in 2010, both based on IP Layer 3. The only actual standard for Audio over IP (AoIP) until recently has been the Audio Video Bridging (AVB) set of recommendations promoted by the Institute of Electrical & Electronics Engineers in co-operation with the AVnu Alliance. The IEEE’s AVB is based on Layer 2, but

this has not yet evolved into IP Layer 3-based format. Providing interoperability between existing AoIP formats is quite a challenge. Development of a universal AoIP standard within the existing standardisation groups is very comprehensive, as the complexity of an AoIP implementation is far much higher than, for example, the AES/EBU and MADI standards which we currently have in the audio interoperability field. However the AES67 standard published by the Audio Engineering Society in 2013 has actually succeeded in specifying the means for exchanging audio streams between areas with different networking solutions or technologies. These are already

in place based on existing and standard protocols and technology from the IEEE, IETF as well as other standards developing organisations. The non-profit Media Network Alliance has been formed by manufacturers and technology providers to promote and support the adoption of AES67 in the industry. This is clearly a sign of the success of the AES67 standard. The intention was not to invent new protocols or technologies but to define how to use existing protocols as a system in an interoperable manner. Other trade organisations like Alliance for IP Media Solutions (AIMS) have defined a roadmap to common standards for IP media, recommending AES67

as the format for ‘discrete audio’ in a video/audio media and broadcast environment which is also specified in VSF TR-03 and TR-04 technical recommendations. With AES67, the industry now has a means to provide interoperability for highperformance professional digital AoIP networking. Support from organisations such as the MNA and AIMS will facilitate the adoption of AES67 across the industry. In the end, the users who are faced with the task of deciding between the various AoIP solutions on the market will know that interoperability and interconnection between different systems are possible via the available AES67 interface implementations. However, one important

thing to know is that AES67 does not cover aspects of an AoIP system such as node advertisements and discovery. This functionality typically is largely specific to the networking solution or technology of the individual system. Yet, it can be expected that the various IP-based solutions will enhance their capabilities in order to adopt an AES67-compliant stream mode to facilitate inter-system interoperability, allowing multiple advertisement and discovery schemes in order to enable interoperability with more system solutions. Certainly, the commonalities defined by AES67 can be seen as the ‘glue’ between these various networking solutions. 8.B51

Flexible FM monitoring 2WCOM By Mark Hallinger The new A30 system is equipped with two professional FM tuners able to be used independently. Operators can, for example, use the two tuners to simultaneously

monitor two FM stations day and night, but can also let the second tuner monitor up to 30 broadcasting stations using its scan mode in round robin fashion. When in scan mode, the system lets operators effortlessly configure station order and measurement time via the new

The A30 FM monitoring device is the successor to the A20 and oﬀers multiple, simultaneous supervision functions

user-friendly web interface. The A30 features an audio input (which can be monitored), one MPX input (which can be monitored in parallel to the two tuner signals), two audio and MPX outputs and two MP3

HEVC and UHD updates for LifeTSAFT C2m Solutions By Will Strauss The LiveTSAFT analysis and error detection software has been updated to support both HEVC and Ultra HD. On show at IBC, LiveTSAFT is used to monitor an MPEG2-TS stream in real time and allows QoE (Quality of Experience) and QoS (Quality of Service) management along an IP network. According to its developers, C2m Solutions,

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the LiveTSAFT technology was used to monitor the Ultra HD broadcasts of football matches in France during Euro 2016. At IBC, C2m Solutions is also showing OTTLiveTSAFT, which analyses and detects errors in real time on an OTT stream. This product has also been updated to support HEVC and UHD. A third offering, TSAFT, designed to analyse VoD and catch-up TV content, is also available. This application allows for the upstream verification of content, checks

conformity and prevents any corrupted files from being distributed. TSAFT supports both MPEG TS and MP4 formats and is said to be able to |analyse 800 hours of HD content, approximately 3.5TB, per day. Again, it now supports UHD and HEVC. The TSAFT software can be integrated into a Service Oriented Architecture (SOA) platform through a web service. It can also be fully automated. 2.B39

streams, allowing monitoring audio from a distance. In addition, the A30 can also work as a back-up rebroadcast receiver, monitoring the external input signal and in the case of signal degradation, switch the

output source to one of the internal FM tuners. If the signal degradation is no longer existent, the A30 automatically shifts back to the external input source. 8.E78

MAG STBs and middleware unveiled Infomir By Anne Morris Infomir is presenting new models in the MAG set-top box series, as well as a new version of Stalker Middleware. MAG256w1 is a basic settop box and the successor to Infomir’s MAG254. Its more powerful processor responds to market demands of highquality content playback. MAG350 and MAG352 are

premium set-top boxes based on a Broadcom chipset. Both support HEVC compression while MAG352 can also playback 4K video. All the STBs feature in-built WiFi. Stalker Middleware is designed to support IPTV or OTT services. It is free and includes a number of updates such as multiscreen support, picture in picture, task manager, new applications and a new video club module. 14.L09

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One Click locking lighting stands OUTLINED

to another with one click. The sections. Both are constructed tightened properly. It uses a Mini stand is 210cm high, with from aluminium alloy and use bi-colour injection knob that three risers and four sections, air cushioning to prevent the offers a positive locking and while the Midi version is 240cm lighting fixture from slamming ergonomic grip to make this less IBC_big-screen_2016_v2_IBC 08/08/2016 1 high, with two risers and three Big-Screen down2016 if the locking knob16:27 is not Pagelikely, however. It also uses a

quick-release clamp design for quick set-up and easy locking tension adjustment. An optional strap with two clasps can be attached to the plastic locking loops so that users can easily carry a set over their shoulder. 12.G63

Conference 8 – 12 September : Exhibition 9 – 13 September RAI, Amsterdam Just click: The Kupo Click stands lock together for easy transport

Kupo Grip By David Fox The Kupo Click lighting stands have a clever four-way interlocking mechanism that makes them easier to store and transport. It allows users to fold stands flat and lock them

Spider offers lightweight support Vocas

The IBC2016 Big Screen Experience The IBC Big Screen Experience is the ultimate showcase that explores the art, science and business of cinema and how current developments in these areas are defining cinema and the wider industry for the 21st century. The IBC Big Screen Experience is free for all IBC attendees and features an editorially led programme, technology demonstrations and complimentary screenings. For the latest updates visit IBC.org/bigscreen

IBC Big Screen Experience Session Highlights Friday 9 September

Sunday 11 September

16:30 - 18:00 Advancing the Art and Science of Motion Capture Towards the Continuous Control of Facial Performance of Actual Live Action Footage

09:30 - 10:45 Critical Update: Laser projection, is it ready for wide deployment?

By David Fox The new Vocas Spider System is a modular, lightweight, relatively inexpensive rig made from machined aircraft-grade aluminium, and designed for DSLRs and small to medium-sized camcorders. The rig is easily adjusted and very compact to store, said the company, as it can be folded away while still on the camera. Other than the universal camera base, fittings come with a standard rosette connection, so users can add any existing rosette accessories. A starter kit (two extendable arms, the universal camera base, a rubberised handgrip and a shoulder brace) is priced from €795, but the camera base can have up to four arms, such as a stomach brace, or to support an external viewfinder/monitor. 12.D56

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11:00 - 12:00 Critical Update: Immersive audio, balancing key stakeholders' needs 15:30-18:15 EDCF Global Update

Saturday 10 September

Monday 12 September

09:30 - 10:30 Light Field Cameras: Technology that is indistinguishable from magic?

10:00 – 11:00 Big Screen Keynote: IBC proudly presents Mr Ang Lee on his creative artistry and transformational vision of cinema

10:45 - 11:30 HFR and Synthetic Shutter: Separating 'the look' from the frame rate 16:15 - 17:30 Virtual Sets and Virtual Production: A Masterclass describing the production of The Walk with special effects supervisor Kevin Baillie and commentary from Director Robert Zemeckis 18:30 IBC Big Screen Experience Saturday Night Movie: The Jungle Book Courtesy of our friends at The Walt Disney Company.

11:00 – 12:00 Realising an Auteur's Vision: A technical deep-dive into Ang Lee's 'Billy Lynn's Long Halftime Walk' 13:00 - 14:30 High Dynamic Range and Wide Colour Gamut: The art and science 14:45 - 15:45 Transforming the Big Screen with Big Data 16:00 - 17:30 Digital Cinema Investment 2.0: Where's the ROI? 18:30 IBC Big Screen Experience Monday Night Movie

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Dantetheibcdaily and MADI for automatic mic mixers OUTLINED

Dan Dugan Sound Design By Mark Hallinger The originator of automatic microphone mixing is showcasing two recently

introduced products for the management of live microphones in unscripted talking situations on its IBC stand. The Dugan Models M and N are automatic microphone mixers, designed to work in conjunction with standard audio

mixing consoles. The Dugan Model M has MADI I/O, both optical and copper, and the Model N has Dante I/O, primary and secondary. Both models provide 32 channels of Dugan automixing at 96K or 64 channels at 48K,

The Model M automatic mixer has MADI I/O, the Model N has Dante I/O

and are PoE capable. The Dugan Speech System, Music System, and Gain Limiting are all supported. In addition, the M and N include a scene memory

that can record and recall all operating settings, either globally or by unit, in a library of named scenes. 8.D96

Action, camera, microphone NewsApp service shared Sennheiser

By Adrian Pennington

A new action camera microphone will allow GoPro users to finally match their breathtaking footage captured at the extremes with highquality audio. Sennheiser’s product, on show in the Future Zone, is a mini external microphone that the company claimed is waterproof and nearly immune against snow, ice,

and wind. Based on a lavalier design, it features an internal protective device, the Umbrella Diaphragm, which is located above the acoustically active membrane. A windshield made of a foam material ensures that the mic can even be used for water sports while fully retaining its wind protection properties. According to Sennheiser, the microphone’s windshield is being fine-tuned. It needs to protect the mic reliably against wind noise and must retain this

quality even when completely immersed in water. A classic hairy windshield or a classic foam windshield could not do the job; if they get wet, quality sound has a hard time travelling through it. More extreme: Sennheiser’s 8.F21

microphone oﬀers a new take on the windshield

MediaPower

By Carolyn Giardina IBC showgoers can preview MediaPower’s NewsApp, a news sharing service that aims to bring broadcasters, news networks and citizen journalists together in an efficient way. According to MediaPower, NewsApp will let broadcasters and news networks augment

their traditional newsgathering process by crowdsourcing news footage ‘from the very people who are present when breaking news happens’. For citizen journalists, NewsApp (in the form of a mobile app) gives them a platform to reach news networks and ‘incent them to capture’ and submit news in real time, said the company. 7.J42

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State of the industry: An insider’s view Andre Meterian, director of broadcast & proAV, EMEA for Panasonic, looks at the state of the industry and what the company is bringing to IBC As a company, we enter IBC at an exciting time. 4K video is taking the industry by storm, with increasing demand for the ultra high definition format amongst broadcasters and cinematographers looking to future-proof themselves. Panasonic has continued to update its broadcast camera range to recognise this industry sea change, with the new AG-UX180 and AG-UX90 being the latest cameras in the Panasonic line-up capable of shooting 4K in a highly mobile, compact form factor. The growth of multi-platform and on-demand content

consumption has also brought the need for cloud and live streaming technology to the fore, and we see Media over IP (MoIP) remaining a long term major industry driver. Related to this is efficiency, which is the current flavour of the day in broadcast as internet streaming continues to disrupt the traditional broadcast model. We see this leading to significant changes in workflows and increased automation over the next few years. The drive for efficiency can also be witnessed through efforts to improve compression for enhanced

streaming performance. Panasonic’s partnership with intoPIX brings the likes of the TICO and H.264 compression codecs forward to support future 4K formats, as well as working towards ever lowerlatency streaming. At IBC2016, we will showcase our commitment to MoIP technology, and the dramatic efficiency improvements that have been made with a demonstration on our stand using an MoIP gateway, where visitors will be able to select video from a server with help from switching software.

