IBC2016 Daily D3 Sunday 11 September by Future PLC

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SUNDAY 11.09.2016

Huggers: Re-bundling will be the next big disrupter Inside By Ann-Marie Corvin As millennial cord cutters go a la carte, ditching their cable subs in favour of hand-picked OTT services, Erik Huggers, the former Microsoft and BBC exec who is now shaking things up at Vevo, predicts that re-bundling will be the next big thing. Speaking at Saturday afternoon’s keynote on Big Audiences and Music, the Vevo CEO, who developed the OTT service OnCue before Intel sold it to Verizon, told delegates that he was “laughed out the room” by his Intel colleagues three years ago when he talked

One of the subplots of IBC has been the increasing interest in cyber security and an initiative was discussed yesterday by the Association of International Broadcasters (AIB), with chief executive Simon Spanswick saying: “Finance is probably six years ahead of the media industry in terms of its cyber security expertise.” The AIB has set up a working group to see where the attacks are coming from, to enable people

catastrophic happens, we must have the systems in place to continue on air,” said Spanswick. “TV5Monde was pulled off the air in April and records were destroyed,

operations ceased, and it was extraordinarily costly: €80-90 million to restore the station. Broadcasters are receiving ransomware threats the whole time.”

Vevo CEO Erik Huggers predicts that re-bundling will be the next big thing

about unbundling, “and now instead of picking channels you are picking apps”. However, the digital disruptor, who has been coming to IBC since 1994,

The shadow of the dark web hangs over cyber security By George Jarrett

warned that consumers would soon tire of picking and choosing between 70 different vertical offerings. “So the great unbundling has happened but what will happen

next is that someone will come along and re-bundle it all up again because who wants to choose between 60 channels?” According to Huggers, Amazon could be a winner in this re-bundling game with the launch of its new YouTube style service Amazon Direct. As an exec now working in the music space, Huggers said that cable TV is visibly losing its young audiences. He cited a recent deal with MTV which saw Vevo broadcast some of the live performances from the music broadcaster’s VMA awards resulted in a 35 per cent drop in viewers for MTV but a 1,400 uplift for Vevo.

to plan for all probabilities. “You cannot stop attacks and they happen all the time. But there are more tools coming onto the market and this makes it important to share best practice,” said Spanswick. “It is an exchange of information, not about telling people you must do this or that.” The AIB will establish how to respond to attacks, how to make sure people have the systems in place to repel attacks, and the big ‘if’: “If attacked and something

Happy centennial: SMPTE celebrated its 100th year with cake and champagne on stand

IBC2016 Exhibition Awards winners Does your exhibition space stand up to the competition? Find out as awards for ‘Best shell scheme’, ‘Best smaller free design stand’, and ‘Best larger free design stand’ are announced Page 03 IP: the Emperor’s new clothes? That was the question being discussed in the Business Transformation session, ‘Are IT and IP Reawdy to Replace the Entire Broadcast Chain?’ Page 06 Bridge the skills gap Or suﬀer the consequences, writes IABM CTO, Stan Moote Page 24 Award-winning subtitles go live The EBU and IRT discuss the Technical Emmy Award bestowed upon The W3C Timed Text (TTML) work Page 36

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We turn Sitting Here into Being There Deliver immersive TV to transport your viewers to the game.

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10/09/2016 19:28

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IBC2016 Exhibition Awards OUTLINED

Best use of shell scheme For the judges, one booth stood out head and shoulders above the rest. Pliant Technologies, stand 11.A02, takes the use of shell scheme to a new level with good use of space, excellent lighting and fantastic graphics, all presenting a chic but not cheap effect. A most attractive and inviting stand.

Best smaller free design stand The judges were taken by Viaccess-Orca, 1.A51. A fancy

design, where an owl integrates with the company logo. Using an excellent colour scheme and lighting, there is a great environment for visitors. Nokia, 8.C25, presents an open and very inviting stand with a nice shape, and interesting ongoing demonstrations. Their winner, though is Ooyala, 14.D20. This is an original design inside one of IBC’s temporary buildings where there are limitations on height and nothing can

be suspended. This design incorporates the use of wood; even the metal-looking beams are wood. The stand is fun, with playful visuals, presented by a young-minded team.

Best larger free design stand Again, the judges highly commended two stands. Skyworth, 5.B61, is an open design where the furniture and stand elements are unobtrusive. Very clear messaging, and a pleasure to visit.

ASL Intercom and Delec Audio acquired Riedel By Heather McLean Both ASL Intercom and the assets of defunct Delec Audio have been acquired by Riedel Communications. With the purchase of ASL, Riedel has significantly extended its portfolio of intercom technology optimised for live entertainment and broadcast production environments. Delec’s assets have meanwhile been acquired by Riedel, including the entire team, and are being integrated into the business. ASL’s flagship ASL Flexus intercom system is notable for

allowing multiple standards — Dante/AES67/AVB and RAVENNA — to coexist in a single system. The company will continue to maintain its separate brand identity from Riedel, although it has been updated with a bright yellow makeover. “ASL Intercom has a strong portfolio in digital partyline technology, and the company’s products adapt readily to a wide variety of applications, both small and large,” said Thomas Riedel, CEO at Riedel Communications. “Intercom applications remain a core element of our business, and we are confident that we’ll quickly be able to leverage the

complementary technologies of ASL Intercom to serve an even broader array of customers that can benefit from exceptional communications systems.” The engineering team at the former developer and manufacturer of digital intercom and communication systems, Delec, is now being absorbed into Riedel. Riedel commented: “We’ve got the whole Delec team on board, and they have a fantastic engineering team. We have always found it hard to find good engineers, so to get a whole team of engineers with knowledge of comms, is just luck.” 10.A31

Technicolor targets Hollywood with social multi-user VR Technicolor By David Wood Technicolor is using its relationships with major Hollywood players to develop multi-user virtual reality experiences for the home entertainment industry. The project is being spearheaded by Technicolor research and innovation director Gael Seydoux, who has already had meetings with 20th Century Fox about how to turn film assets into social multi-user VR experiences for the whole family. On Technicolor’s stand at IBC the company has a demo of its Multi-user Embodiment VR Experience, which allows multiple users to take part in

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Technicolor’s multi-user VR experience attracts attention at IBC

virtual experiences using Oculus headsets with Leap Motion gesture control and graphics powered by the Unity game engine. Technicolor plans to showcase its multi-user VR technology to studios and the public at its recently-launched Experience Centre in Culver City, California, set up specifically to develop high concept content, platforms and technology for VR and AR.

Seydoux said: “The aim is to demonstrate the potential to combine film and virtual reality for audiences in a social way. “Technicolor VFX companies such as The Mill and MPC, which worked on 20th Century Fox’s The Martian, generate a lot of assets which can be used to create virtual reality experiences in addition to the film itself.” 15.MS7

Vestel, 14.A20, also showed creativity in working within a space where hanging is not possible. Good lighting, great graphics and a step up in terms of design, highly commended by the judges. The winner is Cisco, 1.A71. This is an open and inviting stand, with plenty of space on two levels for multiple meetings. It’s stunning, and is a fresh approach.

Best use of shell scheme winner, Pliant

Brilliant concepts fire up the IABM Awards

Sony’s Media Backbone Hive scooped the storage award

By George Jarrett The IABM Design and Innovation Awards brought joy to the teams behind ten outstanding products. Opening the celebrations, IABM CEO Peter White said: “We had an amazing amount of entries. There is a lot of new innovation, particularly in the new media areas. “We are seeing some very creative people joining the engineering side,” he said. The winner in acquisition and production was Shotover for Shotover U1. Sony’s Media Backbone Hive won the storage prize, and the services prize went to Harmonic for its VOS 360 professional cloud media processing service. Cedar Audio took the audio prize with the DNS 2 dialogue noise suppressor, and then Imagen won the content and communications infrastructure category with its Imagen global distribution network. Elemental Technologies won the playout and delivery systems award for its live channel playout solution. VizRT’s big attraction Viz Story won the post production category, and Hexaglobe took the system

automation and control prize with Advanced Replay 2. The VB440-V virtual probe from Bridge Technologies won the test, QC and monitoring award, and lastly Aspera took the product, event or alternative product/ service honours with its Base Media Cloud workflows initiative.

Conference Highlights Today at IBC The Creative Keynote: The Future According to Puttnam! 14:30, Forum Programme Rights: Opening New Windows for Digital Content 10:00, E102 Behind the Wall: Making Game of Thrones with Producer, Greg Spence 12:00, G102/3 Paper Session: Solutions for Implementing Personalised Advertising 12:30, Emerald Headline Session: Live From Space: NASA and imaging 16:00, Forum EDCF Global Update 15:30, G102/3

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Google to rival Amazon in the cloud OUTLINED

By Ann-Marie Corvin Google is quietly establishing itself as a major player in the cloud-based video market, competing with the likes of Amazon and IBM, after acquiring one of the processing firms responsible for delivering this year’s Super Bowl live stream. In Saturday’s ‘What caught my eye’ session on the cloud, guest speaker Marina Kalkanis,

a software engineer who worked on the launch of the BBC’s iPlayer, advised delegates to check out Anvato’s stand (Hall 14.L24). “They’re not doing much promotion around their new owners but they’re unusual because they run off Google Cloud and from what I hear, Google is really interested in going after the media industry.” Kalkanis added that Anvato, whose customers include

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NBCUniversal and Fox Sports, was one to watch to see how Google adopts its data capture and AI technologies to fit into a video ecosystem. “Google has a global reach and comes with tools such as automatic translations which can translate into 80 languages. While those tools are not yet perfect, you can’t not credit Google to get there eventually,” she said. Google’s bulking up in video infrastructure comes after a series of other cloud-based video deals, marking consolidation in the sector including Amazon’s

acquisition of Elemental last year and IBM’s purchase of Ustream in January. Kalkanis’ own firm, M2A Media, is also worth seeking out in hall 5.C80,

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where it is demoing the live to VoD cloud-based technology that was used by Channel 4 for the Paralympics and Formula One.

Making the MAM/playout process seamless Pebble Beach Systems/Tedial By Mark Hallinger A new partnership between Pebble Beach Systems and Tedial has been announced. The companies have developed

a product called Multiverse, designed to create a workflow between a broadcaster’s MAM and playout systems. Multiverse is available from both vendors, and is on the Pebble stand at IBC. It closely integrates the companies’ MAM capabilities and linear

playout systems to provide flexible cross-platform media preparation and delivery. Because it processes media once for all platforms, Multiverse unifies and speeds up on-demand and linear content workflows, and significantly reduces

operational costs by automating everyday tasks, said Pebble Beach Systems. “We understand how customers need to adapt their systems to ensure efficient media preparation for both linear and non-linear delivery. By leveraging the proven

The truth about millennials “We have some evidence that shows that they will stay the same”, said David Bunker. According to James Alexander, the strategy and proposition director at Now TV, Sky’s OTT offering in the UK, what singles millennials out is “their utter comprehension of the OTT space”.

David Bunker on ‘The truth about changing TV consumption’ panel

By Catherine Wright “Game of Thrones is the most popular show of all times”, “mobile is the new screen”, “millennials no longer watch TV”: these are only a few of the topics that were found to be either myths or partial myths by a panel of experts discussing the truth about changing TV consumption on Saturday. While opinions diverged on Game of Thrones, with some members preferring Friends as a more enduring

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TV series, most agreed that millennials definitely watched less television. “It is one of our biggest headaches and the stats are scary: viewing among 15 to 20 year olds is down by a third”, agreed David Bunker, the head of projects at BBC audiences in the UK. The question on everybody’s lips was whether millenials would grow up and change their viewing habits, becoming more like their parents, or would they stay the same as they are now?

Making virtual reality work: “We are learning to tell stories in VR and that includes how to capture, produce, manage, distribute and archive the assets. That’s where we are putting our focus,” David Schleifer, COO of Primestream. 7.D21

integration between Pebble and Tedial and defining specific workflows, we believe Multiverse provides broadcasters with a no compromise solution,” said Tom Gittins, CEO Pebble Beach Systems. 8.C71/8.B41

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 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, Catherine Wright Photographers James Cumpsty, Sander Ruijg, Chris Taylor 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

10/09/2016 18:45

CREATIVITY BEYOND CAMERA STABILIZATION Trinity stands out from other systems by combining mechanical camera stabilization with 32 bit ARM-based gimbal technology. This enables uniquely fluid and precisely controlled movements for unrestricted operating and total creative freedom.

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IP: “It isn’t the Emperor’s new clothes!” OUTLINED

By Chris Forrester Niall Duffy, head of IT and workflow solutions at Sony Professional, brought together a heavyweight panel of industry experts to advise IBC delegates on whether IP was “the Emperor’s new clothes?” Mike Cronk (Alliance for IP Media Solutions) led the panel in stressing how crucial IP is, and that IP should now be the key ingredient in a broadcaster’s strategy. Russell Grute (Broadcast Innovation) said that in his work he had to make sense of IP, and what the client wanted to achieve. “I am

continually asked whether IP is yet ready to be employed in key areas, and to replace SDI. It’s just as important to determine whether the use of IP will achieve any more than was being managed under SDI.” Michael Harritt (Sony) said that IP for him was not an either/ or but an enabler for 4K video, and the means to start working differently, for remote production, and live video. “For many clients it is a paradigm shift, changing the entire infrastructure and taking broadcasters to the next generation in a unified way.” Mark Hilton (Grass Valley) said that IP can be end-to-end but it

was already in use at the control layer, was now ready for the data layer and is now the first, and necessary, step to get to the virtualised data centre which itself gives flexibility. Steve Plunkett (Ericsson) explained that Ericsson was originating some 500 TV channels, most of which had been built with traditional facilities. “We’d like to do a few things to dramatically reduce the time needed to establish a new TV channel with software that’s been pre-tested and pre-integrated, and highly automated. Even better, in two to three years when we need to

IP makes it possible Imagine Communications By Ian McMurray According to Imagine Communications CEO Charlie Vogt, the day is not far off when everyone, from Facebook to Marriott Hotels to corporate America, will be a broadcaster, a revolution made possible by IP. That’s a future he relishes, because he believes his company, with its suite of IP and cloud capabilities, is well placed to benefit from. “With IP technology, almost anything we can imagine becomes

possible,” said Vogt. “With the internet, mobility, social media and fragmentation of how and when we consume content, there is a disruption in the market that creates opportunities.” Vogt is enthused by an internal project Imagine recently assigned to summer interns at Imagine to look at what was possible with AR and VR.“Anyone who was sceptical beforehand would have been pretty compelled by what they came up with,” he smiled. “When it comes to sports, for example, being able to see what’s happening not only in front of you but also behind you is pretty transformative.”

By Carolyn Giardina Teranex AV, a new standards converter designed for AV professionals, debuted on Blackmagic Design’s IBC stand. The new system has 12G-SDI and HDMI 2.0a inputs, outputs and loop through, along with AV specific features such as low latency, a still store, freeze frame, and HiFi audio inputs for professionals working on live, staged presentations and conferences. It’s slated for availability before the end of

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September for $1,695. Blackmagic reported that Teranex AV features latency “that’s as low as 67 milliseconds, which means that customers can convert any HDMI or SDI video format instantaneously to a different format and output it for projection in sync with the live event.” HDMI 2.0a processing with input, loop through and output connections lets customers convert HDMI to SDI without additional hardware. They can loop the HDMI signal out to a big screen projector while converting it and and sending it to downstream

again update that software, we can add functionality and new benefits.” Simon Reed (Evertz) argued that IP is a huge enabler for the industry. “We have been locked into dedicated hardware, and it is hugely difficult to break

out of that model. We must get rid of SDI, and move to a data-centric approach. IP will allow broadcasters to move at the pace they want, and to start competing with the Netflixes and Amazons.”

loop light takes Wings AV Stumpfl By Mark Hallinger

Charlie Vogt

Are VR and AR next year’s 3D? “Who knows?” laughed Vogt. “3D was far from a success. VR and AR may be a passing fad, or they may be longer term gamechangers. The point is, they’re a great example of how the industry can innovate with the power of IP and the cloud behind it, and that’s an area in which we lead.” 4.A01

Standards conversion for AV Pros Blackmagic Design

IBC’s panel concluded that IP represents a paradigm shift for broadcasters (L-R) Mike Cronk, AIMS; Russell Grute, Broadcast Innovation; Michael Harrit, Sony; Mark Hilton, Grass Valley; Steve Plunkett, Ericsson; Simon Reed, Evertz

equipment like decks and monitors. For audio, Teranex AV features two channel consumer HiFi connections, as well as XLR connections for four channels of AES/EBU or two channels of balanced analogue audio. “It has exactly the features customers need for working at live events and conferences,” said Grant Petty, CEO of Blackmagic Design. “They get 1089 incredible SD, HD and Ultra HD conversions, along with incredible new features designed specifically for audiovisual professionals.” 7.H20

Multimedia experiential and production company loop light has invested in Wings Engine Raw uncompressed triple stream 4K media servers from AV Stumpfl. The purchase extends the company’s existing media server portfolio to meet client requirements for high quality true-to-life shows. The company works closely with creative clients including agencies and production companies. “Video compression codecs can limit the artwork or final layout, but Wings Engine

Signed: Matt Finke, CEO and founder, loop light, and Fabian Stumpﬂ, business development/HR, AV Stumpﬂ.

Raw makes it possible to play back their content as brilliantly as they imagined it, without any limitations and as it was meant to be played back; uncompressed,” said Matt Finke, founder and owner of loop light. 8.C58

The DVB links with Sat>IP to reach mobiles at home By George Jarrett The DVB demonstrations focus on the delivery of content to mobile devices, with an outdoor solution and one for reaching beyond walls and windows with some clever input from the SAT>IP Alliance. The first device is a small smartphone with an antenna. “When you’re in a good coverage area of the transmitter you can receive the terrestrial transmission with a mobile device. This could become a very important use case in

Germany because it is different to other local countries as it has a more robust transmission mode,” said DVB executive director Dr. Peter Siebert. Given the attenuation common to houses, it is assumed that the signal will be 20db lower that the auto system for outdoors. “You need a different solution, and here we are working with Sat> IP. You receive the broadcast and re-transmit it over an Ethernet IP network in the home, and what we are showing is transmission via a terrestrial T2 signal.”

10/09/2016 18:45

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Trinity stabilisation on a roll New division, new director OUTLINED

Arri

Broadcast Solutions

By David Fox

By Mark Hallinger

Trinity is a powerful new stabilisation system that can produce some moves that other rigs would struggle to get, and cope with larger cameras by taking a payload of up to 30kg. It is based on a prototype Artemis system, which Arri recently bought from Sachtler, a move which saw its developer Curt O. Schaller joining Arri. Added to this is the ringshaped Maxima gimbal, which can support anything from an Alexa Mini to Alexa 65. It can also cope with longer camera lens combinations than usual. Users have five axes of full control, and can have the camera spin around a full 360 degrees while dipping from high to low mode, while they are standing still, “which makes it extremely flexible,”

Antti Laurila has joined Broadcast Solutions as director, broadcast solutions products, for its new ‘broadcast products’ business division. With the new division, Broadcast Solutions is strengthening the sale and rental of exclusive products. Laurila is now responsible for all matters within the newly established division and reports directly to CEO Stefan Breder. For more than 12 years, Laurila worked for Nokia Networks in different management and technical expert positions, gaining a deep understanding of mobile networks and applications, pushing standardisation processes as well as leading international teams. In his latest position as CEO of Finnish SI company Qualitron he was

Spin doctor: The new Arri Trinity being put through its paces

said Stephan Schenk, Arri’s MD. It is controlled from a touchscreen Transvideo monitor. The Maxima gimbal,

from FoMA Systems, which is used as Trinity’s head, is now distributed exclusively by Arri. 12.F21

also head of the company’s subsidiaries in Russia, Kazakhstan and Georgia. “We are very happy to have Antti Laurila with us leading the new products division,” said Stefan Breder, CEO at Broadcast Solutions. “Over the years we have gathered a variety of high class products and now we intend to take the product sales and rentals to the next level. We are sure that Antti is the right choice to further develop our products offering and to ensure future growth.” 8.A74

Joining: Antti Laurila has joined Broadcast Solutions as director for its new broadcast products division

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10/09/2016 18:42

Captivate Your Audience, Everywhere Avid graphics help you captivate, connect, and compete To stand out in today’s competitive environment, you need to connect to viewers in a whole new way. Avid graphics solutions put the power to captivate audiences in your hands: Augmented reality. Unique studio enhancements. Awe-inspiring 3D sequences. All tightly integrated with the proven Avid© MediaCentral™ platform.

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theibcdaily OPINION OUTLINED

Accelerate ‘digital first’ with cloud broadcast Cloud broadcast solutions overcome limitations of traditional delivery models, making it easy to personalise content and ads, explains K.A. Srinivasan, co-founder, Amagi TV no longer enjoys an exclusive relationship with its audience. As per Google’s multiscreen study, 77 per cent of the time when people watch TV today, they are also accessing at least one other device. The audience preference for custom content on personal devices has never been this high. In the 2016 Nielsen VoD survey, 66 per cent of global respondents admitted that they prefer watching videos on VoD platforms due to the available personalisation options. TV networks globally are recognising the growth of emerging digital platforms and are transforming their operations accordingly. Today, digital transformation features at the core of TV network strategy with traditional broadcast and delivery models complementing each other – a visible departure from the past with the thrust on ‘Digital First’.

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Thankfully, advancements in cloud technologies couldn’t have come at a better time. Next-generation cloud-based broadcast platforms and solutions can drive ‘digital first’ initiatives a lot faster, offering scalability, reliability, security, and efficiencies, making TV networks future-ready. Initially, cloud was leveraged only for point functions such as archival, in an attempt to move away from cumbersome physical storage. But now, cloud-based solutions providers are enabling different components of the workflow to transition to a secure public cloud. Companies like Amagi are also stitching the entire broadcast workflow on the cloud allowing TV networks to access best-in-class providers for each stage through a webbased interface. This eliminates expensive capex, reduces opex, and facilitates distributed

and remote workflow management to launch and manage channels on the cloud for satellite, cable, IPTV and OTT. Further, cloud-native solutions offer unmatched flexibility and scalability to spin new channels on the cloud almost instantly using Platform-as-a-Service models. The elastic nature of the cloud platform is ideal to scale management of content assets, set up custom feeds on demand, and provide the required agility for TV networks to respond to changing market needs in a cost-effective manner. Once all content assets are on the cloud, broadcasters can configure any number of feeds to non-contiguous geographies supporting market expansion and audience growth. Cloud broadcast solutions overcome limitations of traditional delivery models,

making it easy and costeffective to personalise content and ads. As ‘digital first’ takes full shape in the coming years, we will see TV networks serving personalised feeds to viewers across TV and OTT multiscreen devices. Serverside ad insertion solutions are already providing real-time ad stitching capability to deliver uniquely personalised streams to every viewer for better ad monetisation. At the next level, we will see broadcasters creating personalised content feeds by intelligently lining up library content based on viewer preferences or history, resulting in thousands of concurrent

feeds being delivered to audiences worldwide on their devices of choice. The foundation for ‘digital first’ transformation is best laid with cloud broadcast technologies. Amagi is showcasing its entire range of cloud platforms – CLOUDPORT Channel Playout, STORM Content/Ad Localization Platform, and THUNDERSTORM OTT Dynamic Ad Insertion Platform at IBC. Stop by to experience next-generation cloud broadcast and monetisation solutions and interact with our leadership team and solution architects. 2.B19

26/08/2016 11:12

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Is there a business case for UHD?

OUTLINED

René Moerch, product manager, DPA Microphones Has IBC come at a good time for the electronic media industry? Why?

equipment investment and time consumption.

IBC has established itself as the most dominant broadcast exhibition in Europe and its presence in early September marks the beginning of a new technological year in broadcast. This year will highlight the trend towards alternative platforms and new ways of producing content to feed these platforms. It will showcase the increasing need for technical gear that can easily be handled by nontechnical people. Broadcasters have realised that content can be produced with less equipment and fewer staff but realise that the workflow must be in focus to keep the overall production costs down. IBC is an ideal place to look for quality products to support their needs – balancing the equation of

What do you think are the key developments in, or threats to, your market sector at the current time? The broadcast industry is under so much pressure due to the shift from traditional flow broadcasts towards streaming and downloads. Broadcasters must make sure that their content stands out in a professional quality and that marks a good time for DPA Microphones. Our microphones always deliver pure and undistorted audio even in harsh and hectic conditions.

Why should delegates visit your stand at IBC? DPA Microphones is experiencing rapid growth,

CONFERENCE TODAY FORUM: 17:00-18:00 By Chris Forrester

which basically boils down to the fact that our products make it possible for everyone to capture important words and sounds at the most critical moments and broadcast them in pristine quality. DPA Microphones delivers a wide range of products; from the industry-standard headsets to miniature lavalier mics and handheld mics. 8.D70

Cinemascope zooms designed for digital P+S Technik By David Fox Two new 1.5x anamorphic Cinemascope (2.35:1) zoom lenses designed for use with digital cameras with 16:9 Super 35 or larger sensors have been introduced by P+S Technik. The first lens, the 35-70mm CS zoom, is already available, while the 70-200mm version is coming soon.

Both T3.5 Cinemascope zooms have a 1.5x squeeze factor and are based on a front anamorphic lens design. This generates a pleasing oval bokeh that isn’t as vertically

stretched as it would be with a 2x squeeze. They are designed to be characterful lenses with some lens flare, as they have glass elements without antireflective coating, but should

The new P+S Technik 35-70mm and 70-200mm CS zoom lenses

Everyone agrees that the argument for UHD broadcasting is sound when the bill is being picked up by a pay-TV company’s subscribers. But how can UHD’s financial costs be funded by public or advertising-funded commercial broadcasters? Andy Quested (head of technology HD/UHD-BBC) is one of the key players in UHD; as he was in HDTV (and even 3D) at the BBC. His huge experience at the BBC will bring IBC delegates bang up to date with the BBC’s current UHD transmission plans, reportedly to start with Wimbledon 2017. But Quested is also a firm believer in recognised and agreed broadcast standards for UHD as being crucial, and incorporating UHD workflows is one of his major challenges. Quested is aided by having BBC Worldwide helping fund

exhibit no focus breathing. Both are available with PL mounts as standard, or P+S’s own IMS Interchange Mount System for use with several other mounts. P+S Technik claimed that the 1.5x anamorphic is the natural and logical format for digital cinematography sensor sizes, as

some wonderful UHD projects not least the upcoming Planet Earth 2 series. Raymundo Barros (CTO at Brazil’s Globo TV) is a firm 4K/UHD (and high dynamic range) enthusiast and is already making – and transmitting – high-end drama productions in UHD. Globo is putting out this drama content onto its ‘on-demand’ service, and is committed to increasing output. Guido Meardi is CEO at compression specialist V-Nova, already well-known for its Perseus advanced video compression system, which might be the solution bandwidth-challenged broadcasters (and telcos) need to solve the UHD financial challenge. Completing the panel’s line up is Eutelsat’s Claudia Vaccarone (head of market research). Eutelsat is another enthusiastic supporter of UHD (and HDR) and already has clients on board transmitting 4K material. E102

‘the 1.5 squeeze factor offers a strong Cinemascope look, but avoids the downsides of a 2.0 squeeze factor’ that was designed for 4:3 film formats. When using the zooms on a 1.5:1 full frame (36x24mm) sensor, the focal length of 35mm is effectively a wideangle lens, which produces an image corresponding to a 22mm lens on a Super 35 size sensor. 12.B12

EFFICIENCY COMES FROM THE PERFORMANCE OF YOUR BUSINESS MANAGEMENT SOLUTION An integrated and centralized Business Management Solution which manages, in real time, all the metadata needed for operating Media Groups, whatever their broadcast platforms, be they linear and/or non-linear (Web, VOD, CatchUp TV, SmartPhone...).