Next level for LUTs Flanders Scientific By Heather McLean Advanced colour management devices have been introduced here at IBC by Flanders Scientific. BoxIO, a new product category, takes LUT box technology to the next level

according to the company, by incorporating unique capabilities such as frame capture, on-set grading, and dual channel operation. From BoxIO to BoxIO LiteSDI and BoxIO LiteDP, there is a BoxIO device to suit every budget and every production need, claimed Flanders Scientific.To address the frustrations often

experienced with LUT devices, the company has included SDI loop-throughs on every BoxIO model. These clean loops are in addition to the processed SDI outputs and allow the signal to continue unaltered to other downstream equipment. Bram Desme, CEO and GM, Flanders Scientific, explained,

Lightweight video compression makes 4K video transmission realistic. The gateway converts 4K/60p baseband signals into IP packets and uses TICO compression to enable transmission of up to three channels of 4K/60p on a single 10GB Ethernet cable. It enables two-channel 4K/60p signals or eight-channel HD signals in a 1U size complying with SMPTE 2022, SMPTE 2059 and SMPTE RDD 35, as well as time-synchronisation through the IP network. We will also be using the show to highlight our 4K

“We found that many clients wanted to feed both a LUT modified image to their client display as well as a clean signal to external devices like scopes. With most other LUT boxes the device is strictly an end of chain device, so if you want to continue the clean signal to other equipment you would have to use a distribution amplifier or router to accomplish that. BoxIO simplifies this real-world scenario by allowing you to just loop a clean signal back out of the device.”

line-up with a number of 4K cameras on show for the first time in Europe. We are expecting the VariCam LT to be a star of the show, but the AW-UE70 remote camera, AK-UC3000 live studio camera and AG-DVX200 demonstrate our breadth at UHD and above. The two new additions to our professional 4K line-up (the AG-UX180 and AG-UX90) will also be on display in Europe for the first time following their announcement at NAB. 11.C45

All BoxIO models support 17-sided and 33-sided 3D LUTs and feature the ability to simultaneously apply 3D and 1D LUTs for advanced workflows. BoxIO devices also support real-time LUT updates for use with production environment software such as LiveGrade Pro and QTAKE. Additionally, BoxIO allows connected applications to pull full resolution frame grabs for either reference stills or thumbnail creation. 10.B10

Stella LED lights make a splash Euro Light System By David Fox Light & Motion’s lightweight new Stella LED lights are designed to withstand extreme conditions; indeed, three of them are waterproof to 100m (IP68). Four of the lights (Stella Pro 7000 and 5000, Stella 2000 and 1000) also include a built-in Li-ion battery, which will run for up to 90 minutes on high and 11 hours on low.

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They can also be powered via DTAP or an included external power supply. The new 10,000 lumens Stella Pro 10000c operates on AC, but can also be powered by DC, while the 70W Stella 5000d drone light is powered off the drone or a camera battery with 12-25.2 volt input. The 5000-lumen 5000d can be fully remote controlled from the drone controller, including on/off, dimming, and a power-saving strobe mode for

photography. It weighs 750g and is 88mm tall, with a TLCI of 93. The flicker-free 5000K lights should also withstand a 1m drop onto concrete, and the 5000K LEDs have a TLCI of 90+, and a regulated lumen output that won’t fade during use (the numbers in each light’s name is its lumen output). They each have a 120º-wide smooth beam angle, with a range

of modifiers either included or available, including a 50º Focus Optic, 25º Fresnel,

and a GloBulb. Barn doors are included. 12.D46

Waterproof to 100m: Light & Motion’s compact new Stella Pro 5000

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Eutelsat-compliant feed introduced Flemish ingenuity at IBC2016 OUTLINED

Elite Antennas

Flanders Investment & Trade

By Ian McMurray A new hybrid mode Eutelsatcompliant Ku Tx/Rx feed assembly has been introduced due to customer demand, said Elite Antennas. With a two-port Ku band feed design said to be suitable for Elite and other manufacturers’ satcom antennas, it is designed for linear polarisation Ku band signals across all Ku satcom transmit and receive bands (10.5 – 14.5 GHz). The feed assembly design is claimed to provide excellent cross polar performance and very low side lobe levels when combined with a suitable reflector. Elite said that the feed is designed for use with its range of prime focus reflectors, providing efficient illumination and ‘outstanding’ overall performance. The modular design allows for different f/D values that can be designed to

The new feed is designed for linear polarisation Ku signals across all Ku bands

suit the customers’ particular requirements. The OMT is optimised to give superior return loss over the Super Extended Ku band (10.5 – 14.5 GHz). The company claimed that the isolation is particularly excellent and can be increased further with a transmit

By Heather McLean

reject filter. The hybrid mode feed design provides nearly equal beamwidths to more efficiently illuminate a reflector. Elite said this has the benefit of providing a higher cross polar isolation compared to a standard feed. 1.F33

More than 20 companies from Flanders are presenting their products and smart solutions, anticipating the rapid digital and consumer-driven developments in the broadcast industry. Appiness has created a platform that allows broadcasters to enrich any content with metadata, so that their viewers can interact with that content and can buy what they see. Also exhibiting is Small Town Heroes, selected as a finalist for the IBC2016 Innovation Awards, which transformed Ketnet, the children’s channel from VRT in Belgium, into an interactive, curated online experience. TinkerList, the first unified platform for creative television

makers is represented here, as is UnitronGroup, an international group of companies, offering state of the art headend technologies and digital TV accessories for providing TV distribution to multi-dwelling and residential buildings. Limecraft is showing ready-to-use applications and workflow solutions to studios, post production facilities and broadcasters, while OpenTelly, is demonstrating THEOplayer, an HTML5 based video player for streaming content on the web. Also on stand are Luminex Lighting Control Equipment, a manufacturer of high tech data distribution equipment for the professional entertainment industry, and SDNsquare, which guarantees performance, reliability and scalability for network, storage and data centres. 10.F34-10.F42

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MOM joins DAD at IBC Enco

By Mark Hallinger MOM (Media Operations Manager) is debuting to an international audience at IBC. A complete automated playout system, it brings automatic ingest, media asset management, graphics, and playout automation together

into one platform, said Enco. Leveraging the engine, configurable front-end layout and ease of use of Enco’s DAD radio automation, MOM allows a single operator to ingest, schedule, edit and playout media from the same system, unifying all media workflow operations within one workstation. This includes Enco’s fourthgeneration OnAir user interface

to manage log changes, and enable manual playback and live insertion control as needed. Ken Frommert, general manager, Enco, said, “MOM represents an evolution of the proven automation intelligence and toolsets built into our range of radio and television audio playout products, with the additional functionality required to efficiently power video

Nodeum set to virtualise storage MT-C By Heather McLean A hybrid storage and active archiving solution, Nodeum, has been launched by MT-C to virtualise multiple forms of storage, including flash, disk and tapes, in one system. The company’s own research showed several strategic challenges that are set to be game changers in the IT

landscape over coming years: the explosion of data volumes; the need to access data quickly and effortlessly; longer term data retention policies; increased data security and integrity; and the environmental and cost considerations for prioritising reduced storage energy consumption. Valery Guilleaume, CEO, MT-C, commented, “Nodeum allows users to easily catalogue, store, and retrieve massive

volumes of data. The interface is easy to use and intuitive. REST API and LTFS open the solution.” To introduce IBC visitors to Nodeum, the company has launched its free appliance during at the show so customers and partners can have the chance to try it out at its full capacity. MT-C also announced that Nodeum is LTFS certified by LTO. 10.D31

Pocket streamer Roku

By Adrian Pennington The new Roku Streaming Stick is claimed to be the only pocket-sized streamer with a quad-core processor, offering

eight times more processing power than the previous version. Additional features include dual-band MIMO wireless for connectivity and a point anywhere remote for easy navigation and control. 15.MS47/48

The Roku companion app for the Streaming Stick

Immersive rendering gets open source boost AMD By Carolyn Giardina The physically based rendering engine from AMD, Radeon ProRender, is being released as open source, as part of GPUOpen. Alongside Radeon ProRender, developers also have access to Radeon Rays on GPUOpen.com, a ray tracing intersection library for GPU, CPU or APU on virtually any platform. GPUOpen is an AMD initiative designed to

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assist developers in creating games, professional graphics applications and GPU computing applications, using open development tools and software. Radeon ProRender plug-ins are available for 3D content creation applications including Autodesk 3ds Max, Soldiworks by Dassault Systèmes and Rhino, with Autodesk Maya coming soon. Radeon ProRender, formerly previewed as AMD FireRender, works across Windows, Mac OS X and Linux, and supports AMD

GPUs, CPUs and APUs as well as those of other vendors. Raja Koduri, senior vice president and chief architect, Radeon Technologies Group, AMD, said, “Radeon ProRender is a high-performance, photorealistic, GPU-based rendering technology that took us years of engineering effort to create. GPU-compute based rendering solutions have the best chance of realising the dream of photorealistic rendering for immersive computing experiences.” 7.H35

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The GUI for the MOM automated playout system is highly visual

workflows. However, MOM redefines the user experience by eliminating the complicated, spreadsheet-like user interface common with today’s leading

automation systems, in favour of the highly visual and flexible modules that Enco customers enjoy worldwide.” 8.A59

IP streaming robotic PTZ camera JVC Kenwood By David Fox JVC has launched its first robotic PTZ camera, the KYPZ100, which can be used in-studio or on location. When connected to a WiFi adapter or 4G modem via USB (or directly connected to a LAN), its IP-based communications engine streams up to 1080 50/60p video with twochannel audio. It can be used as a standalone remote camera, part of a multicamera production or as a conventional PTZ camera. John Kelly, general manager, JVC Kenwood UK, said, “It is fully IP controllable, with 3G SDI and HDMI output, and good low light performance, with a 30x optical zoom. It will be shipping after IBC, with a street price of about £3,000.”

It uses a 1/2.3-inch sensor, has built-in recording to SD memory at up to 50Mbps, and a LoLux mode that delivers images in darkness as low as 0.01 lux. The camera offers low latency streaming at various bit rates (up to 12Mbps). It has integrated Zixi technology, which is claimed to deliver reliable streaming performance with forward error correction and automatic repeat request as well as adaptive bit rate control. There is also a robust new RM-IP100 remote control panel, although users can also control the camera via a web browser, or use remote units that support the VISCA protocol. The RMIP100 can memorise more than 100 preset settings and positions. The camera is available in black or white housings and can be mounted upside-down. 12.F31

JVC’s KY-PZ100 is its ﬁrst move into robotic PTZ cameras

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Access improved for in-home WiFi OUTLINED

AirTies Wireless Networks By Ian McMurray

In-home WiFi products and services for operators are being demonstrated by AirTies. The company currently provides inhome WiFi systems to leading service providers, such as Sky, Vodafone, Singtel, Swisscom, Midco, and others.