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See us at IBC 2016 Stand 2.B21 ProConsultant Informatique, the partner of Media Groups worldwide Europe Office Metz, France - USA Office Atlanta, Georgia www.proconsultant.net

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OUTLINED

RTS The DKP-4016 desktop keypanel extends the KP-Series of intercom applications

By Heather McLean The new DKP-4016 desktop intercom keypanel combines HD colour displays and improved single-key operation. It is available as both a desktop and a wall-mount version and can be operated with all existing RTS matrices. This is ensured by a comprehensive set of connectors, including general purpose input/output (GPIO) and rear connector (RC). RJ45, Ethercon and fibre module (SFP) sockets enable full connectivity to either analogue four-wire or digital IP networks; two different headset connectors (4-pin and 5-pin) and one analogue auxiliary (AUX) input offer numerous connectivity options. The DKP-4016 features OMNEO IP technology on board. OMNEO is based on two key technologies: Dante from Audinate, and the system-control component Open Control Architecture. By utilising open public standards, RTS claimed OMNEO provides high interoperability, flexibility, reliability, resilience and futureproof technology. The DKP-4016 desktop keypanel features a full colour, wide angle high definition display, which is always readable, even under difficult lighting conditions, claimed the company. It also highlighted the superior colour, contrast, resolution and viewing angle for the device, which is also capable of displaying Latin, Cyrillic and simplified Chinese characters. The 16 four-way lever keys are ergonomically designed for specific use as desktop/wall-mount versions and provide listen/talk and cross point level functions. 10.B48

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Turning lenses into cine lenses

OUTLINED

Penny Westlake, director, Europe, Interra Systems

Lens Gears come in four sizes for Loxia, Milvus and Otus lenses

Has IBC come at a good time for the electronic media industry? Why? IBC is at a time when many companies are thinking about their strategies for the following year, making it important for decision makers. This year’s IBC promises to be particularly interesting, as the different options for media content delivery are exploding. Multiformat, multi-service and high consumer expectations mean that quality, no matter the bandwidth, is critical.

What do you think are the key developments in, or threats to, your market sector at the current time? Obviously, 4K and HEVC will be hot trends at this year’s event. We expect that by providing live demos of our quality control and monitoring solutions for

Zeiss By David Fox

checking and assuring the integrity of 4K UHD, HEVC, HDR, DPX and IMF content, Interra Systems will help accelerate the adoption of these services.

Why should delegates visit your stand at IBC? During IBC2016, Interra Systems will demonstrate comprehensive, integrated and intuitive QC/monitoring

solutions, highlighting how attendees can deliver high-quality video content, including HDR/UHD/4K, to various screens. We look forward to further increasing the brand visibility of our market-leading ORION realtime content monitoring and video analysis systems, VEGA media analysers and BATON automated, file-based QC. 7.B13

Conventional camera lenses can now be turned into cine lenses that work precisely with a follow focus, thanks to the new Zeiss Lens Gear rings. They come in four sizes (mini, small, medium and large – priced from about €150-€175), and work with all Zeiss Milvus, Otus and Loxia lenses. The hardened aluminium rings can be attached without tools (by turning two opposing rings) and are supplied with a rubber-covered band, the GumGum, which features an adhesive surface, so that the

inner diameter can be reduced accordingly, to support further lenses (the size range goes from 60mm to 93mm). It also protects against scratches or other damage to the focus ring. The three f1.4 Otus DSLR lenses and six Milvus lenses are also now available in cased cine sets. There are also two new additions to the Arri/Zeiss Master Anamorphic family: the MA 28/ T1.9 and the MA 180/T2.8, bringing the total range to nine lenses. The MA180 offers a very short minimum object distance of just 1.5m, while both lenses promise natural colour rendition of skin tones. 12.F50

Changing the Broadcast Landscape For all screen delivery

Appear TV’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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Perfecting the Media Experience C

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Extensive searching capabilities Demands on metadata search functionality are significant and increasing, says Ingo Hoffmann, managing director & CTO, Artec Technologies Our XentauriX solutions are going from strength to strength, with increasing demands from customers on more channels as digital broadcasting allows demographic and audience segmented content to be launched and delivered via internet channels. This places significant demands on increasing metadata searching functionality via video frames and text combined with the flexibility to embrace the realms of a wide range of

new digital media including social media sharing, monitoring and playback on multiscreen devices. As we look back, just five years ago XentauriX was being used to simply record from ten to 50 channels from traditional TV sources for compliance and evidence recording with playback on PCs. Today, we see 100 to 500+ channels being requested which includes a wide range of IP-based sources, plus the traditional TV sources; all in a range of

broadcast qualities, multiple languages and delivery options (internet, DVB, for example) and with a wide range of multiscreen playback requirements. Customers today want extensive searching capabilities, not just simple text to find content; they want video search too. XentauriX includes an intelligent video search engine which allows customers to find content by a few video frames contained within thousands of hours of content in seconds. The video search capability has

Multi-channel audio made easier Minnetonka Audio By Carolyn Giardina The latest features from Minnetonka Audio’s digital audio software are on display at the company’s IBC stand. This includes updates for AudioTools Server and SurCode Dolby

16 IBC D3 2016 v2JRJMcK.indd 1

Digital Plus for Avid. Under Version 4.1 of AudioTools Server, users will have an optional LicenseServer that allows floating licences to be shared between different machines at different locations. A Bring Your Own License (BYOL)

Minnetonka’s plug-in allows ﬁles to be encoded and decoded directly within Adobe Premiere Pro CC

expanded our customer interest from compliance recording to sports, advertising and news agencies with orders worth over €2 million in the past 12 months, including a leading worldwide Qatarbased sports agency. Our customers are undergoing the shift from live linear to on-demand based viewing and implementing a video platform and strategy based upon XentauriX has allowed them greater flexibility to meet market demands

licence allows deployment in a private or public cloud. Child workflows, APTO advanced Loudness Adaptation and Linear Acoustic UPMAX upmixing round out the new features of this release. SurCode for Dolby Digital Plus Encoder and Decoder brings Dolby Digital Plus to the Avid platform. It allows users to

in a fast and timely manner with incremental investment and infrastructure upgrades. IBC2016 is a great opportunity to discuss current and future trends with customers and prospective customers and we welcome visitors to our stand to discuss their market challenges and requirements. 7.C28

create Dolby Digital Plus E-AC-3 files from multichannel WAV or AIFF sources. When working with legacy content, SurCode for Dolby Digital Plus also provides encoding and decoding of Dolby Digital AC-3 files. Also on the stand is the SurCode Dolby E Encoder and Decode plug-in to Adobe Premiere Pro CC, which allows files to be encoded and decoded directly within the Adobe NLE. 7.J40

26/08/2016 11:17

NETWORK. AUDIO. VIDEO. CONTROL. smart IP live production infrastructure.

Flip your mind! Proven Solutions for ... ... IP Video Core Infrastructure ... IP Remote Production ... IP Audio Production ... IP Broadcast Control & Monitoring ... IP Virtual Radio

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Behind the Scenes upgrade for multiCAM Radio multiCAM Systems

OUTLINED

Rob Arnold, VP, worldwide sales, Omnitek Has IBC come at a good time for the electronic media industry? Why? At IBC this year Omnitek has never felt more demand for specialist products and content supporting 4K/UHD and HDR. Alongside this there is a significant need for specialised test and measurement equipment. The Ultra XR Waveform Analyser is the ideal solution providing true 4K waveforms to support content creatives, colourists, post production editors and digital intermediates working with ultra high resolution UHD images in all SDI and HDMI formats.

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

The key developments for 4K/UHD manufacturers and programme makers are wide colour gamut RGB ITU-R BT.2020 and high dynamic range (HDR) ST2084/PQ and hybrid log gamma, which are addressed with the new Ultra XR true 4K Waveform Analyzer, shipping now!

Why should delegates visit your stand at IBC? It’s our first showing of the Ultra XR 4K/UHD Waveform Analyzer so that’s a good reason to visit the stand. We will also have the Ultra 4K Tool Box and Omnitek’s consultancy division will be showing an array of off-theshelf IP and full turnkey PCB design projects, including the OSVP multi-process scaler core, camera ISP, HDR, warp, image blend and stitch IP,

plus our streaming DMA controller IP and our range of 12G-SDI, V-by-One, HDMI 2.0 and DisplayPort Connectivity IP. 10.A24

We have three WFM2200A Waveform Monitors to give away at IBC.

By David Fox The visual radio production system multiCAM Radio, which uses artificial intelligence connected to the audio console and real-time analysis to do automated video production, has received a major upgrade. It now has a Scenes feature that automatically manages graphics overlays, including the names of speakers, as well as jingles, advertisements and more. Stan Walbert, CEO, multiCAM Systems, said: “Scenes, in connection with the [overall AI] programme, provides an enriched and interactive flow. Very easy to configure, it can be adapted to any type of radio

[such as music or talk].” The AI in the system manages the selection of presets and production based on information gathered from microphones (including speaker detection) and the XML commands coming from the existing radio automation, making it simple to live stream programmes on the internet with video, said the company. Users include Bel RTL, Fun Radio Bruxelles, Medi 1 and Mosaique FM. 12.E56A The AI-based multiCAM Radio system also has a simple touchscreen interface

WIN ME!

Simply scan your badge, complete an entry card and pop it into the box on the Tektronix stand. The draw will be made at 14:00 on Saturday, Sunday and Monday. Terms and Conditions are available on the entry cards.

Visit us in Hall 10 Stand D41

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Q&A

OUTLINED

TBS Technologies

Liren Zhu, CTO, Osee Technology

By Ian McMurray

Has IBC come at a good time for the electronic media industry? Why? IBC brings us a great chance to show our latest developments in digital cinema monitors, 4K monitors and 4K multiviewers. OSEE has been dedicated to providing customers the best solution for broadcast and film production needs. Our range, from small multiple screen confidence monitors to the reference and colour grading monitors and 4K quad split monitor that is debuting at this year’s IBC has turned OSEE into a onestop monitoring expert.

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

Technology evolution has made milestones from 4K to today’s HDR. Capturing and incorporating the new technology into the device will certainly help vendors get attention and revenue from the industry. However, the downside of grasping new technology before the market really gets ready for it can be uncalculated risk for vendors in the current economic environments. It’s kind of playing in uncharted water when vendors stand at the cutting-edge to embrace new technology.

Why should delegates visit your stand at IBC? We have a 4K monitor with quad view capability, a colour grading monitor as well as a new digital cinema monitor that is being revealed at IBC.

OSEE has been on a path forward to making highquality monitors to meet a variety of customer needs and budgets. Everyone should stop by OSEE just to see what surprises we have to bring you. 10.D59

Digital TV tuner card and IPTV streaming server company TBS Technologies is highlighting its IPTV streamers which include DVB-S2 tuners, DVB-T2/T tuners, or DVB-C tuners with or without CI functionality. TBS said that its IPTV streaming server supports connection with up to four DVB PCI Express tuner cards through its tuner bridge board. Also on show are TBS video encoders that make it possible for an analogue CCTV system to migrate to a network video system. These convert analogue video signals into digital streams that are then sent over an IPbased network, such as a LAN, intranet or internet.

According to the company, these in essence turn an analogue video system into a network video system and enable users to view live images using a web browser or video management software on any local or remote computer on a network. The company is also demonstrating its range of DVB tuner cards and USB TV boxes which provide support for DVB-S/S2, DVB-T/T2, DVB-C, ISDB-T and ATSC as well as multi-standard. Single, dual, quad or eight tuners can optionally be configured, as can CAM Common Interface support. 5.C69 The TBS2630 multi-channel HD H.264/H.265 HDMI encoder is on show

A winning combination

Avid Pro Tools | S6 and IHSE Draco tera | S6 The Draco tera | S6 KVM switch takes the Avid Pro Tools | S6 control surface to a greater level of performance and capability. Maximizing efficiency, simplifying workflow and increasing flexibility in professional sound studios.

Loudness Films, Lisbon

Editors can instantly switch between Pro Tools stations with just a single touch, giving them complete control with no distraction. With no transmission delay or image degradation, they see the complete picture.

The Draco tera switch has allowed us to organize studio layout in the way that best suits the mixing crew and greatly reduces the amount of equipment and distraction in the editing suites.

See the Draco tera | S6 and the full range of professional KVM switches on stand 7.B30

IHSE GmbH - Headquarters Maybachstrasse 11 88094 Oberteuringen Germany

IHSE GmbH Asia Pacific Pte Ltd 158 Kallang Way #07-13A Singapore 349245

Branko Neskov, founder of Loudness Films

IHSE USA LLC 1 Corporate Drive Cranbury, NJ 08512 USA avid.ihse.com info@ihse.com

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Dave Frederick, senior director, Media & Entertainment, Quantum

of storage capacity. Between the cloud and new higher capacities of disks, the actual cost of storage is going down, but the complexity of data management is increasing. Some content owners and producers are actually paying more now to manage their data than they are to store it.

Why should delegates visit your stand at IBC?

Has IBC come at a good time for the electronic media industry? Why? This is a time of accelerated change where people are struggling to keep up with new formats emerging and the impact they’re having on workflows and infrastructures. What our customers are discovering is that by having a platform that can adapt to

20 IBC D3 2016 v2JRJMcK.indd 1

these changes, it makes it much easier for them to be able to capitalise on the workflow benefits.

What do you think are the key developments in, or threats to, your market sector at the current time? One of the key drivers right now is the commoditisation

IBC2016 visitors can see some of the new capabilities within our StorNext shared storage platform. This will include an integrated demo of an animation frame-based workflow and an editorial linear-based workflow in the same file system. We’re also doing 4K and 6K editing with colour grading, all in real time. These applications will really streamline the whole post production process. 7.B27

Adding depth and dimension Vision III Imaging By Adrian Pennington Historically, viewing threedimensional (parallax) visual information has required stereoscopic technology that is not compatible with normal display screens. Stereoscopic systems require left/right visual information to be presented simultaneously (or near instantly) on separate channels to each eye. Stereoscopic imagery requires that left and right images be formatted for 3D monitors which require special glasses or special screens to view. Vision III has taken a different approach by presenting parallax information over time, in a manner that is compatible with standard unaided displays and media.

Chris Mayhew, CEO and president, Vision III, explained: “When applied, it has been shown to overcome one or more of the problems associated with traditional stereoscopic imaging methods. v3D provides the ability to capture three-dimensional visual information in a manner that triggers a non-fatiguing perceptional response in the viewer. It uses stereoscopic parallax scanning to simulate information captured by the eye’s natural gaze, saccade and head motions.” He added that v3D allows the combined stereoscopic display (left and right views) to present a variety of threedimensional information to the viewer in a manner that will create ‘a unified realistic visual perception’. 8.G03a

26/08/2016 11:20

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10kW FM UHD-4K12G digital routing switcher transmitter goes on-air Utah Scientific

By Heather McLean

WorldCast Systems

The UHD-4K12G digital routing

switcher is the industry’s first enterprise-class router to enable distribution of a full range of 4K SDI video signals, from SD data rates up to 12G,

theibcdaily

in a single-link interconnect, stated Utrah Scientific. OUTLINED It reduces the rack space and cables needed to process 4K signals, and lowers OPEX, Utah Scientific claimed. The UHD-4K12G is said to be ideal for enterprise

broadcasters that need to meet the growing demand for UHD TV content, driven by the increase in large screen UHD TV consumer displays. 10.A21

The UHD-4K12G is able to receive, route and distribute SDI signals up to 12G and 60 fps

By Mark Hallinger The new Ecreso FM 10kW transmitter is making its debut to European broadcasters at IBC2016. The latest and most powerful FM transmitter in Ecreso’s new generation, the system is based around a fully digital FM modulator that enables excellent audio purity, claimed WorldCast. It has a wide range of built-in features such as audio back-up, RDS and Stereo encoding and an FM limiter with MPX power control. WorldCast claimed that the reliability, redundancy and overall efficiency of its new unit are best-in-class. The power amplifiers, power supplies and even the fan modules are fully hotswappable and redundant, and a completely passive 6-way coupler ensures that, should one of the amplifiers suffer a fault, the transmitter can stay on-air with minimum power loss indefinitely until the fault is rectified. The highly efficient, selfmonitoring power supplies contribute to an overall transmitter system efficiency of up to 76 per cent, which WorldCast claimed was the highest available in today’s FM broadcast market. 8.B60

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CONTROL COMMUNICATE

Latest: The newest Ecreso transmitter is based around a fully digital FM modulator

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RIEDEL widens its SMARTPANEL app portfolio with the new MEDIORNET CONTROL app. Switch video, audio or combine in macros… all while using your intercom.

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FlashNet Lite debuts At IBC

OUTLINED

David Pollack, president & CEO, Spacecom Has IBC come at a good time for the electronic media industry? Why?

SGL

development is the growing use of internet broadband services offered via HTS multi-beam satellites. AMOS-6 will provide this to Africa and it is likely that our future satellites will include the right technologies to serve this, too. We are also working with DTH providers and other broadcasters to help them bring more DTH and UHDTV to their offerings. Spacecom is also bringing ‘hybrid’ options to the market either by adding satellite services to cellular or to DSL operators thereby enabling them to offering stronger and more reliable services to their customers.

September in Amsterdam is perfect for the satellite industry. With AMOS-6, Spacecom is poised to move further as a fast growing multi-regional satellite operator. The new satellite will offer services in western Europe, a new market for us. Its Ka-band HTS capabilities for broadband internet are contracted by Facebook for Africa. With additional capacity for data and broadcast, this is a powerful business driver from the 4W orbital position.

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

Why should delegates visit your stand at IBC? ‘The AMOS brand is expanding’ is our message to IBC2016 delegates. Much has changed since IBC2015 and we are excited to talk about

The AMOS brand is meeting customers’ needs by offering new initiatives. One key

By Carolyn Giardina

Spacecom’s strategic growth and programme, the new markets we are serving and the advanced technologies we are using. With the beginning of AMOS-6’s commercial operations, we will enable broadcasters and service providers to increase their data, broadband and broadcast services businesses. As a multiregional satellite operator, we will use this opportunity to meet existing and potential clients. 1.C65

IBC is seeing the introduction of FlashNet Lite, a new entrylevel content management system. According to SGL, FlashNet Lite provides the features of its full FlashNet system, but is restricted to a single server node. The latest version of FlashNet also allows customers to allocate a pre-defined number of drives within their library for a specific role, such as archiving Avid jobs only, or restoring/ archiving material at a certain time of day. This aims to assist larger broadcasters with multiple drives to improve operational procedures. At IBC, SGL is also showing an Avid Interplay Web Services plug-in with Partial File Restore feature powered by Glookast; the latest version of its FlashNet

API, which now supports REST; FlashNet support for the DPX format; and a FlashNet Amalgamation Service. The company is also using IBC for the European launch of a new Infinity User Interface, which is being incrementally rolled out over the next six months, and is aimed at simplifying archive procedures. Also new for Europe is support for SMPTE’s Archive eXchange Format (AXF). IBC also serves as the European launchpad for support for Ci, Sony’s cloud-based service that enables collaboration on the creation and sharing of high-resolution content. The SGL integration with Ci means that broadcasters and content owners can transfer material directly to the cloud from their MAM system using SGL FlashNet. As well as Ci, SGL also supports Amazon S3 via Aspera and ExpeDat Gateway. 7.J15

VVR enhances distribution security Sematron By Ian McMurray A new virtual video router (VVR) from Layer 3 has been jointly developed with Sematron to complement the latter’s Truncatis Video Delivery Network. This is claimed to provide a powerful mechanism for managing video contribution and distribution within networks, enhancing security and simplifying configuration and operation.

According to Sematron, it turns a technically complex configuration and management problem into an easy-to-use application. The virtual video router allows contributors to deliver their content to more than one subscriber while negating the need for constant firewall reconfigurations to the subscriber’s network. By providing an additional layer, or mid-point, between contributors and subscribers where each contributor can be set up with

their own IP address and port dedicated to their incoming contribution, Sematron says that the router effectively offers the contributor their own virtual decoder. Once this is in place, the subscriber can choose to select which contributors they receive contributions from, thereby protecting their decode chain from the unmediated contributions. Additionally this mid-point (or turnaround) provides a user interface for the

A virtual video router complements Sematron’s Truncatis delivery network

contributors, where they can check that their stream is being correctly received. This works without them having to have access to the destination,

thus allowing them to ‘self-provide’ and reducing the work required at the subscribing MCR. 1.A78

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LMW Series:

Workhorse at Low Cost Broadcast Monitor ● Low cost broadcast “workhorse” for monitor wall and stand alone operation

● Closed Caption Display and AFD

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● Multiformat Analog and Digital Inputs

● Dual Screen PBP Display ● WFM / Vector plus up to 16ch Audio Analytic Displays

OSEE TECHNOLOGY CO., LTD.

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26/08/2016 11:27

Get inspired by our products Get to work with our powerful SDK

NEW

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Booth: 7.B29 www.matrox.com/developer_products/ibcdaily Matrox is a registered trademark and Matrox Developer Products is a trademark of Matrox Electronic Systems Ltd. All other company and product names are registered trademarks and/or trademarks of their respective owners.

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2016-08-03 09:25:30 30/08/2016 13:13

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Bridge the skills gap or suffer the consequences OUTLINED

Stan Moote, CTO, IABM Submerged in the details of the latest IABM Industry Trends Survey is a stark reminder that there is a big skills deficit in the broadcast and media technology industry, and it is holding us back. Of the 123 representative vendors who responded across the media supply chain, ‘Development Capacity’ and ‘Skills and Staff Shortages’ were the most important factors limiting companies’ ability to fulfil orders or contracts, with the problem being significantly worse for small companies (<50 staff). Recent figures from Southampton Solent University – one of the UK’s leading media technology colleges and an IABM University Forum member – show that year-on-year applications for its media technology programme have been falling, with fewer students having the underpinning maths and science applying for the courses. Media engineering students graduating from Southampton Solent have employment rates close to 100 per cent; good news for the students but another indicator of the skills shortage. IBC recognises the problem and today’s conference session (Sunday 11 September) ‘New Era, New Skills in Broadcast and Media’ will be a great place to get to grips with the challenge and find out about some possible solutions. Here’s my take on some paths we could follow.

Keeping current As the survey shows, it’s not just about new recruits; keeping existing staff up to date is also vital. Recognising this, over the last few years, IABM has put tremendous effort and resources into designing courses that can help broadcast and media technology engineers

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understand and keep up with the rapid changes that are taking place, particularly the growth in requirement for IT alongside more traditional broadcast engineering skills. However, take-up of these courses is not what you would expect from an industry crying out for up-to-date skills. So what’s going wrong and what can we do to change this?

Fishing in a big pool The explosion in media creation and distribution that has taken place over the last few years, particularly among the younger generation consumption-wise, makes it difficult to understand why and how school children are not seeing – or perhaps being inspired by – the tremendous opportunities that are opening up across our industry. They drop out of studying STEM (Science Technology Engineering and Maths) subjects at school and don’t apply to engineering courses at university. Fewer women study engineering thanks to outdated stereotypes often propagated by the media; meaning a massive reduction

in the cohort considering engineering or media technology as a career. Demographics don’t help some western European countries either. For the UK, numbers of young adults of university entrance age will fall year-on-year until 2020 while the average age of an engineer is currently 54. IABM will carry out a global census of the broadcast and media industry to shed some light on this, and give pointers towards a solution. Then there is the problem that there is strong competition for graduates from engineering and technical employers outside of the media technology sector. Many of these are much larger organisations with clear career development paths that our mainly small and mediumsized enterprise (SME) based businesses simply don’t have the capacity to offer.

Getting sexy again Where we do have an edge is in our customers’ output: we’re in a creative industry that has a ‘sexiness’ that we can harness

to attract more bright young people. We can help with this by designing courses that mix engineering and creative skills, so it’s not an either/or choice. We can help by volunteering as STEM ambassadors in schools. Many SMEs miss opportunities to get involved with local universities; the IABM University Forum can help here, offering research projects and/ or holiday employment can be a winner for all. Conversion courses that equip creatives and engineers with complementary skills that employers need will help to bridge the skills deficit, and designing specialist media technology blocks within broader courses will also increase the talent pool. And, of course, informed careers guidance about the opportunities in our business will open the door to more students too. Bring in some students as interns – they will learn the business and teach your employees new stuff – motivating both parties. And don’t forget those already in the industry. SMEs can take

advantage of existing courses such as those offered by IABM to upgrade and broaden their employees’ skills, building in the kind of ‘continuing professional development’ that attracts and retains staff.

Don’t spite your face Too often, people have good intentions to get some training to further their careers and then don’t take it up for a variety of reasons, most of which don’t stand up in career progression terms. And when the going gets tough for companies, it is frequently the training budget (often alongside marketing, interestingly) that is hit first. I find this short-sighted: investing in your future is the best way to secure your longterm prosperity. And don’t forget that happy employees who are kept current and trained by their companies are less likely to move on. This is not a problem that will go away: we cannot ignore it. We need to take action now to ensure the future of our industry, and to provide an attractive and rewarding career path for young talent.