Unlike traditional WiFi, which relies on a single Access Point (AP) from a router/gateway, AirTies says its solution uses multiple APs placed around the home to create an intelligent network that ensures consistent, high quality whole-home internet coverage. These compact, smart APs can be connected wirelessly via AirTies’ Wi-Fi Mesh, or with a hybrid combination of wired

connections, such as MoCA, Ethernet, or Powerline. In addition, AirTies’ Client Steering technology is designed to dynamically connect devices to the best available WiFi channel and frequency (2.4GHz or 5GHz), based on actual network conditions in the home to ensure optimal performance. AirTies is also demonstrating Remote View version 1.0,

Venice set for 4K performance Rohde & Schwarz By Carolyn Giardina A 4K version of R&S Venice, the ingest and playout system aimed at live and studio productions, is on show. R&S Venice 4K features native 4K/ UHD-1 acquisition, playback and transform functions. The 4K version enables ingest, playout and transform processes for 4K/UHD-1 material up to 60p. At the same time, an HD-derivative can be generated to provide compatibility with existing HD workflows. The dual destination feature makes it possible to save UHD-1 signals independently and in parallel to two different storage environments, eliminating transfer times for copy processes. UHD-1 signals can be directly recorded to internal and external storage media, and the recorded material can be directly accessed.

The system supports Sony XAVC and Apple ProRes for the recording of UHD-1 signals. Regular software upgrades expand the variety of supported codecs, allowing broadcasters to design workflows and adapt them to their individual needs. R&S Venice 4K can be controlled via VDCP, webservices (FIMS, MOS) or the R&S Venice remote client. The R&S Venice Play software is intended for use in studio playout applications, allowing users to control multiple channels. The clear display of multiple channels in

Guests and Reporters Click-and-Connect to your IP Codecs including the NEW CallMe-T

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parallel makes it possible to simultaneously view channels in A/B mode and auxiliary channels and to control them, even under live conditions. Michael Hackl, product manager, file-based media solutions, Rohde & Schwarz, said, “We are excited to open TV studios new perspectives up to 4K in studio production with our R&S Venice ingest and playout platform. With R&S Venice 4K, broadcasters can gradually migrate their production to 4K while orienting themselves to their familiar workflows.” 7.E25

Venice 4K handles dual native 4K/UHD-1 signals independently and in parallel

a cloud-based, in-home performance monitoring system for field support and network engineering teams to optimise in-home WiFi. The company claimed that Remote View enables operators to identify WiFi installation issues, determine if coverage problems exist, whether additional APs are required in a home, and provides key performance data on both individual homes

The AirTies 4920 access point is at the heart of the company’s WiFi oﬀering

and aggregates data across numerous households. 5.C70

Hybrid fibre and satellite UHD truck BT Media & Broadcast By David Fox

a customer’s premises. The links truck went into service at the end of July, covering Speedway from Manchester (transmitting one of both UHD and HD links on satellite). In August it, covered four premier league football matches providing three UHD and three HD links on fibre and a UHD link on satellite as a back up. O.C01

The new TES52 hybrid fibre and satellite Ultra HD truck from BT Media & Broadcast has been designed to broadcast live UHD/4K sports events. Built by systems integrator and mobile broadcast production specialist Megahertz (12.F20), it’s the first truck in the UK with the ability to transmit HD and UHD/4K via fibre and satellite simultaneously. TES52 can transmit HD and UHD pictures from anywhere via its roof-mounted satellite dish KUband antenna or via fibre from any of the 150+ UK sites that are already hooked up to the BT fibre network, which can then be routed onto BT Media & Broadcast’s new TES52 nearing completion at Megahertz either BT Tower or to

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NEW CallMe-T Studio Codec

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The three pillars of smart production ‘Creative’, ‘business’ and ‘technical’ is a short hand way to look at your organisational objectives this year, explains Jeff Moore, executive vice president & CMO, Ross Video These days, with such enormous change and challenge in the broadcast and production industries, smart production is what everyone is striving for: finding ways to push the creative envelope, to do things more efficiently and to leverage the use of technology to meet the goals of the enterprise. Within Ross, we talk about the three key elements our clients are looking for from us: creative, business, and technical or ‘CBT’. These three elements provide a simple way to look at the needs within your organisation when it comes to live production and to categorise and evaluate

the impact of the products and solutions that you are presented with at the show. Here are the three pillars of smart production:

directors are key in making creative use of the technology and the technologists are there to enable, support and make it as easy as possible for the creatives.

Technical

Creative How do we help drive the creative aspects of the production to best capture our audience’s imagination? Innovative use of technology, such as live data-driven production graphics, augmented reality, replay, camera motion systems, and social media can really make a production stand out and connect with audiences in new and compelling ways. The artists, producers, and

use of automation, workflow tools and analytics can make a significant impact on productivity, freeing up resources to work in new areas of your business. The impact on people and the change management required in moving to new workflows and tools is an important consideration in evaluating the business impact of new technology.

Business Many of us get wrapped up in either the creative or technology sides of the industry, but it’s always important to remember that we are engaged in a business that must produce financial results. Even non-profit organisations have budgets and bottom lines with a mandate to use the money available in the best possible way to achieve their mission. Appropriate

Technical goals should always come in third place as they should support creative and business goals. While technology is obviously crucial in the industry, its purpose is to make creative and business goals possible. There are often difficult choices to be made when deciding which technologies to adopt. Going down the wrong path can be expensive and can often involve a long recovery

period. On the flip side, the technologist can often bring new ideas to support the creative and business aspects of an organisation that, when done right, can end up enabling amazing new ways of doing things never before imagined. There you have it: creative, business, and technical (CBT); a short hand way to look at your organisational objectives this year. We hope you enjoy IBC 2016, that you find something new at the show to advance your creative, business, and technical goals, and that you drop by Ross to experience our smart production solutions. 11.C10

Cam Tank rocks up for low PoV shots New gateway and router announced Matthews Studio Equipment By David Fox The Cam Tank rocker plate is MSE’s new offering for very low angle shots while retaining the ability to do smooth camera moves. Tyler Phillips, VP of product development and marketing at MSE, said, “During many of my set visits, I would see the camera operator and AC sitting on the ground, with the camera resting on a sandbag in an effort to get a low PoV. I would hear the DP or director asking for a camera pan, which is very difficult and sometimes impossible to do on a sandbag.” The answer: Cam Tank. It accepts both large camera plates and direct mounting, and is also useful for Dutch angles when mounted to a fluid head, or shots designed to be pointed straight down off a fluid head or jib.

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The first Cam Tank off the production line was bought by DP/operator Lance Fisher SOC, who commented, “Low shots, the person-sitting-at-desk shot, the low angle tilt-up to the hand holding the phone, pan that dog’s face low along the floor, etc. The Cam Tank gets you a good 12in [30cm] lower than a fluid head without sacrificing

control.” Fisher also likes that it has more vertical and horizontal 3/8-16 holes on the base. “You can mount the Cam Tank onto another head and create a Dutch shot or a partial third axis,” he said. “Nice rubber non-skid feet. It’s built like… well, it’s built like a tank.” 12.G71 On its rocker: Cam Tank gives you more on the ﬂoor

Utah Scientific By Heather McLean New prototype IP gateway cards that feature Utah Scientific’s new core IP engine are on show, as well as the Foundation Series, the latest offering in the company’s advanced family of hybrid digital routing systems. The new UTAH-400 IP Gateway provides two-way conversion of SDI video signals and VSF TR-03, complying with the AIMS roadmap for transition to IP operations. All the key AIMS TR-03/04 initiatives are being demonstrated at the show, including RFC4175 video, AES67 audio, SMPTE 2059 timing, and NMOS discovery and registration. The Foundation Series uses technology in Utah Scientific’s UTAH-400 Series 2 router family, designed to provide a single platform for all digital

router applications and handle all digital signal formats. The company said it was designed for a broad range of broadcast, mobile, corporate, and post production applications. It provides double the outputs without increasing the device footprint for efficient and feature-rich signal routing, claimed Utah Scientific. These outputs can be connected directly to multiviewers and other monitoring devices that are installed locally with the router. 10.A21

The Foundation Series provides double the outputs without increasing the router footprint

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360-video on a Pufferfish

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Portable AC power without generators

OUTLINED

Argon Design

By Adrian Pennington

individual sensors is passed to image signal processing blocks then stitched into a single output by Argon360, and further processed on the chip for viewing, streaming or storage. The patent pending technology is available as an IP core building block for incorporation into an ASIC, or available for an FPGA implementation, suitable for lower volume products. The results can be viewed in the IBC Future Zone on a

spherical interactive display from Pufferfish. Pufferfish was formed by two undergraduates at the University of Edinburgh who used their own resources to develop the ideas for commercial products. The innovation has been used at a wide variety of events and installations including at museums, for rock concerts, and for presentation as part of a TV news studio. 8.G14

The prominence of 360-degree video is increasing, with users at all levels from consumer to film studios, and with stitching of video output from multiple sensors a key process. Until now there has been a choice between speed and quality. Post tools can produce excellent results, but at the cost of time and effort of skilled operators, while software-based real-time stitching techniques typically achieve a more basic result. Argon360 is claimed by its developer to offer high quality stitching in real-time, using custom-designed hardware logic in a chip with low power consumption. Video BBC show Stargazing Live used a PuďŹ&#x20AC;erďŹ sh â&#x20AC;&#x201C; similar to one on show in the Future Zone from a VR rigâ&#x20AC;&#x2122;s

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BlockBattery By David Fox The new 1500-INV power inverter from BlockBattery is capable of powering a Joker 800 HMI, or two Cineo HS2, or two Arri S60 SkyPanels simultaneously, or a range of other high power equipment. It can provide up to 1500W of 120-volt AC pure sine wave power in a scalable capacity from 400 to 3,200 Watt hours (Wh). This scalable capacity is provided from the output of one to four block batteries, which complete the system. Compatible models include the new HC400 high current block, the S600, or the S800; which provides the highest capacity with 800Wh per block. A configuration based on four HC400 units could run a K5600

Joker 800, a Cineo Quantum, or Creamsource Sky units for more than one hour; four S800 units would double that runtime. A 220v AC version of the 1500-INV is also available. â&#x20AC;&#x153;The 1500-INV provides the flexibility of a scalable solution and alternative to noisy generators, which are not practical for many applications,â&#x20AC;? said Greg Prentiss, BlockBatteryâ&#x20AC;&#x2122;s director of sales and marketing. 12.B36

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Switcher Control Surface

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UHD OB rolled out for NEP Switzerland

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The re-designed production area has space for up to 20 crew

Broadcast Solutions By David Fox Switzerland’s first Ultra HD OB truck has been bought by NEP for use on the new season of Swiss Super League football. The Streamline S12 4K OB was built by Broadcast Solutions, and offers more space than previous Streamline vehicles due to a new room concept for the production area. The Ultra HD-41 works with up to 12 cameras in UHD and can be manned with up to 20 operators. Trond Hermansen, CTO, NEP Switzerland, said: “From the assignment to produce the Swiss Football Super League to the first productions we had less than six months for developing and testing the OB van. “I think the Streamline S12 4K is very flexible. It is an open solution and we can easily adapt different set-ups and change positions in the OB. The KVM system makes it easy to change the working positions. This all leads to fast set-up times.” It features a powerful audio section, with a 48-fader Lawo mc256 and Lawo Nova 73 compact 5120x5120 audio matrix. “[This] puts us in the position to cover sports and entertainment events with the same high professional outcome,” added Hermansen. The 14 metre expanding trailer sports ten Panasonic AK-UC3000 cameras, a Grass Valley Karrera 8M/E switcher with K-Frame and 3M/E panel, Imagine Communications Platinum 256x328 video router, NEC and Sony monitors, seven EVS systems with VSM control, Imagine Selenio and Axon modular equipment, Riedel MicroN processing, Imagine Communications Platinum SX Pro 144x21 multiviewer, Riedel Artist 128/MediorNet Stagebox intercom and Riedel Riface/ Motorola talkback. O.D02, 8.A74

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IBC Awards: Sunday 11 September 2016 IBC2016: 8 – 13 September 2016

Celebrate Collaboration and Creativity! Presented in a lively and fast-moving celebration during IBC on Sunday 11 September, the IBC Awards showcase some of the most exciting and stimulating content from the year. IBC Awards Categories include: - International Honour for Excellence - IBC Innovation Awards

- Best Conference Paper - Exhibition Stand Design Awards

IBC Innovation Awards ﬁnalists include: Content Creation:

Content Management:

Content Delivery:

Find out more about their projects at IBC.org/awards Join us for the exciting ceremony on Sunday 11 September at 18:30 in the Auditorium.

#IBCAwards

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Business models evolve with IP There’s growing demand for flexibility in operations, cost reduction, and ultimately, advances in the end user experience, says Robert Szabó-Rowe, EVP and GM, live production and infrastructure, SAM IBC always generates a lot of interest, but with so much transition across the industry, this year is particularly exciting. Our customers are increasingly looking at how they can evolve their infrastructures to adopt new resolutions and technologies, to address their business needs. IBC offers a brilliant platform to showcase the options now available. 4K production is one area set to generate attention. We’re seeing an enormous change in sports production, with a growing demand to deliver 4K content to consumers, who are now getting ready for it in greater numbers. As a result, our customers are eager to understand how they can enhance their offering with 4K as the likes of BT Sport and Rogers have already done successfully.

With technology evolving to enable IP routing, the debate around whether broadcasters should shift facilities from SDI to IP continues. BCE is one example of a client that has recently undertaken a major IP deployment, providing more agility, competitiveness and above all, a future-proofed system. We look forward to helping those within the industry gain greater clarity around the options available and how IP routing could work for them at IBC. Business models for customers are changing rapidly, due to the influx of new entrants that are less traditional. Outside of the terrestrial broadcasters, we are seeing the growth of OTT solutions, delivering content in different ways to traditional mechanisms. Younger consumers have more ways

to view content available to them, with many now preferring second screen devices and on-demand services over linear television. Understandably, this is shaking up the industry. It is creating greater competition, meaning that broadcasters need to work harder to differentiate themselves. Alongside this, they are having to service more channels for less revenue. There is a demand for finding more cost-effective ways to process and deliver content, and do so with greater agility. The opportunities lie in offering more diversity in distribution and allowing customers to implement dynamic systems. Sports and live events continue to attract advertising investment, so we expect live sports production to be a key area for development in the sector.

At IBC, we will be launching a wide range of new products including our latest capabilities in 4K and IP sports production workflows, our complete IP product portfolio deployed with customers worldwide and our accelerated move into the software application world. We’ll be releasing a range of new products focusing on 4K as it becomes deployed across all regions and ensuring our customers have the most complete 4K offering. IP workflows are a hot topic at the moment and we will be presenting the industry’s most comprehensive IP offering that demonstrates all the work we have undertaken, and deployed, with our customers. Our customers expect us to be at the front of this process and we are investing to ensure we have the answers they require. As part of

this move to software-defined products, we are developing new business models that allow customers to change the way they pay for technology. We are only at the beginning of this revolution, but we believe it will fundamentally change the entire market. The demand for agility has led to us developing virtualised systems; we will be showcasing the most advanced virtualised channel-in-abox system at IBC. It allows customers to be more dynamic, bringing up new channels quickly on virtual machines to deliver what they require, when they require it, offering substantial efficiency and cost savings. 9.A01

Gateway to IP adoption

Establishing an 8K agenda

Artel Video Systems

Cinegy

By Heather McLean The DLC450 Gateway is on show, intended for transport of HD, SD, ASI, and GigE signals over 10G Ethernet networks. The device expands IP support in the company’s DigiLink media transport platform. Designed specifically to address customers’ growing requirements as they migrate from direct fibre to IP networks, the DLC450 supports auto-sensing of standards-based, broadcast quality HD-SDI, SD-SDI and ASI video formats. Integrated in the DigiLink platform, the DLC450 utilises SMPTE 2022-1/2/5/6 IP Encapsulation and optional forward error correction algorithms for flexible configurations that maximise

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reliable performance and minimise latency, said the company. A GigE IP interface allows end users to bridge IP data for greater bandwidth utilisation of the 10G Ethernet interface. Mike Rizzo, president, Artel Video Systems, said: “The broadcast industry is quickly migrating to IP-based systems, and customers managing

complex workflows need video, audio and data transport solutions that support multiple formats and technologies. To address the multi-faceted requirements of this growing market, Artel enhanced the DLC450 to provide greater flexibility and bandwidth efficiency to ensure reliable video and data transport over IP networks.” 10.B20

The DLC450 aims to help migrate users from direct fibre to IP networks

By Carolyn Giardina With emerging 4K channels and 8K broadcasts already starting in Japan, Cinegy is using IBC to share its strategy to make 8K workflows possible and accelerate HD and 4K workflows. It aims to do this using Cinegy’s software products for capture, playout, production, and archive, combined with GPUpowered encoding, decoding and processing technology. Specifically, at IBC, Cinegy is previewing 8K-capable versions of its products, with the core of the 8K demo being the company’s Daniel2 GPU video codec. Cinegy’s overall goal is an open software platform with

commodity IT to enable 4K, 8K or higher. Jan Weigner, CTO and co-founder, Cinegy, explained, “While 8K may still be a moonshot for many, demonstrating just how easy it can be helps underscore our future-proofing message: there is an affordable answer today that costs the same for SD, HD, 4K, and, if you wish, 8K. The future of acquisition and production can be whatever you want it to be, at whatever resolution works for your business using today’s commodity IT hardware.” Cinegy is also introducing ‘Cinegy as a Service’ to Europe at IBC, to enable customers to deploy software-defined television on cloud-based virtual machines. 7.A30

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FM radio in a micro pipe The Telos Alliance/ Nautel By Mark Hallinger What is claimed to be a groundbreaking composite FM codec, µMPX, is being demonstrated by The Telos Alliance with participation from Nautel. µMPX (or micro MPX) is a specially designed audio codec for FM radio that can transport highquality multiplexed FM signals over a relatively small 320kbps data pipe. By reducing data requirements, high-quality

multiplexed audio can be economically routed from an audio processor, over IP, and directly into an exciter. Wendell Lonergan, head of broadcast sales, Nautel, said, “We are excited to do our part to show these advanced radio transmission technologies at IBC. We invite attendees to visit our stand for personal demonstrations of our technologies, with options for not only analogue but HD radio and DRM modes, as well as low power television.” 8.D47

Cloud apps and global content delivery Dalet

By Mark Hallinger Brand new Dalet xN marketplace apps that aid in national video exchange and delivery, as well as enterprisewide cloud-enabled workflows, are on show. Also at the Dalet stand will be stock footage distributor Clippn, on hand to discuss and demonstrate the power of applying Dalet xN in a real-world scenario. Dalet said its xN products exploit the new business and technological possibilities brought about through the advancement of cloud, virtualisation, dynamic scalability, and hybrid on/ off-premise deployments, expanding opportunities and increasing the effectiveness of the media economy.

Dalet is also showcasing integration with products like NewTek TriCaster and VidiGo multi-camera production systems. Driven by Dalet Galaxy, radio broadcasters can incorporate graphics such as lower-thirds and branding to enhance OTT distribution and maximise sponsorship opportunities, Dalet said its systems could do this while maintaining important graphics metadata. Aiming for a simpler process for global distribution of content, the Dalet Workflow Engine is being showcased in Galaxy and AmberFin platforms. Both platforms support IMF, an industry format that serves as a model to assist with and enhance program preparation and mastering. 8.B77

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ARD & ZDF go to Xtremes for Euro2016 OUTLINED

Egripment By David Fox German broadcasters ARD & ZDF used the latest Egripment Xtreme T10 Encoded telescopic crane as part of their augmented reality presentation in daily live broadcasts from UEFA Euro2016 in Paris. The crane delivered real-time tracking data in combination with the Vizrt Render Engines provided and operated by deltatre. The T10 was rented from Egripment, which also provided a calibration service and on-site operation, and the tracking system provided crane data, as well as lens information and deformation data. The tracking protocol provided redundancy for

The new Egripment Xtreme T10 Encoded telescopic crane in use in Paris

the Datastream in case of a render engine failure, allowing seamless switchover to the back-up system, as all data is delivered as fully processed protocol to available engines within the network. The Egripment Xtreme T10 uses mechanical tracking, operating independently from any visual targeting, meaning its operation is identical to normal crane

operation. It has a maximum arm reach of 7.5m, enabling it to reach almost every spot in the studio, with a minimal footprint. Its carbon fibre design offers extra stability for less weight. For Euro2016 it was equipped with an additional encoder package with tracking interface as well as Egripment’s 306 Encoded Remote Head. 12.A21

Hot answer to chilled satellite problems Walton De-Ice By Ian McMurray Showcasing its latest systems to help satellite earth stations maintain uptime in winter climates, Walton De-Ice is featuring gas and electric heaters and controls for antenna protection. The company’s newest CE-approved heaters have been combined with updated automated control features to offer improved efficiency for satellite broadcast

facilities. Walton’s Hot Air De-Ice systems, including the company’s Plenum enclosure installed on the rear of antennas from 3.7m to 32m in diameter, are claimed to provide the most reliable and economic antenna deicing solutions on the market. Walton said that its Hot Air De-Ice systems heat the entire antenna reflector uniformly, which minimises reflector distortion that can cause signal problems, especially at Ku- and Ka-Band. Also at IBC is Walton’s Ice Quake system,

World’s first 802.11ax solution Quantenna Communications By Adrian Pennington

Dalet’s Workﬂow Engine can simplify distribution of content, now with IMF support

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IBC2016 sees the debut of the industry’s first 802.11ax compliant solution. Quantenna claimed its QSR10GU-AX chipset is the first in the world to support the upcoming WiFi standard. 802.11ax is aimed at increasing the efficiency of WiFi networks in dense deployments. According to the company, it ‘dramatically’ improves WiFi

network performance in terms of being able to support more simultaneous clients. This is said to be extremely helpful not only to businesses and public venues, such as airports, hotels, conference halls, but also in homes where the number of clients continues to grow from ten today to over 22 in 2020. The QSR10G-AX platform builds on the Quantenna 12-stream 10G Wave 3 technology and adds support for Orthogonal FrequencyDivision Multiple Access

which vibrates and sheds snow and rain off antenna covers from 0.6m to 6.3m in size, preventing snow and ice build-up. The company claims that Ice Quake can save broadcasters up to 100 times on energy costs compared to competing anti-ice systems, and that money is also saved by avoiding the need for high power conduit, trenching and switchgear. Ice Quake uses an RF-transparent Walton Snow Shield antenna cover made of rugged architectural fabric. 1.A62 (OFDMA), the cornerstone of 802.11ax technology. OFDMA is an advanced multiple access system that dedicates different sub-carriers for individual clients. This allows multiple clients to be simultaneously served – a dramatic departure from previous WiFi standards. As a result, Quantenna’s QSR10G-AX is said to deliver unprecedented WiFi performance, reliability and capacity for high-density environments, and can address service provider, retail, enterprise, and consumer market segments. 15.MS36

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See the Olympics in 8K OUTLINED

NHK By Adrian Pennington 8K isn’t just coming, it’s already here. This summer, ahead of the Rio Games, Japanese state broadcaster NHK began test transmissions in 8K on the BS satellite channels designed to both prove and popularise the ultra high definition format ahead of the 2020 Tokyo Olympics.