26/08/2016 11:27

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Powering workflows and content management OUTLINED

Quantum By Carolyn Giardina The Xcellis workflow storage system from Quantum is being highlighted at IBC. Xcellis is aimed at consolidating media management, extending connectivity options for both Fibre Channel and Ethernet clients, and supporting hosted applications in a single hardware system for collaborative media environments. Based on the StorNext 5 platform, Xcellis facilitates flexible configurations, claimed Quantum. That could include online workin-process, ingest and delivery, and archive through Quantum’s Lattus object storage, LTO tape and Q-Cloud services. Xcellis has the ability to support embedded applications, and at IBC Quantum is demonstrating this capability. Quantum and a growing number of partners have introduced embedded applications for Xcellis that address tasks such as media asset management, transcoding and QC. Quantum is also showing a workflow in which its Lattus object storage system is integrated with media management software from Vidispine and other third-party applications for transcoding and delivery within the object storage framework. This model is designed to enable content owners to transcode and deliver content directly from Lattus without restoring it to online storage or converting objects back to files. Also at the stand, Quantum is demoing an Xcellis-based workflow that includes combined hybrid flash and disk storage to meet the requirements of animation and visual effects. This capability enables Xcellis to support workflows beyond video editing, such as rendering, compositing,

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finishing and colouring. Geoff Stedman, senior vice president, marketing and scale-out storage solutions,

Quantum, said: “[We’re highlighting] ways in which StorNext ‘powers what’s next,’ how Xcellis supports media

workflows from end to end, and how media companies can realise added storage efficiencies by extending

their operations onto our lowlatency, massively scalable Lattus object storage system.” 7.B27

Meet us at IBC Stand #10.D29

Linking People Together

HelixNet: Turn Your Production Intercom from Ordinary to Extraordinary Founded on traditional partyline concepts, this all-digital system offers you more than meets the eye. More channels and more users supported. The updated HelixNet now delivers 24 intercom channels on a single mic cable and supports up to 60 user devices on a combination of standard mic cable and Power-over-Ethernet (PoE) on a single Main Station. Get up and running within minutes with unique features such as the hardware auto-discovery, cascade menu operation and browser-based conﬁguration. HelixNet is unlike any digital partyline system out there. Reach us today for more powerful solutions. www.clearcom.com

26/08/2016 11:36

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IBC2016 Innovation Award Entrants theibcdaily

OUTLINED

IBC would like to recognise all the IBC2016 Innovation Awards Entrants. This year was a particularly competitive year and saw entries from: IBC2016 Innovation Awards Finalists Content Creation

End user

Augmented Reality for the UEFA Champions League Pylon Cam LiveIP studio

BT Sport ESPN VRT/EBU Sandbox

Content Management Wild Island The 15 of Us Ketnet

Endemol Shine Germany Tencent Video VRT

Content Delivery BT Sport Ultra HD Next Generation Services Content Discovery

BT Sport UEFA Swisscom TV

The prize awaits. Celebrate with the winners at tonight’s Awards ceremony

IBC2016 Innovation Awards Entrants Content Creation A Mid-tele Zoom Lens Delivers Prime Lens-level Image SIGMA Quality with a Large F1.8 Aperture Throughout the Zoom Range Strictly Come Dancing in 360 degrees BBC The Voice UK: Virtual Voice 360VR BBC The Voice UK / BBC Taster/Wall to Wall Digital Brazil 4D Project EBC Empresa Brasil de Comunicação CARLED Globo Comunicacao e Participacoes Console-less News Studio Astro Radio Sdn Bhd GoALT: OTT Service by Balaji Telefilms Powered ALT Balaji by Xstream and Diagnal Huawei Hybrid Media Cloud Solution Innovation HeNan TV Station Multi-Market Content Global News NBA Global Game Distribution Center National Basketball Association Peak Performance to Scale Everest with Avere Systems Reykjavik Visual Effects Star Wars: The Force Awakens – Bad Robot – Mistika Bad Robot Productions Stepping Up Live IP Cloud Production NEP Years Elections TV3 – Television of Catalonia Content Management An Event-driven Architecture for a Visual Studio Appiness Transforms Your TV Screen into Your Favourite Shop Outside Broadcast Truck with First Decentralised Matrix/Router System Bringing Cultural Heritage to Life: Preserving Audiovisual Content for Posterity Content Enablement Initiative Customised Content Management System End-to-End Multiplatform Sports Production Expressen TV and Vizrt – Building the Model for Future Media Production

RTBF Appiness DB Video Private Engineering Office (PEO), Qatar Ultimate Fighting Championship Telefonica Servicios Audiovisuales Mediaset Expressen TV

Connecting People, Facilities and Countries Through MAM Global Production of GT Academy TV Show High Speed Data Growth Management Lighting up BBC Motion Gallery’s Digital Assets with solaRR Migration of Studios onto IP Infrastructure – Industry Proof of Concept Group Content Apps Content Delivery AllConnect Cross-Platform Media Streaming Technology BBC Your Story SmartBeam: Eutelsat Multiscreen Video Delivery Solution Cloud Based Managed Services Enable Irish TV to Expand its Customer Base Geo-targeted TV Stream with Ad/Content Contextualisation and Resulting Monetisation Debat Direct

Fox Network Group Europe Mach2Media Cablenet Communication Systems BBC Motion Gallery France Télévisions Turner

Tuxera BBC NI France24 Irish TV ABP TV News viewers Dutch House of Representatives Mobistar

Delivering Premium Interactive TV Services Over Unbundled Cable Networks in Belgium DISH Hopper 3 4K STB by EchoStar, Secured by NAGRA DISH Network D-ZERO – Low Latency ABR Streaming Sky Italia Espial Transforms the Video Experience in Portugal Espial Foxtel iQ3: A Set-top-box Running Multiple Proprietary Foxtel CAS Solutions While Preventing the Pay TV Operator to Become Captive Freeview Play Freeview Global Media Operations on CLEAR Media ERP for Hotstar Star IndIa HEVC OTT Delivery in Public Venues Equidia/PMU INIO.TV – Easy Online Video Application Builder Mautilus Laser Technology Triggers ‘Wow’ Forum Cinemas Lebara Play – Global Multi-Ethnic Entertainment Service Lebara

CONT. ON PAGE 28

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26/08/2016 11:39

Integrated UltraHD/HD Camera with HDBaseT Simple Installation, Using One Cat 5e/6 Cable RovoCam is AJA’s first compact block camera for industrial, corporate, security, ProAV and broadcast applications. Beautiful UltraHD and HD imagery is obtained with superior Sony® optics with built-in 12x optical and up to 20x zoom with Sony Super Resolution Zoom, auto and manual focus. A single Cat 5e/6 cable carries uncompressed video, 2-channel audio, VISCA camera control, and power for the simplest installation ever, with efficient control through free RovoControl software. Made of rugged aluminum, RovoCam’s small and light form factor allows simple mounting in a wide range of scenarios. RovoCam’s HDBaseT interface supports Cat 5e/6 cable lengths up to 100 meters. NEW!

NEW!

Receive, Deliver, Distribute 6G/3G-SDI and/or HDMI

Distance, Power, Control All in One Cable

RovoControl is AJA’s free software for Mac and Windows, for controlling one or multiple RovoCams, offering easy control of all the main camera features like zoom, iris and focus.

Don’t be tethered to your camera, display RovoCam’s gorgeous UltraHD/HD imagery remotely with the new RovoRx-SDI or RovoRx-HDMI.

RovoCam features an integrated HDBaseT transmitter. HDBaseT offers long cable runs over standard Cat5e/6 cables (up to 100m), and also passes RovoCam’s UltraHD/HD video, audio, control, and power.

RovoControl uniquely offers electronic PTZ for moving an HD 1080p box around the UltraHD frame, allowing vitual Pan and Tilt.

RovoRx-SDI and RovoRx-HDMI are UltraHD/HD HDBaseT receivers with integrated 6G-SDI and/or HDMI video and audio outputs. RovoRx-SDI additionally offers a DA mode for SDI workflows. HDBaseT connections allow for camera interaction, power, and control, all over a single Cat 5e/6 cable.

RovoControl v2.0

Simple to install, simple to operate.

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

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Lightup: Delivering Content Using Gigabit Wireless Broadband Live Event Content Clipping OUTLINED Mobile SVoD Service MyMTV, First Personalised Music TV Channel by Viacom France, Cognik and Wiztivi NASA TV UHD: North Americas First Consumer Ultra HD Channel Newstag OMNI – OTT Monetisation Novel Innovation Opera TV 2.0 First European 4K Production and Transmission IPTV White Label Platform Personalised Advertisement Replacement for Live Simulcast in All 4 PostPro Live: Store and Forward of Video Content over LTE Redundancy on Demand: A Solution for Challenging Reception Conditions in Terrestrial Broadcast

For the latest show news and updates follow

Lukup Disney/ABC Airtel Nigeria Viacom International Media Networks France NASA Newstag TV Programming Viewers Opera Software pearl.tv Perception TV Channel 4 Euromedia Group Media Broadcast GmbH

Remote Broadcast Case Study: League of Legends Season 4 & 5 World Championships SLA Driven Media Operations and Delivery Using Automated Prioritizing and Scheduling Movie Discovery App on the New Apple TV Strategically Supporting Next-generation Video Services Telstra Digital Video Network 2 (DVN2) Thunderbolt 3 – The USB-C that does it all True live OTT Solution Puts F1 in Pole Position Virtualized, ‘Pay-as-you-go’ Playout for Complex Channels World’s Most Efficient Streaming Video Pipe Worldwide Distribution of Media Content for Leading Sports Franchise Online Video Quality Initiative Monitoring and Analysis of Multiplatform TV in the Cloud 4K Wireless TV and Streaming STB – first in the Nordics

Muriel Le Bellac, CEO, Videomenthe

We are at the edge of a disruptive world with many players rushing into the electronic media industry, and IBC therefore enables faster convergence of new players. The industry is facing exciting challenges: new ways of creating, using, viewing and sharing content. So it is definitively a thrilling period to redefine technical and sales models.

What do you think are the key developments in, or threat to, your market sector currently? Videomenthe is evolving as a provider of video processing

solutions and this is resonating with our partners and clients when we talk about agility, scalability, elasticity, cost efficiency, or user experience. It defines our offers: innovative extensions of current processes. It also means new business models: we offer a collaborative model allowing our clients to monetise the use of our solutions thanks to revenue sharing.

Why should delegates visit your stand at IBC? We can’t wait to showcase Eolementhe, our tailor-made solution for processing media files, including new standards: AS-10 compliant and IMF conformity. Latest features include automatic delivery of files to object storage systems,

workflow stop and go, user rights management, and a lot more. Eolementhe bridges a gap between the current common model and the new cloud SaaS model. So, drop by our booth to enjoy a demo! 2.A36

Portable monitor mount Custom Consoles By Mark Hallinger The latest additions to a range of control room furniture are being showcased, including the MediaPost portable monitor mount. This can be used both as a standalone display and to supplement larger multiscreen monitor walls. MediaPost is a free-standing portable

26 28 IBC D3 2016 v3JRFRJMcK.indd 2

monitor mount matching the styling and build quality of Custom Consoles’ established MediaWall. Monitor panels of up to 65-inch diagonal screen size can be accommodated, along with auxiliary devices such as loudspeakers. Other applications for MediaPost include studio floor monitoring, script display prompts and in-view studio backgrounds. 8.B38

Production Associates GmbH Star India Spideo Swisscom Australian Television Operators Intel Formula One Management UKTV Telstra Imagen Wuaki.TV 1+1 Media Group Waoo!

Keeping up with the news

Q&A Has IBC come at a good time for the electronic media industry? Why?

#IBCShow

Centre Stage: The MediaPost portable monitor mount can be used as a standalone display or to supplement larger multiscreen walls

News streamed on demand in HD

IBC TV has been researching and broadcasting all the top stories from IBC since Thursday, and it will be on air until the end of the show on Tuesday afternoon. This is a live streamed channel, which you can find at www.ibc-tv.org. The programming is all created on site, in the specially constructed production base in Hall 13. The team, led by anchor Martin Stanford, are generating stories from around the exhibition, as well as debates and expert opinion from the studio. The team also covers many of the major events in the conference. Today, for instance, as well as the keynote presentation from Lord Puttnam, IBC TV will also be showing live two great conference sessions on storytelling in the multi-

platform world and the future of the television experience. Tonight, of course, IBC TV cameras will be at the awards ceremony, with highlights on air soon after the event. All this is live in HD. The streaming system intelligently detects your device, so all you need to do is go to www. ibc-tv.org and the correct format will start streaming to you. Most IBC hotels offer free WiFi to delegates, so you can watch without worrying about data allowances. As well as the 24-hour rolling streaming service, IBC TV is also a VoD platform. All this year’s coverage joins the archive from previous years which can be searched and watched when you need to. That does not mean just during IBC: the VoD service is available 365 days a year, and is free at any time.