During the games, NHK held 8K Super Hi-Vision screenings at six venues in Japan and in Rio de Janeiro. The opening and closing ceremonies, alongside judo, swimming, athletics, basketball and the men’s football final, were produced jointly with Olympic Broadcasting Services. NHK wants to broadcast the 2020 Tokyo Olympics live on a new 8K TV channel. Test broadcasts will begin in 2018,

ahead of that year’s Winter Olympics in Pyeongchang, South Korea. In readiness to display these 32-megapixel images the major TV makers are preparing 8K TVs. Panasonic has started a Beautiful Japan 2020 campaign, which is aimed at fuelling national loyalty in the run-up to Tokyo 2020. Sharp is already selling 85-inch 8K displays in Japan. The 5G mobile standard is also due to be ratified by 2020, paving the way for 8K delivery to the home by fibre, and fixed wireless anywhere. On a more prosaic level the production ecosystem for 8K is being rounded out with new cameras from Ikegami and Canon (in prototype) and a HDR scheme written with the BBC. 8.G20

NHK is back in the Future Zone at IBC, but is 8K really the future, or the present?

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Lowering the cost of OTT Artesyn Embedded Technologies By Adrian Pennington High-density video acceleration technology from Artesyn is available as an add-on card for ‘quick and scalable’ integration into standard server architectures. This means users can work with existing servers as well as cloud infrastructure to support new video transcoding services. The SharpStreamer card portfolio encompasses a range of GPU-accelerated devices in small, scalable PCI Express card footprints that are easily deployable in off-the-shelf platforms. According to the developer, it enables content owners,

broadcasters and service provider networks to lower the cost of handling OTT video and speed the deployment of high density video transcoding and multiscreen delivery. One version is the SharpStreamer Mini which features one or two Intel Core processors and Intel HD Graphics 6000 in a half-length PCI Express add-in card. The SharpStreamer technology is also available pre-integrated into a 1U server or 2U carrier-grade server for broadcast and multiscreen OTT in a standard server architecture. 15.M234

Artesyn’s SharpStreamer Mini, part of a range of GPU-accelerated devices

NEW RF field spectrum analyser reduces time installing and maintaining your network See what you have been missing in your network when trying to: − Locate interference sources − Identify cable loss and distance to faults − Verify antenna faults − Classify signals − Record and playback signals

Visit us in Hall 10 Stand D41

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Apple and Google devices for Suggested TV Easel TV By Anne Morris Multiscreen cloud video software company, Easel TV, has announced that its OTT platform, Suggested TV, is now available on the fourth generation Apple TV box and Google Cast. The first use of these latest Suggested TV device players will be for the Curzon Home Cinema service. Phil Mordecai, director, Curzon Home Cinema, said, “The launch of the new Curzon Home Cinema-branded Apple TV and Google Cast players forms an important part of its overall offering to our customers who want the big premium cinema experience at home. “We’ve had a lot of customer requests to provide players

on these two platforms in particular and are delighted to launch them using Suggested TV,” added Mordecai. Further devices already supported by

The Curzon Home Cinema service will be ﬁrst to use latest Suggested TV devices

the Suggested TV service are the Apple iPad and iPhone, Android smartphones and tablets, Amazon Fire TV, Virgin Media TiVo, Freesat, and multiple s mart TV sets. Bill Scott, COO, Easel TV, said, “Easel TV’s productbased approach allows our clients a rapid route to launching services on supported devices. New devices are continuously under development and all our clients benefit from our investment in these players.” Easel TV also recently added new marketing tools to its Suggested TV Engine, which is a suite of management tools with a common interface for the complete end-to-end operation of the company’s multiscreen cloud video service. 14.C08

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QStart adopts NDI for IP-based prompting OUTLINED

Autocue By David Fox NewTek’s open Network Device Interface (NDI) standard for IP-based production workflows has been adopted by Autocue for its QStart prompting software. It means that with NDI enabled QStart will be recognisable as a source by other NDI-enabled devices and systems connected to a standard Ethernet local area network. This should significantly increase the number of video sources available for live production without the need for a physical input or output. Using NDI, Autocue can send prompter text through NewTek’s TriCaster multicamera video production system directly from the QStart application so that it can be viewed on multiviewer

or distributed to other devices such as on-camera teleprompters. This removes the need to use a physical input/output connection on TriCaster, making teleprompters a viable option for all productions. Autocue is also providing its language-independent QStart software free of charge to TriCaster users who download the software from NewTek’s NDI website. This should make it easier for TriCaster users to implement teleprompting and improve their workflow. NDI is claimed to be the industry’s largest ecosystem of IP-enabled products using the same standard. According to NewTek, more than one million NDI-compatible devices are already in use, and QStart should be able to communicate with all of them. 12.E65

IBC2016 Mobile App Manage your time at IBC’s Conference and Exhibition. Find interactive ﬂoorplans, the exhibitor list and conference programme right at your ﬁngertips. Features include: • • • •

Searchable exhibitor list IBC show information including feature area schedules Build your own conference schedule Catch up with the latest news from IBC fed directly to your app

Find out more and download at IBC.org/app

#IBCShow

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Dual offering for dialogue noise suppression OUTLINED

Cedar Audio By Mark Hallinger Making its European debut is the new DNS 2 dialogue noise

suppressor, designed for location sound. Cedar Audio said it can be used to clean noisy audio or to judge whether recordings are going to be good enough to be cleaned successfully in post,

thus avoiding time-consuming and expensive ADR. The DNS 2 can also be used for live broadcast, where its small size, analogue and digital connectivity (the former with The DNS 2 is ready to tackle noise on location and in live situations

high quality mic preamps), 12V power and camera mounting points make it useful for jobs where speed, portability and convenience are paramount. The DNS 8 live dialogue noise suppressor, which is already established in broadcast and live sound, is also on show. Offering eight channels of noise suppression, this 1U rackmount is quick and simple to operate, said the company. 8.D98

Conference 8 – 12 September : Exhibition 9 – 13 September RAI, Amsterdam

IBC2016 Conference Speakers Announced

Linear TV for any device

Transformation in the Digital Era Keynotes:

SPB TV By Anne Morris

Sir Martin Sorrell CEO, WPP

Ang Lee Film Director

Shahrzad Rafati Founder and CEO, BroadbandTV

Other Speakers Include:

David Puttnam CBE President Film Distributors’ Association

Alex Mahon The Foundry Content and Production

Dominique Delport Havas Media Group Keynote

Kevin Baillie Atomic Fiction IBC Big Screen Experience

Spencer Stephens Sony Pictures Entertainment Business Transformations

Hendrick McDermott NBC Universal International Platform Futures

Erik Huggers Vevo Keynote

Upgrade to a conference pass now for access to these sessions!

#IBCShow

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te s i g

g/ r .o

Three new products await IBC visitors on the SPB TV stand in Hall 14 this year, including SPB TV Astra, SPB TV Rosing, and SPB TV Home. SPB TV Astra is described as a professional solution for fast, high-quality processing of linear TV broadcasts and on-demand video streams from a single headend to any device. The solution is delivered in a software-based configuration and can be integrated into an end-toend video delivery platform. SPB TV Rosing, meanwhile, is an OTT TV platform with a professional user interface and a complete package of middleware tools and features. Finally, SPB TV Home provides personalised TV viewing experiences and extended home connectivity to any large screen, with or without settop boxes. 14.E17

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OPINION

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When worlds collide The biggest impact of IP will be on live production workflows and the engineering skillsets required to manage them, says Paul Robinson, CTO, video product line, Tektronix Anyone attending IBC this year will see evidence of the enormous technological changes that are beginning to impact the broadcast industry. Some changes such as 4K/ UHDTV, high dynamic range and high frame rate video are evolutionary, but the transition to an all IP video production workflow is now regarded by many as a revolutionary and disruptive technology change that will demand entirely new engineering skillsets and infrastructure. The migration to IP will impact everyone across the broadcast chain to varying degrees, including content producers, broadcasters, content providers, content

distributors and equipment manufacturers. However, possibly the biggest impact will be to live production workflows and the engineering skillsets required to manage those workflows. Although many see IP video as new technology, in fact production is the last remaining stronghold for SDI and that is set to change and with it the skillsets that have dominated video engineering for many years. Deployment of IP video networks in production and other operational applications exploits the ability to use commercially off-the-shelf (COTS) IT-based infrastructure, which takes advantage of the

economies of scale of the IT industry when compared with the relatively small broadcast industry. Additional advantages of reducing cabling cost and weight along with the much greater routing flexibility mean that in many parts of the world, trials, proofs of concept and early deployments of IP video are already in place. Having said this, IP does bring with it technical challenges, including jitter; latency; the risk of dropped packets, an inherent lack of synchronicity along with asymmetry which results in different path delays upstream and downstream. Also, IP is a complex set of bi-

Three-camera CCU for small studios DVLab By Ian McMurray The Camera Control Unit (CCU) by DVLab, aimed at small studios with a limited budget, is being demonstrated at IBC. According to the company, development of the device was prompted by the growing number of small studios for whom three cameras are enough for them to work efficiently, and for whom studio space is restricted. DVLab believes that

the market only offers either very sophisticated and expensive solutions, or solutions that are too simple and too restricted, and it has attempted to address these issues. The new system combines a three-camera CCU and intercom, and uses a single CAT-7 Ethernet cable to transmit everything to and from camera. Maximum cable length is 60m which DVLab said is more than enough for a small studio. The CCU transmits professional quality HD-SDI or

HDMI video from the camera, return video channel to camera (feedback for cameraman or teleprompter), power and tally signal. The ethernet-based integrated communication system is claimed to provide clear twoway communication between director and up to six callers. The intercom allows the connection of up to six additional communication consoles, and can be used with low-cost wireless headphones. 5.C04

DVLab’s CCU is designed for studios with limited space and budget

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directional protocols requiring a knowledge of both the source and destination before deployment. One issue that has to be addressed by any broadcaster that is deploying IP for video production applications is to recognise that this is effectively the collision of the two worlds of video engineering and network engineering. Video engineers are used to and comfortable with the use of SDI, coax, patch panels, black burst and tri-level for timing and above all, signal quality. The challenge for the video engineer is to understand IT technology and the impact of an IT infrastructure on the

video. On the other hand, network engineers are familiar and comfortable with IP flows, protocols, network traffic, router configuration and Precision Time Protocol and NTP for timing. The biggest difference, however, is that in most data centre applications, lost data can be re-sent; this is not the case with high bitrate video. The challenge for the network engineer is in understanding video technology and its impact on IT infrastructure. It is clear that the onus of responsibility is on vendors to supply equipment and software that is usable by both video engineers and network engineers. 10.D41

Faster workflows and deliverables Nugen Audio By Mark Hallinger

enhancements and capabilities that bring greater flexibility, operational scalability, and enhanced processing speed to the core system. AMB includes new customisation features and several optional extensions that will allow customers to carry out a greater range of audio-processing tasks. These features include a new upmix/downmix capability, an extension for the company’s DynApt technology for loudness-range targeting and content repurposing, and loudness management support for MXF or ProRes files. 8.D56

Audio batch file processing solution, AMB, is being introduced in Hall 8 AMB (Audio Management Batch) processor is a new product built on the concept of the company’s Loudness Management Batch (LMB) processor. New features include threaded algorithm processing, and multiple processing threads that are addressable for simultaneous parallel handling of files and queues. Nugen said the result was that AMB could enable post facilities to speed workflows significantly and reduce delivery times. Nugen said AMB also adds several Batch Processing: AMB features customer driven enhancements customer-driven

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Flat-packed edit desk OUTLINED

Custom Consoles By Mark Hallinger The laErsion of the EditOne desk has an enhanced surface finish, while retaining EditOne’s distinctive horizontal and vertical profiles for video and audio post production suites. The new version follows the existing structural configuration but has powder-coated underside legs and pods. Work surface and shelf finishes are now available

with oak-effect foil applied by a thermoform press which follows the precise contours of the base to which it is applied. The entire EditOne range of furniture is designed for flatpack delivery which allows for very fast despatch to site, said the company. Assembly can be performed quickly and easily by the customer using the supplied Allen key and screwdriver. An on-site assembly service is available. 8.B38

The EditOne range of furniture is designed for customer self-build

RedNet taps into AoIP Focusrite Audio Engineering By Mark Hallinger Making its official debut at IBC is Focusrite’s RedNet range of audio-over-IP products. Based around Audinate’s Dante, RedNet features analogue I/O, AES3 I/O, MADI I/O, Pro Tools|HD I/O, microphone preamplifier options and a new Thunderbolt audio interface.

The range features dual PSUs for redundancy as well as dual etherCON ports on the 1U chassis, and is controlled by Focusrite’s RedNet Control software. Focusrite’s display features the latest products available, including the newly available RedNet A16R and RedNet A8R analogue line interfaces, and RedNet AM2, a compact headphone and line output, PoE supplied interface. 8.A42

The newly available A16R analogue line interface is a stand highlight

Affordable 4K replay slomo.tv By Mark Hallinger The slomo.tv family of Arrow servers is marketed as a budget solution, and the company is positioning the €55,000 Arrow 4K 111 squarely in this camp. The server allows simultaneous recording of one 4K60p video input and the replay of two clips with transition effects, while searching and marking the recorded material.

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In recording for NLE mode the server writes two 4 K60p channels. It uses a full-frame 4K codec instead of four separate independent frames. The codec provides a 1200Mbps stream, and export of recorded video for NLE is in ProRes 422, with no need for additional hardware or licence. It can also record two 4K60p channels without compression. Quad 3G SDI is used for 4K connections. In replay mode, the server works

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Virtualised services and dynamic processing Evertz By Ian McMurray Facility 2020, a softwaredefined data centre for broadcasters, is being showcased, alongside evEDGE, a software-defined compute and routing platform. Evertz said that Facility 2020 leverages its SDVN infrastructure and orchestration software to enable customers to take a data centre approach to their facility, where they can virtualise processes and services on generic processing nodes and blades. This shift from discrete and dedicated hardware infrastructure to one where software processes are ‘spun up’ and ‘spun down’ to create a heterogeneous infrastructure is extremely appealing to end users, the company claimed.

According to Evertz, with broadcasters deploying IP throughout their facility, a paradigm shift will be realised on how assets and resources are deployed and workflows are managed, the company believes, and broadcasters will leverage IP and virtualisation to create facilities that are flexible, agile, and efficient. With the new evEDGE, the company said that

broadcasters can use modular compute blades to provide dynamic video, audio, and metadata processing that includes media gateways for formats such as SMPTE RDD 37, SMPTE-2022-6, NDI, RFC 4175, and AES67. It also supports multi-viewing, as well as video and audio conversion and processing. 1.D31 The evEDGE platform provides dynamic video, audio and metadata processing

Virtualised real-time routing and processing Lawo By Mark Hallinger V_matrix, a software-defined IP Core routing and processing platform, has launched. Lawo said this new IP broadcast video core infrastructure offers great future-proofing, while addressing a wide range of workflows and supporting the transition to a total IP-based environment. V__matrix is based on data centre principles of flexibility, fabric computing and COTS economics and offers a completely virtualised real-time routing and processing infrastructure. The V__matrix ecosystem features generic high capacity core processing blades upon which Virtual Modules are loaded to create the functionality with HD, SD and 3G signals. The company said its Arrow product line features many live broadcast features and a lot of storage, in a light 2RU chassis. The Arrow disk subsystem uses spinning disks instead of SSD, said slomo. tv, and these servers have up to 266 hours of 100Mb HD video storage. The 441 and 442 models have combined HDMI/

V__matrix oﬀers technology for virtualised and hardware-based operations

required. Multiple cores are connected to a high-capacity COTS switch with redundant 10GE and 40GE connections, to form a distributed IP routing and processing matrix with frameaccurate, clean switching just like a legacy baseband matrix. V__matrix features a ‘physical

world,’ which includes the physical V__matrix hardware and the physical control panels, and a ‘virtual world,’ where broadcast functions normally found in dedicated hardware are created by the various software modules that can be loaded onto the hardware. 8.B50

Arrow 4K 111 allows simultaneous recording of one 4K60p video input and the replay of two clips with transition eﬀects

SD/HD/ SDI inputs. Operators can take advantage of features such as automatic creation of clips and playlists in instant replay

mode, and expanded editing capabilities, including editing during playout. 8.B40

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OTT on the cloud Versatile 4K master monitor OUTLINED

Amagi

infrastructure, complete with an in-built feature to block By Will Strauss geospecific content to manage content rights obligations.” Ikegami Electronics Broadcasters are being given the Cloudport OTT works with (Europe) opportunity to launch live and Amagi’s server-side OTT ad linear OTT channels on the cloud, inserter Thunderstorm. Together By David Fox and to operate a unified platform the two products create for linear, catch up, and video on what Amagi describes as an The new 31-inch HQLMdemand (VoD) TV, all without the “integrated platform for OTT 3120W 4K monitor is designed need for additional hardware. playout and monetisation that for use as a full 4K master Cloudport OTT from Amagi simplifies overall operations”. reference monitor in production provides tools for dynamic Amagi is also showing studios, post-production suites, graphics, digital video effects, enhancements to its Storm master control rooms and and real-time social media regionalisation platform. Using playout centres. It employs integration as well as the ability to Storm, broadcasters can insert a 31.1-inch LED-backlit LCD switch to live feeds. local advertising and local panel with full 4096x2160 It is equipped with a live MCR content, without using separate resolution and 10-bit capability on the cloud, and the satellite feeds, to match viewer processing, and has a entire OTT playout workflow can preferences and abide by 178º viewing angle (both be managed remotely using a relevant broadcasting regulations. horizontal and vertical) for web-based user interface. Storm version 2.0 also includes critical content evaluation. K. A. Srinivasan, the coa new ASI and IP output interface It features high contrast founder of Amagi, said, with support for MPEG-2 and ratio (1450:1) and a wide “Cloudport OTT has all the MPEG-4 formats, a new SDI colour gamut, meeting the features that traditional TV input interface, multichannel ad ITU-R BT.2020 standard. A networks need. It is built insertion, time-shift capability 4K or UHD signal source can on a secure, reliable, and and Dolby support. IBC_Supporters_2016_half_v2_IBC Supporters Half 2016 05/08/2016 10:41 Page 1 scalable Amazon AWS cloud 2.B19

be connected to the HQLM3120W via four 3G-SDI inputs (square division or two-sample interleave). Also provided are 12G-SDI 4K inputs plus a 3G/ HD-SDI input and an HDMI input. A USB port and mini-jack stereo headphone output are located on the front panel.

Besides picture monitoring, the HQLM-3120W can operate as a waveform monitor and vectorscope. It can also display vertical-interval timecode, eight channel SDIembedded audio level and closed-caption subtitles. 12.A31

For evaluation: Ikegami’s new HQLM-3120W 31-inch 4K master reference monitor

RAI Amsterdam Conference 8 - 12 September : Exhibition 9 - 13 September

IBC Supporters IBC thanks our supporters for providing the technology that powers the IBC experience.

IBC.org/supporters

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Lightweight OB for Thai TV Making DCPs easier OUTLINED

Hitachi Kokusai Electric By David Fox Thailand’s national broadcaster, Royal Thai Army Television (Channel 5) has taken delivery of a multi-functional outside broadcast vehicle from Hitachi Kokusai Turkey. Based on a Mercedes-Benz Sprinter van, it combines lightweight construction with advanced OB production capabilities, and supports five Hitachi SK-HD1200 multi format HD cameras (fitted with Canon lenses).

Designed and built at Hitachi’s Istanbul facility, it will cover sporting, cultural and entertainment events throughout Thailand, supporting productions where a larger OB truck would be impractical or cost prohibitive. Hitachi implemented extensive modifications to the standard Sprinter, installing stabilising jacks, thermal and acoustic insulation, air conditioning and an ergonomic working environment for the six-person team. All cabling is stored on motorised drums within the vehicle for swift set-up and breakdown.

Ready to roll: Channel 5’s new OB vehicle built by Hitachi

The vehicle includes: Ross vision switchers and 3G/HDSDI routers; EVS slow motion servers; Inscriber character generators; recorders from Panasonic, Sony and AJA; Blackmagic Design HDMISDI converters; a Yamaha digital audio mixer and audio gear from Sennheiser, Trilogy, Genelec and Tascam. Koji Yuzawa, general manager, Hitachi Kokusai Turkey, said, “We have packed an enormous amount of production technology into a very compact vehicle. We see this approach becoming increasingly popular in many geographic regions and for broadcasters both large and small.” “The cost savings generated by this innovative approach are a big bonus for us,” added Sumneang Noipasri, Channel 5’s chief engineer. 12.F38

Small monitor, flexible performer Genelec By Mark Hallinger The 8351A monitor is a big focus for the company at IBC2016. It combines Genelec’s Acoustically Concealed Woofers (ACW) technology together with the company’s Minimum Diffraction Coaxial (MDC) driver and

Maximised Directivity Control Waveguide (MaxDCW) to produce controlled directivity over a very wide bandwidth. Genelec Loudspeaker Manager (GLM 2.0) computer control allows for repeatable, consistent performance over a flexible proprietary network. Genelec AutoCal measures and automatically aligns every monitor on the network for

The 8351A provides controlled directivity over a wide bandwidth

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level, timing, and equalisation of room response anomalies. Providing identical performance in both vertical and horizontal orientation, the 8351A delivers outstanding monitoring accuracy for music studios, post production houses, edit suites, radio, TV and outside broadcast applications, claimed Genelec. 8.D61

Fraunhofer IIS By Mark Hallinger On show is the latest version of the easyDCP software suite, created by Fraunhofer IIS for the creation, playback and quality control of digital cinema packages (DCP) and Interoperable Master Format Packages (IMPs), based on

ISO and SMPTE standards. Fraunhofer IIS is introducing new features, including a timeline integration for easy editing, including markers for handover to theatre automation systems, and a demo version of quality control tools for IMPs to automate and facilitate the creation process of IMP and all output formats. 8.B80

New features for easyDCP include timeline integration for easy editing

Cloud-native VOS platform offers flexibility Harmonic By Ian McMurray Two new VOS offerings – VOS Cloud and VOS 360 – are among the featured products on the Harmonic stand. Patrick Harshman, president and CEO of Harmonic, said: “With the VOS Cloud media processing platform, operators have the flexibility to deploy on public or private cloud infrastructure. Staying true to our open architecture solutions strategy, Harmonic allows our ecosystem partners to seamlessly integrate with VOS 360 to deliver a true endto-end, OTT, SaaS platform in an elastic public cloud environment.” Through capabilities such as time-shift TV, VoD and cloud DVR, both VOS cloud offerings enable service providers to generate instant revenue, according to Harmonic, without the traditional capex involved with building, maintaining and operating a new headend or data centre. Pay-as-you-go pricing for both offerings allows

Harshman: “Operators can deploy on public or private cloud infrastructure”

service providers to realise ROI in the shortest time possible, the company claims. Harmonic is also demonstrating a complete UHD HDR workflow, and new video quality assessment technology for OTT workflows that it says maximises bandwidth efficiency while assuring that video quality targets are hit. Also on show is Harmonic’s solution for ad insertion, playout and splicing at the edge of the network. It can be delivered via satellite or internet, and includes the ProView integrated receiver-decoder (IRD) and FUZE-1 playout system. 1.B20

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during one of the performances of Mozart’s The Marriage OUTLINED of Figaro. (Or…watch a performance by sister company The Dutch National Ballet in virtual reality from the comfort of your hotel room.)