26/08/2016 11:39

www.decimator.com

Innovative Monitoring Solutions for the Video and Audio Professional

1 to 16 Channel Multi-Viewer with SDI and HDMI outputs for 3G/HD/SD and Custom Layouts • Approximately one input frame of delay • Custom Layouts with various standard layouts • 16 Character UMDs per window with custom position and size size • 8 Channel Audio Metering per window with custom position and size • Center Cross with Adjustable Safe Action and Title Graticules per window • Save or Load layouts and settings using the USB Control Panel • Each window is independent of the others, allowing any 3G/HD/SD format of any frame rate to be displayed simultaneously. • Fast Switching between inputs using Full-Screen scaling • 32 GPI for Tallies and Remote Switching • RS422/485 for Dynamic UMDs and Tallies • Selectable output format in both Full-Screen and Multi-Viewer mode • Control or Update via USB Control Panel on either Windows or Mac

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* MSRP is in USD and excludes sales taxes, duties and shipping costs

Visit us at Booth #7.B35

HDMI / SDI Cross Converter with Scaling and Frame Rate Conversion • The MD-HX features several converters all in one. e.g. HDMI to SDI Converter, SDI to HDMI Converter, Down Up Cross Converter, etc • Robust Aluminium case • Features the following four main modes: 1. HDMI to SDI while simultaneously converting SDI to HDMI 2. HDMI to HDMI while simultaneously converting SDI to SDI 3. HDMI to SDI and HDMI 4. SDI to SDI and HDMI multi-award winning • Includes the same Down Up Cross Converter from our multi-award winning MD-DUCC, allowing either the HDMI or SDI input to be scaled and/or frame rate converted to the required standard. • Control or Update via USB Control Panel on either Windows or Mac

MD-HX

1 to 9 Channel (3G/HD/SD)-SDI Multi-Viewer Card with Custom Layouts • Approximately one input frame of delay • Custom Layouts with various standard layouts • 16 Character UMDs per window with custom position and size position and size • 16 Channel Audio Metering per window with custom position and size custom position and size • Center Cross with Adjustable Safe Action and Title Graticules per window Graticules per window • Each window is independent of the others, allowing any 3G/HD/SD allowing any 3G/HD/SD format of any frame rate to be displayed simultaneously. • Fast Switching between inputs using Full-Screen scaling • Selectable output format in both Full-Screen and Multi-Viewer mode • RS422/485 for Dynamic UMDs and Tallies

N 5 9 $9

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www.decimator.com Innovative Monitoring Solutions 30/08/2016 13:16 10/08/2016 12:57 AM

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Radio history in the making with WorldDAB industry insight OUTLINED

By Fergal Ringrose The IBC Conference will feature on Monday 12 September a WorldDAB-driven session titled ‘Looking to the Digital Future: Digital Switchover Progress and Plans’. The significant issues to be addressed in this session are the status of digital radio broadcasting in various countries as the DAB platform continues to spread across Europe, and specifically the commencement now of the switch-off of analogue FM radio – rather than the continued simulcasting of both analogue and digital services. “2017 sees radio history in the making as Norway becomes the first country to switch off its analogue FM radio

network, to go fully digital with DAB+,” says Patrick Hannon, president of WorldDAB and vice president corporate development, Frontier Silicon, who will moderate the IBC Industry Insight session. “DAB will offer listeners in Norway a wider range of radio channel content along with improved functionality and audio quality.” Switzerland is next in line with switchover planned for 2020-2024. Several other markets, including the UK, Germany, Netherlands, Flanders and Denmark are also considering potential switchover scenarios. “The recent improvements in coverage for DAB networks in countries around the world, and the development of multi-

platform and hybrid digital radio receivers, are the tipping points which herald the beginning of the end for FM radio,” said Professor David Crawford, a UK University lecturer in digital multimedia and broadcasting. This IBC session looks at what the digital radio future of Europe looks like and how it is likely to develop. Broadcasters at all stages of digitising radio speak on the future of their markets and the radio business generally. An opening overview, Digital Radio in Europe, will be presented by Graham Dixon, head of radio, European Broadcasting Union. The ARD and Deutschland Radio are the public broadcasters in Germany. A four-year plan proposed

by KEF (public broadcasting funding body) would see a tripling of spending on DAB+. A presentation by Deutschland Radio will set out the broadcasters’ plans for digital radio and how they are working together to achieve this future. What is the digital future for commercial radio broadcasters? One of the largest commercial radio groups in Europe will set out their roadmap, which has DAB at its core. In times of increased competition, digital radio is another platform on which commercial broadcasters can distinguish themselves. In a market that has traditionally struggled to find a place in the digital landscape, Bauer is moving forward with

impressive results and can show that going digital benefits commercial broadcasters, their listeners and most importantly their business strategy. SRG SSR will take the IBC audience through the presentation ‘How switching from DAB to DAB+ makes Switzerland a leader in switchover’, and a representative from NPO will explain why the launch of digital radio in the Netherlands has been fast and efficient. Having applied the lessons learned from other digital radio countries, the Dutch launch of digital radio provides an excellent case study for other emerging markets – and the Dutch industry is now discussing a possible DSO.

OPINION

Forensic watermarking protects UHD content Tor Helge Kristiansen, EVP principal architect, Conax, explains forensic watermarking and why it can be highly useful in fighting 4K content piracy Forensic watermarking is the process of embedding information in the video or audio of the TV signal, thus enabling the possibility to later use this information to identify the end subscriber or the operator providing the content. In simplified terms, small adjustments are made to the video or audio pixels – invisible to the user – to later track specific content that has been leaked. Can a pirate or thief identify watermarked content or successfully alter it? Optimally, the watermark should be completely invisible. Developed to be highly resilient, a camcorder video of content, cropping, resizing and even changing the colour should not affect

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the watermarking: it will still be traceable. Letting the audience know that watermarking is present can create a valuable preventative effect. The growing significance of watermarking for both operators and content providers has everything to do with the protection of highly valuable, highquality content – such as 4K and UHD. The higher the content value, the more requirements will likely evolve for securing such content. In a significant move to ensure sustainability of premium content, MovieLabs created a set of recommendations, the MovieLabs Enhanced Content Protection specification, for sanctioning access to high value 4K and Ultra HD

from Hollywood studios. Watermarking is identified as one of the key security mechanisms recommended for both early release windows and 4K UHD content. To provide the best overall framework for protecting the varied elements of platform revenues, employing a holistic security framework that includes watermarking can provide the ultimate protection. This entails a complete security ecosystem from A-Z to protect premium content revenues, tapping the combined capabilities of multiple expert solutions including tracking, identifying/tracing and detection services – all secured by content protection technology to prevent illicit distribution of content at its

origin. All elements of complete watermark architecture should be fully secured in the device and controlled by robust content protection. Providing a security environment to host watermarking in the operator’s client device is key. For premium live and VoD content delivered to operator-controlled devices, forensic watermarking is a proven means of tracking illicit re-distribution back to its source. Key is building a

security architecture in the STB that can host a watermarking solution, fully controlled by the conditional access (CA) system. The CA identity is used as a tamper-resistant watermark identity, traceable back to the subscriber. CA technology will also enable turning the watermark on and off, as well as shut down the service and notify the user that they are violating the operator’s content rights. 1.C81

26/08/2016 11:40

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

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

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Maximise metadata to maximise content Metadata-enriched, frame-accurate VoD files are a key to revenue, says Jesse Foster, director of product development at Cobalt Digital Cobalt Digital has been placing significant resources into developing a comprehensive suite of ancillary data management products that are intended to simplify advanced metadata workflows. Cobalt Digital understands that revenue generation is the heartbeat of traditional broadcast as well as the evolving OTT and VoD markets, and we see the value in providing tools our customers can use to optimise the way they monetise their assets. True to our reputation in the industry as an engineering-driven manufacturer eager to help customers meet and exceed their goals, we’ve worked with

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top-tier partners to design an end-to-end system for creating metadata-enriched, frameaccurate VoD files as well MPEG-2 TS and MPEGDASH streams. Cobalt Digital’s metadata management tool set includes: data insertion, data extraction, data monitoring and data logging. First, we provide deterministic, frame-accurate SCTE-104 DPI data insertion in the baseband SDI domain using our award-winning openGear audio and video processing cards and BBG-1000 Series standalone systems. This capability is a function of the

new +SCTE104 option, which is available at the time of order or can be added to suitable products that have already been deployed. To achieve frame-accurate performance, +SCTE104enabled systems use timestamped information from automation and from either ANC timecode in the input video source or UTC time derived from a house NTP clock reference. Each insertion event is validated and logged and is then made available as an XML file for proof of performance and/or billing purposes. The second stage of the system is responsible for

encoding the 3G/HD/SD-SDI video to H.264 and converting the frame-accurate SCTE 104 messages into SCTE 35 messages. By leveraging the comprehensive nature of the SCTE messaging protocol, Cobalt’s encoder platform can then insert IDR (instantaneous decoder refresh) and EBP (encoder boundary point) frames that effectively

make a given programme or commercial segment a categorical, individual asset that can be used by downstream systems dynamically and automatically. Our partners are inventing and discovering new avenues to increased revenues by leveraging these metadataoptimised programmes and commercial segments. 10.B44

26/08/2016 11:45

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Top gear for World’s longest 4K UHD zoom openGear OUTLINED

FujiFilm Europe

Colbalt Digital By Heather McLean On display at IBC2016 is a new series of compact 3G/ HD/SD-SDI multi-rate router cards for openGear. Designed to complement Cobalt’s range of terminal gear solutions, these modular router cards are available in 12x4, 12x12, and 24x24 configurations for 3G-SDI requirements. The 12x4 matrix is also available in a 12G-SDI version Cobalt Digital is also presenting the 9415-SFP Series, a set of dual-path fibre transport video cards with an external SFP cage on the rear module. This arrangement, said the company,

By David Fox

allows the user to pull an openGear card out from the front of the chassis while keeping the SFP and cabling in place. The user can also hot-swap the SFP module from the rear for maintenance or to repurpose the card for different signal types. This flexible SFP design supports 3G/HD/SD-SDI singlechannel, dual-channel and transceiver modes. Additionally, on display at IBC is the new 9934-AUD-PRO. This card represents the next generation of Cobalt’s 3G/HD/ SD-SDI AES/analogue audio embedder/de-embedder, offering advanced mixing, loudness processing and Dolby integration. 10.B44

Following the introduction last year of Fujinon’s UA80x9 and UA22x9 zoom lenses for Ultra HD 2/3-inch cameras, broadcasters have been asking for wider and longer focal ranges. This has led to the launch of the new UA13x4.5 (4.5-118mm) ultra-wide angle lens, as well as the new UA107x8.4 (8.4-1800mm – including its 2x extender), which is claimed to be the world’s longest 4K UHD focal length. The UA107x8.4 weighs almost 24kg, is 610mm long (the same length as the UA80x9), and has a maximum aperture of f1.7 (up to 340mm), rising to f4.5 at 900mm.

Freedom is software defined.

The UA13x4.5 weighs 2.28kg, includes a 2x extender, and has a maximum aperture of f1.8 (up to 41mm), rising to f2.6 at 59mm. Fujifilm has also added an upgraded UA80x9 (10.8864mm) with a 1.2 extender (alongside the existing 2x extender) that provides more flexibility when shooting under wide-ranging lighting conditions, as it doesn’t reduce light intake as much as the 2x extender. To aid broadcasters who can’t currently invest in new UHD lenses or who are still assessing their options Fujifilm

Wider and longer: The new Fujinon UA13x4.5 and UA107x8.4 zoom lenses

has joined with various rental partners to make the UA-Series lenses available, including UKbased ES Broadcast, which has acquired a large quantity of Fujinon UA80x9 and UA22x8 UHD lenses. 12.B20

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Award-winning subtitles go live OUTLINED

Frans de Jong, EBU, Andreas Tai, IRT The W3C Timed Text (TTML) work won a Technical Emmy Award in January 2016. The prize underlines the importance subtitling/captioning has worldwide. For the European Broadcasting Union (EBU), the award confirms the technical direction the union has taken in basing its EBU-TT subtitle standards work on TTML.

Complexity paradox A particular challenge with subtitles is the need to balance the apparent simplicity of their rendering – a few lines of text overlaid on a screen – with the extensive data needed to make sure the subtitles appear in the right way on any screen. The existence of dozens of subtitling formats shows this challenge has been addressed by different organisations at different times, often without much success. While it is easy to create a new format, it is far from easy to make it globally accepted. The trick is to define the right profile; enough functionality to support all practical use cases, but not

so much that the specification becomes unattractive to implement.

Worldwide winner The Timed Text profiles for ‘Internet Media Subtitles and Captions’ (IMSC) that W3C published in April 2016 may be such a worldwide winner. They have been tested with clear use cases and are well aligned with the subtitling work the EBU performed for the European market and the Society of Motion Picture & Television Engineers (SMPTE) for the US market, making IMSC a logical common format for distributing subtitles to online media worldwide. For users of EBU-TT-D, which is mandated by HbbTV and Freeview Play, for example, it means that their subtitles are automatically IMSC compatible, without the need to add anything to the files. While the IMSC profiles contain enough information for sending subtitles, richer formats may be needed for authoring,

W3C Timed Text wins Emmy Award Photo credits: Cashman Photo, Las Vegas, NV & The National Academy of Television Arts & Sciences

archiving and repurposing. This is where EBU-TT Part 1 and EBU-TT Live come into the picture. Together these specifications compliment each other and make up an ecosystem to create, archive, (ex)change and distribute subtitles, both prepared and live, including the metadata needed to support broadcast workflows.

Guiding users The new BBC Subtitles Guidelines are a good example of how to use EBU-TT Part 1 and EBU-TT-D in operation. To show broadcasters the potential of the live subtitling specification, the EBU has started a Live Subtitling Interoperability Toolkit Project; an open source implementation of EBU-TT Live demonstrating

how to create subtitling sources, processing nodes and encoders and how to carry subtitles over different carriage mechanisms. Interest in the work is not limited to Europe. So maybe by IBC2017 subtitling will have received yet another award… For more information, see: tech.ebu.ch/ebu-tt bbc.github.io/subtitleguidelines/

Next-gen TV UX: the future of the TV experience CONFERENCE TODAY FORUM: 12:00-13:15 By Chris Forrester As every delegate knows – and some fear – TV is changing. A new generation of content formats, navigation and control interfaces, and multi-platform experiences are making their way into the market: voice search and control, personalisation, content portability, OTT-on-

TV, and so on. IBC has brought together a panel of leading industry experts who will guide us into this future, painting a picture of the TV viewing experiences of tomorrow. Chaired by Ed Corn (associate director at strategy and research consultancy MTM, and formerly of the UK’s YouView) his panel includes Brendan Hole (TV & content architect at BT) who has deployed multiple ‘telco-TV’ services across Europe

Smart home solutions Skyworth Digital By Ian McMurray Claiming to have shipped over seven million OTT boxes in

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the past year, Skyworth Digital is demonstrating its range, alongside what it describes as ‘advanced solutions and nextgeneration products and services focused on the smart home’.

including the Homechoice service from Video Networks. Rovi’s Michael Hawkey (SVP/GM at Discovery Business Group/Rovi Corp) is another highly experienced executive, with a CV that includes stints at EchoStar and Sling Media, ADB Americas and STMicroelectronics. Peter Docherty (founder/ CTO at ThinkAnalytics) is one of the industry’s top visionaries. Docherty and his development team are

the brains behind one of the world’s most deployed multiplatform TV search and recommendations engine software, which is currently deployed by over 70 video service providers in more than 40 countries and in 35 languages. Sascha Prueter (head, Google’s Android TV) is another valued panelist. He works within the Android team to lead the product efforts for Android TV.

The company’s digital and pay-TV products are packaged as a total end-to-end solution. These include a range of set-top boxes as well as broadband products such as GPON and cable modems, all of which Skyworth said are currently deployed by tier one customers.

Skyworth has also brought a number of retail products to the show, sold through its Strong entity. IBC visitors are able to view Strong- and Thomson-branded set-top boxes, WiFi routers and OTT solutions. The company is also showcasing ‘the digital home

He previously led the overall Android platform Program Management to release new Android operating system versions to phones and tablets across the world. Simon Gosling (creative evangelist at creative/ content studio Happy Finish) completes the session’s line-up. Gosling’s experience in VR and full 360 degree global production gives him a valuable insight into the changing face of TV.

of the future’, highlighting how trends can be integrated and packaged for end-users. Technologies and concepts set to be included in the vision include micro-gaming, integrated social media, multiscreen/TV anywhere solutions and mobile integration. 5.B61

26/08/2016 11:47

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Eyes on the prize The competition to deliver content with ever higher technical specifications is both challenging and exciting, says Tom Lithgow, product manager, Bluefish444 The content and media industry is, and always has been, an evolving landscape with new technology enabling more content to be created and delivered at, for the most part, ever increasing quality. This fact has never been more true with a push to higher resolution video and audio, higher frame rate video, more dynamic range in images and the shift in how consumers are accessing media through alternative means to over-the-air broadcasts. It would seem that right now the eyes are on the prize, so to speak, with who can

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deliver services that outperform both current offerings but also potential competition in the delivery of content with ever higher technical specifications. Bluefish444, along with other manufacturers and service providers are all working together right now to ensure the hardware, software, workflows and services exist to make it both technically possible and cost effective for this next generation of production, post production, and content delivery to be accepted globally. Developers, Bluefish444 and our customers are

tasked with supporting all new media standards as quickly as possible, until they are no longer required. This commitment requires substantial R&D investment and, for those companies providing an advanced professional toolset to those on the frontline of production, it is a rewarding task. Bluefish444 has deployed hardware and software solutions into workflows supporting 4K UHD, 4K HFR and 4K HDR video IO. A widely adopted software development kit enables integration of

professional video, audio and data interfaces to an array of content creation tools supporting SD to 4K UHD workflows. Our customers demand the tools required to extend solutions to greater resolutions and to adopt emerging standards of media transport. SMPTE 2022 video over IP, 4K video, SDI at 3Gbps and greater are standards that

will be addressed by the KRONOS range of video, audio and data processing IO cards being announced at IBC2016. KRONOS and the new standards it supports empowers those delivering professional solutions to the media and entertainment market and will assist industrywide accessibility and adoption. 7.J07

26/08/2016 11:48

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Media moves faster than ever After years of talking about it media is finally mobile while new transport technologies enable file-based live production, explains Winfried Schultz, marketing director EMEA, Black Box For the media and entertainment industry, we see two major trends coinciding now. And this is finally a reality after many years of talking about it. Firstly, more and more content is consumed ‘on-the-go’. Media goes mobile is not only happening to the younger generation or millennials as they are called now, but also to the generation of baby boomers I belong to. Second, processing speeds have been picking up and the introduction of fibre as an efficient transport media has enabled the industry to adopt file-based and is now entering live production. This will further increase the merging of broadcast and IT. IBC has always been a showcase for the shape of things to come and, at other times, helped the industry to settle new technologies into mainstream. The latter would

be my expectation for this year. 4K adoption is moving beyond feature film and I would not be surprised to see the first major sports events being produced regularly in native 4K within the next one or two years. At IBC, customers will be able to see that technology production ready. IT production capacities are moving from the core to the edge encompassing all components which in the past were exclusively SDI. One of the main advantages of SDI used to be its plug and play compatibility. Many format variants and the increasing complexity of embedded audio have reduced the simplicity of the connection, not to mention the different version of single and dual link solutions. In effect, this has made IP- or ITbased infrastructure far more attractive. I would expect IT to enter mainstream even in live production environments

and we will clearly see this during IBC2016. Black Box’s legacy is in signal conversion, IT and network services. For almost 20 years, the company also supported Keyboard, Video and Mouse (KVM) extenders, switches and matrices, which have become a core part of a flexible, fast and configurable broadcast infrastructure, be it in post, live or playout control. With this, KVM solutions are moving from an afterthought during planning to a core technology considered when laying out the new infrastructure. This is turning the investment into a long-term item with consideration for total cost of ownership (TCO), whether the infrastructure is future proof and specifying a system that meets high bandwidth, low latency requirements as well as long

RAI News 24 studios completed Aret video and audio engineering

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New news: The main RAI News 24 studio completed by Aret

project management of the entire infrastructure, including testing and commissioning of the broadcast equipment. The company is currently completing a 12-camera prewired production studio, which will be installed in a building of significant architectural value. The facility includes two

production rooms, two studios and several stand-up posts around the building that are interconnected through optical fibre. The integration of technology and art, together with how the facility occupies the space are some of the key factor of this project. 0.E01

used in various broadcast applications such as master-/ studio control room, OB vans, broadcast operation/ control, playout and also in real-time graphics and post production edit suites. Stop by our booth to learn how to access any server located in any user station, enabling monitoring and control of the numerous content feeds in live production (master control) and post production situations. This allows managers, editors, operators and engineers to manage and rapid switch between infrastructure components allowing ease of set-up, reducing configuration errors and improving system availability. 8.E32

Glitch-free TV everywhere Edgeware By Anne Morris

By David Fox Italian systems integrator Aret recently completed the broadcast infrastructure for the brand new RAI News 24 studios, including the IT infrastructure for its new Avid system. The project included: production room refitting; a graphics room; a Teleport; a Star Centre apparatus room; a documentary room; 12 RVM and post production rooms; and eight graphics workstations. Aret took care of the executive design and of the

distance access between sites or even cities. This has created a high performance segment of KVM solutions supporting multiple technologies such as KVM over IP and also led to dedicated solutions with very low latency and high bandwidth supporting 4K. Additionally, the increase in accumulated data from various systems simply requires larger video walls to condense data to information and display it effectively. Moving and visualising complex information via video switching and display is a core competency at Black Box. At this year’s event we will be showcasing high-performance KVM, VDI extensions and switching solutions that are

TV content delivery network specialist Edgeware is demonstrating its products at IBC this week to show broadcasters, content owners, network operators, cable companies and OTT providers how they can deliver services without delays, buffering or glitches. Edgeware’s claim is that it is enabling its customers ‘to make TV amazing again’ in a diverse market of content everywhere. The company said that while TV and its associated technology has changed, audiences still want to come together to share the

TV experience – whether through social media or via mobile applications. Joachim Roos, CEO at Edgeware, said this is the first time the company has presented its TV CDN architecture at IBC. “In today’s landscape of fast, internet-delivered services, viewers want content quickly with no delays, buffering or glitches,” Roos said. Edgeware has built over 100 unique TV CDNs for content owners around the world including broadcasters such as TVB in Hong Kong; cable companies such as Televisa; and network operators such as KPN, TeliaSonera, Cincinnati Bell and Vodafone. 14.C36

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Draco tera offers a switch in time IHSE

By Carolyn Giardina Avid’s latest Pro Tools | S6 modular control surface includes integrated KVM switch support based on the IHSE network protocol. Through the S6 Master Touch Module, the central hub of the S6 surface, users can control the Draco tera | S6 KVM switch to select between multiple Pro Tools workstations or other digital audio workstations. According to IHSE, its KVM systems have been part of many Avid-based audio-mixing studios around the world for several years, including at Wildfire Sonic Magic, Technicolor Sound, Deluxe, Todd Soundelux and Electric Entertainment. The company added that Avid has created an open architecture for third-party connectivity, and the integration of IHSE’s API for network control of KVM switching further expands Avid’s partner ecosystem. Tim Carroll, vice president of product management for audio, Avid, said: “We selected IHSE’s Draco tera as our preferred KVM solution because of its ultrafast switching, intelligent scalability and simple user interface. The performance of the KVM is so fast that the audio-mixing engineer cannot perceive that a switch has actually been made.” Enno Littmann, managing director, IHSE, added: “This enables audio professionals to instantly switch Pro Tools sources, allowing them to focus on their jobs, rather than be distracted by the equipment or wait for a system reconfiguration to be carried out for them. Individual studios can be assigned as required, operators will work more effectively and valuable assets can be better managed; with greater efficiency and security.”

“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,” said Jonathan Wales, CEO, Wildfire Sonic Magic. “Everyone loves it here, and we are thrilled with such integrations.” 7.B30

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OUTLINED

IHSE KVM systems are part of many Avid-based audio-mixing studios

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Dear shared storage users... Hard disks will be replaced by SSDs as primary storage in the mid-term, predicts Jan de Wit, CEO, Dynamic Drive Pool The broadcast industry changes rapidly. Ethernet is becoming the dominant network technology. Bandwidth requirements increase due to more collaboration and 4K/8K. Also, there is less time and knowledge to manage complex infrastructures and workflows. These changes have a large impact on our storage industry. However, the biggest impact comes from flash memory, e.g. SSDs. Why? Well, 3.5-inch hard disks of 15TB are coming, but 15TB SSD are announced as well. SSDs are small, low power, lightweight, no rotating parts, are highly reliable and very fast. Most desktops already

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use SSDs in some way and users are experiencing their advantages. Certainly at some time you will want to start using SSDs in the shared storage solution. To make such a transition you need to be aware of how the market will look within, for example, eight years from now. It sounds like a long time, but time flies! I predict that 24/7 hard disks will be replaced by SSDs as primary storage. So how can the transition be smooth? The magic words are hybrid shared storage solutions with SSD caching and adding storage on the fly with automated data redistribution without

administrative changes in a web interface. At any point in time one should be able to add plain storage and or complete shared storage systems; again, with no administrative changes. In addition it would be good if it scales linearly both in capacity and bandwidth, and it offers full redundancy and mirrored ingest, copying and recording capabilities. It would also be nice if such a system can be removed, used standalone elsewhere, and after finishing the job added again with immediate availability of the media. That is what the DDP offers nowadays. So how does such HD to SSD transition work? DDPs are

modular and flexible, so DDP users can expand their existing DDP with SSD and HD packs for caching and load balancing any time. They can also integrate any new DDP to the existing DDP setup purchased up to six years ago. So when the original DDP is up for renewal a new DDP can be added. There is no urgency to switch off the original one. It may even get a new life for mirroring the data. This scenario takes place without having to make changes to your folder volume structure (one name space) or to users, groups and access rights or to application settings running on top of this. It takes place without the users noticing. The new DDP can be elsewhere as long as it is on the same subnet. Over time, however, more and more newly purchased DDPs shall be microDDP10GbEs. Because the microDDP10GbE does not require a machine

room, each DDP then can really be here, there or elsewhere. For non-DDP users the picture I just painted is frustrating. For others it may sound like a dream come true or hard to believe. So, non-DDP users thinking about renewing their storage should definitely investigate DDP. 7.H15

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Reacting to the Internet of Things We always try to be one step ahead to be fully prepared as the industry evolves, explains Ian Hilditch, CEO, ETL Systems The ever-increasing demand for 4K broadcasts means that satellite signals have to carry more capacity, which has pushed the growth in HTS (High Throughput Satellites) launches, and the investment in satellite ground station infrastructure to handle these signals. This growth has encouraged us to develop new products which are compatible for Ka-band applications, extending the performance of our ground segment RF equipment, which has a wider operating frequency range: up to 2.5GHz and beyond. With the need for greater signal capacity and the increase in HTS operations

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with wider bandwidths, satellite ground infrastructure can benefit from our new ultra-wide dynamic range of RF over fibreoptics links which have been designed especially for HTS applications with high linearity and fixed parameters. We understand that each customerâ&#x20AC;&#x2122;s requirements are different and pride ourselves on being able to offer a tailored solution for each individual RF requirement. Almost half of our top 50 orders in 2015 were specifically engineered to meet customer requirements. As the broadcast industry rapidly advances, technology must progress at the same rate

as the changes. One of the major drivers is the continued rise of the Internet of Things (IoT), with a predicted increase in the number of consumer devices to go online in the next few years. Cisco, for example, forecasts that by 2020 there will be an estimated 50 billion internet connected devices worldwide. In its recently released M2M (Machine-To-Machine) and IoT via Satellite Fifth Edition study, NSR found that by 2023, there are estimated to be 5.8 million satellite M2M and IoT connections globally. The continued growth of IoT and M2M technology will require

increased bandwidth and signal carrying capacity and is something that we will need to be ready for in the near future. Our products evolve quickly as the industry advances and ETL is flexible and acts efficiently on these changes. At IBC2016, ETL Systems will be showcasing its new and improved RF technologies, which provide flexibility, exceptional RF performance, resilience and power, cost and space savings. These technologies can also be customised to meet specific customer requirements. We always try to be one step ahead so that we are fully prepared as the industry changes and evolves. For example, our products such as our RF switching matrices can be upgraded as teleport requirements grow, with system development managed flawlessly to ensure minimum downtime.