5. Watch films in unusual places

Top eight Amsterdam activities for IBC2016 attendees

Amsterdam has something for every taste, with museums and music galore and much more to discover. While your guide book has the most popular stops – from the Anne Frank House to the Van Gogh Museum – covered, we have eight tips that go beyond the usuals, specially selected just for attendees of IBC2016 to make the most of your time in town.

1. Check out the cultural offerings of tomorrow IBC2016 takes place during the kick-off of Amsterdam’s new cultural season, with events all over town marking the occasion. While the Dutch Theatre Festival (until 11 September) provides some performances with English surtitles, many will find the quirkier accompanying Amsterdam Fringe Festival

even more delightful. Alternatively, explore the world of photography during Dutch Fotoweek and designers who want to change the world during ‘Dream Out Loud’ at the Stedelijk Museum for modern art.

2. Explore the A’DAM Toren Amsterdam’s newest architectural landmark towers over the IJ waterway, offering epic views of the city and beyond via the Lookout. Although not all the tenants have moved in yet, here you will already find two restaurantclubs (one that rotates, both with that epic view) and a heartstopping swing over the edge of the 21st floor. If you make the right friends, you might even get an invite to the private members-only club.

LyricX 2.0 unwrapped ChyronHego By Carolyn Giardina Version 2.0 of ChyronHego’s LyricX graphics creation and playout system is at IBC. “With LyricX 2.0, we’ve broadened the platform and amped its performance to drive the full gamut of today’s broadcast requirements, from HD to 4K and any type of graphics application, into the future,” said CTO Sören Kjellin. In addition to new UI and usability enhancements, graphics designers and authors can expect a performance

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boost, the company said. LyricX 2.0 now enables users to execute macros and perform other tasks, such as load-andplay and clip handling, up to five times faster than the firstgeneration LyricX, according to ChyronHego. Through its support of broadcast IP transport protocols such as SMPTE 2022-6 and Aspen, LyricX 2.0 allows users to move between SDI and IP, and 4K and HD video all in the same graphics platform. LyricX 2.0 also provides native support for the NewTek NDI IP protocol. 7.D11

3. Get experimental at the last outdoor festival of the year Until 1:00 in the morning, for three days (9-11 September), the city’s alternative crowds will converge on the up-andcoming Zeeburgereiland for Magneet Festival – the last of Amsterdam’s famed summer festivals this year. Here, music, theatre, art and architecture converge, and participation is encouraged.

4. Find out why the Dutch National Opera was named Opera Company of the Year At the International Opera Awards in London this May, it was made official: Amsterdam is home to the world’s best opera company this year. You can find out why in the landmark ‘Stopera’ building

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For some truly (literally) underground film, head to metro station Bullewijk on the evenings of 9 or 10 September for the free Metro Movies shortfilms festival. Or head out to Amsterdam’s increasingly active western frontier for open-air screenings of feature favourites every night of the week during the West Beach Film Festival. You can also dive deeper into cinema history (especially 16mm and 35mm formats) at the Celluloid exhibition in the EYE Film Museum, one of the city’s most striking modernarchitecture landmarks with regular film showings of its own.

6. Break a sweat while you tour the town If you’re looking to stay fit during your visit, Amsterdam offers plenty of options. Most notably, every Friday evening, hundreds of inline skaters gather in Vondelpark to tour the town en masse during the Friday Night Skate. If you prefer to keep your feet more firmly planted on the ground, the second Friday of the month (9 September) is also the Friday Night Run. Both events are free to join.

7. Get to know Amsterdam’s architectural heritage During 10 and 11 September, architectural moments all over the city will open their doors for two events: the Amsterdam Heritage Days and the UNESCO World Heritage Weekend. This year’s theme is ‘100 Years of the Amsterdam School’, taking a closer look at the sinuous brick architecture and interior design that dominated the city in the 1920s. All monuments are free to visit (many with special activities) until 17:00, but there is also a programme of evening activities including swing dancing, boat tours and more.

8. Find your perfect concert pick Amsterdammers love music, and if you do too, you have a wealth of options to soothe the savage beast within. Classical music lovers should turn first to the Concertgebouw, whose perfect orchestral acoustics have made it famous round the world, and the more modern Muziekgebouw aan ‘t IJ. Lovers of pop, rock, rap, dance and other modern sounds shouldn’t miss a chance to explore the city’s favourite music venue: Paradiso. Melkweg, Bitterzoet, the much larger Heineken Music Hall and Ziggo Dome and dozens of clubs around town cater to these crowds as well. And jazz and blues lovers are also covered at the Bimhuis, Café Alto, the North Sea Jazz Club and Bourbon Street.

Small robotic head offers big ad-Vantage over PTZ Vinten By David Fox A new compact robotic head that is claimed to be the first to be truly camera agnostic has been launched by Vinten. The new head should be ideal for smaller studios and offers an alternative to more limited pan/ tilt/zoom cameras. The Vinten Vantage offers on-air-quality movement and can be used with a wide range of pro cameras, such as Canon’s C300 or Sony’s FS7. “We’ve developed it to embrace a change in studio models, where smaller and lighter

cameras and lenses are being used,” said Neil Gardener, product manager for robotics and automation at Vinten. It will cost €6,000/£5,000 in December. “There’s not been a professional robotic studio head anywhere near this price before,” he claimed. It is should enable high-end moving pre-set shots and can be used with either servo or (less expensive) manual lenses, allowing users to more easily match their other cameras than a PTZ can. “We’ve seen a lot of PTZ cameras going in to broadcast studios, and this is a great alternative,” he added. Features include: continuous

Neil Gardener, Vinten

variable speed control and full synchronisation of any movement; lightweight form factor; ability to work with existing HD-VRC control; tally; integrated level bubble; and more flexible positioning compared to a PTZ constrained by the range of its internal, noninterchangeable lens. 12.E65

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The Raw power of VariCam Pure Panasonic/Codex By David Fox The new VariCam Pure is a compact Raw-only digital cinematography camera designed for high-end 4K production. It was developed by Panasonic with Codex so that the Raw recorder could be totally integrated into a smaller, modular VariCam camera. The two companies worked together previously when they combined the VariCam 35 with the Codex V-Raw recorder, which has been used on such productions as Netflix’s Death Note and The OA. The VariCam Pure will record to Codex Capture Drives as part of a production-to-post workflow using the Codex Production Suite. “This combination is a powerful new tool for 4K Raw recording,

By Carolyn Giardina The AVHE100 encoding and multiplexing system from Rohde & Schwarz makes it possible to broadcast HDR material in UHD as well as in HD, for example

Panasonic’s new VariCam Pure with Codex recorder and Capture Drives

and is just the kind of camera that studios are looking for to produce 4K content for the cinema or the home,” said Codex VP Brian Gaffney. “By tightly integrating this new V-Raw recorder with the VariCam for a smaller lighter,

over DVB-T2 networks. According to R&S, headend operators could either replace existing encoders or build entirely new multiplex systems employing the technology. The R&S AVHE100 can embed HDR-specific metadata in a transport stream by means of a software option. HDR signaling is switched on and off via the system’s GUI, by an

Streaming software Scores upgrade By David Fox

sophisticated sports graphics. Used with Streamstar’s X series hardware, it creates a comprehensive tool for sports and other live production, including slow motion replays.

Streaming specialist, Streamstar has launched a new version of its software alongside User friendly: Streamstar’s latest SW 3.5 hardware for sports software sees a stream of improvements production. The Streamstar Scoreplus Server is a lowcost 2RU system that runs the company’s Scoreplus software to simplify the process of creating

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LiveTouch 4K launches OUTLINED

By Carolyn Giardina

frankly better, system we now can more effectively meet the needs of our clients on highend 4K Raw productions,” commented Michael Bravin, engineering supervisor at Sim Digital in Hollywood. 11.C45

external trigger or by means of a scheduler. When used in conjunction with the R&S Venice ingest and playout platform, the AVHE100 can switch between SDR and HDR content. Operators can use the platform for a range of scenarios to migrate existing UHD and HD channels to HEVC, or to build new UHD and HD channels including HEVC capability. According to R&S, the AVHE100 supports relevant digital broadcast standards, and can be enhanced with optional functions, such as encryption, monitoring, and redundancy. 7.E25

The AVHE100 supports HDR and UHD

Streamstar/JVC

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HDR encoding for HDTV Rohde & Schwarz

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The latest Streamstar SW 3.5 software offers many new features, including a countdown timer for replays, plus media files in the interface for the operator’s convenience. An auto cut feature allows pre-selection of the next input played after a replay or other media playback. The new version also includes support for Facebook Live streaming. SW 3.5 will be available this month (for download), as will Scoreplus Server (at the introductory price of $3,995). 12.F31

A new UHD sports replay and highlights system, LiveTouch 4K, has been launched by SAM. Built on the latest SAM server architecture, the system is designed to enable collaborative 4K workflows in standalone systems or integrated into a wider production environment. Additionally, multiple servers can be pooled together allowing LiveTouch to scale to larger 4K productions. “These larger LiveTouch zones can be treated as a single multicamera production bank, allowing instant access to

LiveTouch 4K is scheduled for October availability

more cameras and feeds than any other system,” according to SAM. LiveTouch is also integrated with SAM’s 4K editors, eliminating the need to move media and breaking the link between replay and editing workflows. LiveTouch is slated for availability in October. 9.A01

Archiving advances Archiware By Carolyn Giardina The Archiware P5 product line is at IBC, supported by 27 partners showing compatible products. This includes two MAM vendors with new integrations for P5 Archive: Turkish vendor Metus and Swedish manufacturer Cantemo. Archiware is showing the upcoming version 5.4 of the P5 software suite including Archive to the Cloud, integrated preview creation via FFmpeg and ImageMagick, and integration with Synology NAS. The company is also exhibiting the next version of the P5 Archive App for archiving from the Mac OS X Finder. In this new version, the integration with FinalCut Pro X has been developed further to allow long-term storage of projects directly from within FCP X. To show the practical application of Archiware P5 in conjunction

with partner products, the booth features an archiving workflow including an mLogic mTape Thunderbolt LTO drive and a Spectra Logic T50e glass-top LTO library. Archiware partner Halimedia is presenting an all-in-one video recording station including an AJA KiPro Recorder and Player, connected to a central MAM and archiving system for training with video feedback. And lastly, there’s a joint set-up with Sonnet Technologies: an optical Thunderbolt cable connects a Mac Pro – running Archiware P5 Archive in Sonnet’s RackMac Pro rack enclosure – to a Sonnet Echo 15+ Thunderbolt 2 Dock on the Archiware booth, showing how archiving can be done from any workstation while the Mac Pro and LTO Tape drive are housed safely in a server room up to 60 metres away. 7.F06

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65 E W 2 .E N oth#1

Revolutionary New Robotic Head

Go beyond a PTZ and future proof your studio

The only compact robotic head that offers ultimate motion control and unmatched flexibility in theÂ studioÂ while enabling broadcast-quality video - an ideal alternative to the traditional PTZ.

Camera and lens agnostic

Cost effective

Uniquely compatible with the latest cameras including pro-camcorders

All the functionality of a high-end solution at a lower price

Compact and lightweight

Continuous variable speed control

Discreetly fits within any studio environment

Smooth on-air quality of motion enables high-end moving preset shots

Quick set up

Future proof your studio

Works with existing HD-VRC control

Allows you to change your camera and lens as your needs adapt

From smooth on-air motion to being camera and lens agnostic, the Vinten Vantage is a clear upgrade from the traditional PTZ head since it uniquely enables the user to choose the best camera and lens for their application without limitations.

Vantage.vinten.com

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BT upgrades AVS platform Accenture Digital Video By Will Strauss BT TV is to deploy a new version of the Accenture Video Solution (AVS) platform as it looks to expand and improve its UK-wide subscription IPTV service, including the BT Sport channel. The Accenture-developed software platform provides services that support both live streaming and video-ondemand, delivering content to smartphones, tablets and computers. By upgrading to the latest version, BT TV will be given the opportunity to add additional customer personalisation experiences and benefit from improved video analytics. Greg McCall, managing director of television and

BT Sport will beneﬁt from increased personalisation

content, BT, said: “Our customers want access to world-class video at any time and on any device they choose, so it is critical that we have a platform in place that keeps them engaged. With AVS, we have a strategic OTT platform able to rapidly develop and bring new services to market. Importantly, we can scale the platform when we need to, making sure the audience

has a seamless viewing experience.” The latest version of AVS includes a micro servicesbased architecture that uses software segmentation to speed up the delivery of video services and features through automated DevOps pipelines. Automatic and flexible scalability mechanisms for the public and private cloud are also included. 3.B39

4K-ready streamer debuted VBox Communications By Will Strauss A live TV network streamer and PVR system for the home that supports 4K and uses no internet bandwidth is on show at IBC. The third-generation VBox TV Gateway from VBox Communications allows users

to watch and record different programmes at the same time, view live and recorded TV online on the go, record programmes to a tablet computer and pause recording on one screen before picking it up on another. The new VBox is being made available in two different models: the XTi-3442 dual DVB-T/T2 tuner for free-to-air VBox uses a WiFi network to stream TV to connected devices

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aerial reception; and the XTi3452 dual DVB-C tuners for free-to-air cable TV. Both units make use of a home WiFi or Ethernet network to stream TV channels to connected devices. External USB or NAS storage is required for recording. Content can be streamed to various devices including smart TVs, Android or iOS tablets or smartphones and PC or Mac computers. Amir Aharonovich, vice president, marketing, VBox, said: “VBox is an amazing new way for customers to experience TV on their terms. We wanted to reimagine TV so that it’s flexible and seamless across different screens and places. We think customers are going to love the new VBox.” 3.B56

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Pickup EnGo for SIMple cellular roaming OUTLINED

Dejero By David Fox The latest version of Dejero’s compact Live+ EnGo mobile transmitter offers simplified connectivity options and updated roaming packages. It encodes IP video and bonds all available networks, including cellular, WiFi, Ethernet and satellite, to deliver improved picture quality with very low latency. A new user-changeable SIM allows quick switching between different sets of SIMs, for optimal performance in a local cellular network. The system includes new European and global roaming packages that enable users to either lease a dedicated roaming unit, or add a roaming standby option to their existing Live+ EnGo transmitter. This latest EnGo supports modems designed for use across multiple geographic regions instead of just one, providing improved connectivity

Dejero user Peter Van der Struijs, founder Van der Struijs Audio & Video

for roving reporting teams. “I work in the business of fast news delivery and with Dejero’s EnGo I can be ready to report live from the International Criminal Tribunal in the Netherlands one day and then be in Brussels the next day to cover the aftermath of Britain’s EU referendum,” said Dejero user Peter Van der Struijs, who will be speaking at the IBC Technology in Action seminar on Monday at 14:00. 12.C56

Power Duo behind Love Island IDX Technology By David Fox

“The Alexa Mini’s small form factor lends itself to sidemounting power on the MoVI,” he added. “The Duo-C95 gave me all the powering options with its two D-Taps plus a USB power port in a super-slim and lightweight body.” IDX has added the ability to charge via the D-Tap at IBC, for more portable, compact charging. The Duo-C95 has a capacity of 93Wh and delivers 14.4v nominal at 6.3Ah. Each D-Tap port can deliver up to 50W, while the USB port supplies up to 2.3A. Battery protection is provided against reverse charge, over charge, over discharge and over current. 12.C25

When DoP Ben Hughes, owner of independent crewing and facilities company Fracture TV, was tasked with shooting ITV’s Love Island series this summer on Mallorca, he chose IDX’s Duo-C95 batteries to power his Arri Alexa Mini rig. “Each Duo-C95 battery gave us more than 75 minutes of power using the Alexa Mini on the Freefly MoVI M15,” said Hughes. “The batteries simultaneously powered the follow-focus, and I used a second Duo-C95 on the crossbar to power the video sender and monitor. We were mainly on location on beaches away from mains power so the batteries had to be reliable and deliver Love Island: Ben Hughes with Duo-powered every time. Alexa Mini and MoVI M15

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Telestream acquires Vidcheck OUTLINED

Telestream By Carolyn Giardina Just prior to the start of IBC, Telestream acquired UK-based quality control technology developer Vidcheck for an undisclosed amount. Established in 2009, Vidcheck – which will assume the name Telestream UK – develops automated QC systems within file-based production workflows, with technology including its flagship Vidchecker. Its customers include ITV, BBC and CBS. Telestream said it plans to build on Vidcheck’s business, providing greater reach around

the globe and strong sales and market presence. Dan Castles, CEO, Telestream, said: “It is not just some great technology and products that we are acquiring, but also a gifted, talented and passionate team that will reinforce our resources here at Telestream. We look forward to leveraging our combined know-how.” With the acquisition, Vidcheck CEO Thomas Dove becomes director of technology for QC products. “Telestream is a great home for Vidcheck, technically, commercially and culturally,” said Dove. “The companies have complementary technologies which will feed into both

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Lightweight standard zoom lens Zeiss By David Fox

Castles: “We look forward to leveraging our combined know-how”

product ranges, the most obvious being the perfect fit of Vidchecker auto QC with [Telestream’s] Vantage.” 7.B26

The new Zeiss LWZ.3 is a lightweight zoom designed for use with Super 35mm cameras. It weighs 2kg, and has a 4.8x zoom (21-100mm) with a maximum aperture that ranges from T2.9-3.9. It has a long focus rotation angle for precise focusing, and uses the Interchangeable Mount System, allowing it to be used with five different mounts, covering most cameras. “Because of its modern optical design in a compact

Long-term investment: The Zeiss LWZ.3

and high-quality housing, the Zeiss LWZ.3 is a long-term investment, especially for smaller productions,” said Christophe Casenave, product manager, Zeiss Camera Lenses. The LWZ.3 will be available from the end of January, with a list price of €/$9,900. 12.F50

EOS C700 targets high-end 4K production Sky Sports deal signed Canon Europe By David Fox The EOS C700 is Canon’s new flagship 4K cinema camera. It records 4096x2160 video at up to 810Mbps, at 50/60p internally, or 100/120p with an optional Codex Raw/highspeed recorder, as well as 2K at up to 200/240p (in sensor crop mode). There will be two models: the C700 EF/PL, which ships in December for £28,839 (inc VAT), and has a fast-focusing 4.5K Super 35mm Dual Pixel CMOS AF sensor; while the £30,789 C700 GS PL is better

suited to fastmoving subjects thanks to its 4.2K global shutter (the first in Canon’s Cinema EOS range), and should ship early next year. Both offer internal 10/12-bit XF-AVC or ProRes recording (to dual CFast 2.0 cards), have a high ISO of up to 102,400, plus ND filters with up to 10-stops of control, and use three DIGIC DV5 processors. They support Canon Log 3, Log 2 and Log Gammas, and can record up to 15 stops of dynamic range (14 stops on the C700 GS).

SIS Live By Ian McMurray

Versatile: Canon’s EF/PL-mount C700 can also use B4 lenses with this adaptor

The C700 also allows direct live HD streaming via the internet from its Ethernet port or optional wireless transmitter. Other options include: a new 0.7-inch 1920x1080 OLED viewfinder; new OU-700 remote controller; and new SU-15 shoulder support unit with SG-1 shoulder-style grip unit. 12.D60

Smaller, lighter Gratical Eye EVF Zacuto By David Fox The Gratical Eye electronic viewfinder is the smallest and lightest EVF in Zacuto’s MicroOLED line up. It is designed for cameras with an SDI output and external power systems. Zacuto claims that “no other SDI EVF on the market is as portable and powerful”. Features include: full scopes; LUTs; multi-level peaking; zebras; combined tally light/control joystick; and a

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ground. They have 22.5cm of adjustment for comfortable Nice view: positioning, plus Zacuto’s latest feature-packed a unique twisting Gratical Eye EVF capability. Zacuto offers both a universal model and some cameraspecific options. The lightweight, new proximity screen saver sensor. low-profile VCT Pro 30cm sliding Also new are the Zgrip Triggers, top plate is compatible with all which offer full 360-degree cameras, and is said to simplify rotation with the press of a balancing, lens changes, and trigger, so that they quickly flip releasing the camera from the rig. up for setting the rig flat on the 12.F55

Not long before IBC opened its doors, SIS Live announced that it is providing Ultra HD fibre connectivity for Sky Sports Ultra HD coverage of the English Premier League. The 2016-17 Premier League football season sees SIS Live utilise its AnyLive fibre network to deliver Ultra HD pictures for 124 games covered by Sky Sports. The managed fibre connection (up to 850Mbps) is using SIS Live’s fibre infrastructure, connecting every Premier League ground to SIS Live’s network operation centres in MediaCityUK and Milton Keynes, in addition to Sky Sports studios. HD reverse vision feeds will be delivered as part of the service, and SIS Live is

providing Sky Sports with network control on match days by installing Net Insight’s Nimbra Touch and Switch technology at Sky Sports studios. David Meynell, managing director of SIS Live, said: “Sky Sport’s decision to use SIS Live’s AnyLive fibre network to deliver its new, high-profile channel means that we are well on the way to being recognised as the critical connectivity provider of choice. “Our satellite expertise remains, but we also boast fibre links between major broadcasters, network operators and UK sports stadiums, backed up by microwave links in some locations to give triple resilience. I believe our combined fibre and satellite infrastructure is unrivalled in the UK market.” 1.C55

SIS Live is to provide Ultra HD ﬁbre connectivity for Sky Sports

08/09/2016 12:57

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