Also, ETLâ&#x20AC;&#x2122;s new wide dynamic range of RF over fibre modules provide a solution for handling high capacity HTS signals with improved RF performance from the addition of fixed gain and high linearity parameters. The new fibre modules are available in L-band and broadband frequencies for the StingRay range, which will be shown at IBC. 1.A33

26/08/2016 11:53

AMOS - 6 Coming in 2016

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A solution for the FCC? Think HTML5 The industry needs to address how OTT access should evolve, says Aneesh Rajaram, CEO, Opera TV Debate is raging in the US television industry over the FCC’s proposal to open set-top boxes to provide consumers with more choices – and the industry’s ‘Ditch the Box’ proposal in response. Roku in particular has been very vocal in its criticism of both ideas but there is definitely a need for change in the ways TV consumers access content. Many are cutting the cord and relying on OTT services as their primary source of entertainment. Consumption of OTT content continues to expand with 55 per cent of UK broadband households and 51 per cent in France watching TV programming and movies online, compared to 70 per cent in the US, according to Park

Associates. In many cases, consumers subscribe to two or three OTT services. And the number of services providing OTT content will continue to grow. The question the industry needs to address is how should OTT access evolve? Democratising content access is the right move. This means unlocking STBs and making OTT content more universally accessible on all devices. But contrary to the claims of one company, HTML5 will not result in bulky CPU and memory architectures. There is sufficient evidence (including within Opera TV’s own deployment base of over 40m devices each year) to prove that HTML5 platforms make it easier for content providers and broadcasters to

create once and deploy on a wide range of devices with minimum platform adaptation effort. HTML5 implementations on smart TVs, Blu-ray players and STBs have matured a great deal in the past year with further harmonisation of secure and adaptive video playback taking place through active standardisation efforts. The investments in HTML5 will allow an OTT service to reach the widest range of devices with the lowest total cost of ownership, while keeping OEMs’ platform investments at their current levels or lower over time. For over a decade, Opera TV has worked closely with our customers and partners, from OEMs to silicon vendors to middleware companies to

OTT services, to galvanise the huge scaling opportunity offered through HTML5-enabled middleware. It’s no easy task, as a turnkey HTML5 platform represents the most complex and dynamic piece of code on an embedded device. However, it is a task that has been solved and deployed in massive scale, from high- to low-end devices, including on platform architectures as low as 1000 DMIPS and less than 256MB of RAM. US broadcasters shouldn’t have to limit themselves to OTT apps or interactivity through proprietary STB platforms, but instead, take cues from successful open HTML5-based standards like HbbTV in Europe where broadcasters are able to use HTML5 to provision OTT services directly on their linear TV content.

The delivery of OTT content must evolve. Opera TV believes that consumers should have easier access to OTT content on their favourite platform, increased availability in content choice and engaging experiences on the largest screen in the home. The FCC can and should get involved in content delivery standardisation; and HTML5 has proven itself in providing consumers with the OTT content access they want, while keeping overall costs to the ecosystem at minimal levels. Let’s also not forget: there is certainly room for further innovation around open standards. 14.N29

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Exhibitor list and floor plan theibcdaily

OUTLINED

Correct as of 1 August 2016

IBC Future IBC Awards & Reality Theatre IBC Big Screen, Auditorium IBC IP Interoperability Zone

IBC Hackfest

IBC Technology in Action Theatre

IBC Future Zone Hall 15 Meeting Suites Hall 9 Meeting Suites

IBC Launch Pad IBC Content Everywhere Hub Theatre IBC TV

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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.

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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 If you want the values and benefits that the cloud can actually bring, your approach to thinking about it has to change, argues Greg Hoskin, managing director, EMEA and APAC, Signiant

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theibcdaily

OUTLINED

Think differently about the cloud

We have largely moved on from the industry’s early fears of whether the cloud is secure, and instead we can now explore the practical topics of who’s moving to the cloud, benefits of doing it now, and future benefits. One of the myths we often encounter when discussing the cloud is that many people think it is, essentially, just storage. Or more holistically, they can at most imagine it’s a virtualised data centre, sitting in somebody else’s facility. If you want the values and benefits that the cloud can actually bring – such as scalability-

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on-demand, paying for only what you use, nearly unlimited capacity, and automated processes to make this all happen – your approach to thinking about the cloud has to be different. The immediacy of how you can feel the effect of all of these benefits in your facility is striking. Having nearly unlimited storage is a really good value proposition on its own; but processing video in the cloud is also closing the gap between the infrastructure and the people who have to interact with it. It’s not about doing the same things you do with physical storage, it’s about looking at

the cloud in a different way to understand how it is different and what advantages it brings. Think about transcoding as an example; this is emerging as a powerful way to take advantage of cloud processing for video production workflows. Currently, a media company or production team may capture dozens or even hundreds of hours of footage on a project. They probably bundle up all the tapes or disks, bring them down to the facility and buy the transcoding for a fee, either for quantity of footage or for equipment time used. In the new cloud world, they could just ‘burst’

whatever spare capacity they need to acquire at that moment, without interrupting any of their broadcast processes. Think also about transcoding huge amounts of UHD video. Does it make sense to rent one machine for a thousand hours, and get your job processed 42 days later? Or instead, rent one hour of a thousand Amazon AWS compute units processing concurrently? These types of models are where the cloud really starts to come into its own as an ondemand, additional facility for the customer to move forward. You can easily see the massive benefit to your workflow with just these examples: but it does require you to think about your processes differently first. While we’re confident that cloud processing will become mainstream with its incredibly fast performance, capacity and efficiency, a point of frustration

will continue to be moving media there from its point of production. That’s a problem that Signiant, as a leading provider of cloudnative file movement software, has already solved for our clients. We are seeing sustained global growth in demand for Signiant Flight, our SaaS (Software-asa-Service) utility that helps our customers move large data sets to/from the cloud. You’ve got to think differently, and those who do will become more agile, gain the benefits and move into the future. 14.L08

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Tape storage: the industry’s unsung hero Laura Loredo (Hewlett Packard Enterprise), Shawn Brume (IBM), and Terry Cochran (Quantum) – collectively representing The LTO Program – weigh in on how tape storage can help meet security needs and maximise budgets in the media and entertainment industry In today’s content-hungry world, the media and entertainment industry faces an exponential increase in digital content creation. James Cameron’s film, Avatar, required over 1 Petabyte (PB) of data. To put that into perspective, 1PB is equivalent to 13.3 years of HD TV video. With so much content being produced, the media and entertainment industry needs to find a way to easily store – and protect – that content without breaking the bank. But what solution can do both? The answer is LTO tape technology. The introduction of LTO-7 Technology marks a new era in tape technology. With its massive cartridge capacity of 6TB uncompressed (up to 15TB compressed) and fast transfer speeds of up to 300MB per second (up to 750MBps compressed), storing these important projects has never been easier. Production companies continue to seek ways to protect their video assets

in real time. LTO-7 Technology cuts down the time it takes to protect assets significantly. Increased transfer speeds, even allow users to simultaneously stream 8K footage directly to an LTO drive. Additionally, offloading camera data directly onto tape allows post production teams to have a quick copy for editing and archiving. Very few production companies are in the same facility where filming is taking place, but because LTO tape can be easily shipped, it gets data where it needs to go in a timely and safe manner. It’s also much less expensive to ship than to send those massive files via a file transfer online. LTO technology with the Linear Tape File System (LTFS) has helped transform video storage in the media and entertainment industry. LTFS makes categorising and retrieving files in post-production easier than ever before – simply drag and drop files to and from the tape. It works just like a flash drive.

Laura Loredo

Shawn Brume

LTFS is important to the media industry in assisting with large file movement when bandwidth is constrained. It also provides cross-platform and cross-vendor functionality. Media professionals can have confidence in LTFS technology, which was recently named an International Organization for Standardization (ISO) and International Electrotechnical Commission (IEC) standard (ISO/ IEC 20919:2016). Even more casual users like a wedding videographer can

Terry Cochran

benefit by investing in LTO technology. Taking into account the ceremony, reception, multiple cameras and pictures, all photos and videos from a single wedding could take up over 4TB of data. Much like production companies, these users will want to hold onto their footage for potential revenue sources down the line. LTO has a whole line of products that work for any business, no matter their scale. Backward compatibility is another bonus for customers

who plan to hold onto tape for long periods of time. Every generation of LTO drive is backwards compatible. Today LTO-3 drives, which can read the original LTO-1 tapes, are still being manufactured. LTO technology is mapped out through ten generations. That means that tape will continue to be a cost-effective and reliable storage option for those managing post-production in the media and entertainment industry for years to come. 6.A21

Merging post with production Dreamspace By Adrian Pennington

THE FUTURE IS CONTENT-CENTRIC

Let’s optimize multiplatform scheduling Stand 3.C59 – Hall 3

Book a demo or appointment at mediagenix.tv/IBC2016

SCHEDULING THE FUTURE TOGETHER

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Project Dreamspace is a three-year European Commission funded project to research and develop tools that enable professionals to work collaboratively and combine live performances, video and computergenerated imagery in real time. The project comprises some of the top entities from the education, research and commercial sections, including The Foundry, Ncam, CreW, Saarland University, iMinds and Filmakademie. “The film and TV industry is seeking ways of producing audiovisual media that combine the real world, CGI and 3D animation in real time, at a quality sufficient for major movies, but at a cost that is accessible to European

film and TV companies,” explained Sara Coppola, project manager, The Foundry. “Meeting the demand will need advances on the state of the art in a wide range of areas, including the combination of 2D and 3D methods; depth and lighting capture; surround video and real-time depth-based processing and compositing. “One part of the Dreamspace ambition is to make it possible for directors, designers and artists to build experiences directly from visual components, working together on set or in the performance space, and see the results immediately.” The consortium is showcasing the results of its first year’s work at IBC, which focused on the technical components necessary to enable virtual production. 8.F05

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Stingray offers streamlined RF transport ETL Systems By Ian McMurray The new StingRay RF over fibre inter-facility links from ETL Systems are claimed to provide a high-performance solution for transmitting RF signals across sites. The company claimed they would offer excellent module-to-module isolation, making them ideal for high isolation applications. Downtime is minimised by dual redundant hot-swap power supplies. The range now includes 1+1 and 4+1 redundancy configuration

Buzzing around with Fixodrone

options, providing additional resilience for uplink and downlink transmissions. For longer distance transmissions over fibre, ETL has introduced CWDM and DWDM modules which can transmit RF signals up to 55km distances with low loss.

The Alto series of amplifiers are designed to offset signal loss from long runs of cables by providing variable gain for flexibility; in a hot-swap chassis, with redundancy configurations available. Designed for the front-end RF chain, the Alto

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OUTLINED

Stingray oﬀers redundancy options for additional resilience

family includes 4, 8 and 16 module chassis options with variable gain. It can be remotely

controlled via Ethernet and web browser interface. 1.A33

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: Fixodrone can be controlled remotely by an operator

Content Creation:

Content Management:

Content Delivery:

Drone Volt By Heather McLean Fixodrone by Drone Volt is a small remote camera, capable of recording RAW at 1.7Gbps. It can be remotely controlled by an operator with a hand on the pan, tilt, roll, as well as all the camera settings parameters. Fixodrone weighs 2.5kg, making it easy to be used in a variety of ways, said the company, offering examples such as on a crane, or a dedicated cinema vehicle, as well as being held by an actor for a first-person perspective. The device has been used successfully in French cinema productions, including the latest feature film from Philip Lacheau, titled Alibi.com. 11.B42

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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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Clearing the path through complexity Using content without rights can lead to legal action, but not making it available where you do have the rights is a waste of investment, says Paul Wilkins, director of solutions and marketing, TMD While there is, of course, huge ongoing change in the underlying technology, the fundamental principle of the media industry has not changed. Consumers want to be informed, educated and entertained, and producers of content want to receive a fair income for meeting those desires. Today, though, the customer is very much in charge, expecting to watch selected content at any time and on any device. The only practical and cost-effective way of delivering all this content to all the different platforms is through the use of software-defined workflows in a file-based environment. There are two key issues today. The first is around bringing all the metadata together such that it can be tracked, manipulated and enriched to provide the control

for sophisticated automated workflows. The second is that cloud architectures should be embraced to provide the rapid scalability needed to cover the peaks and troughs of activity. An important element of the first issue concerns intellectual property rights. As the delivery environment becomes exponentially more complex, then rights management becomes both more challenging and more vital. Using content where you do not have the rights can lead to expensive legal action, but not making it available where you do have the rights is a waste of the enterprise’s investment. A means has to be found for rights to be expressed in metadata such that automated workflows can act on it. IP law is complex, and to ensure that users can have full rights management protection, TMD

has entered into a partnership with Fadel, a leading provider of cloud-based IP and royalty management software. Integration with Fadel, and other alliances with specialists in planning, scheduling and playout, depends upon a highly flexible software platform. This is one of the key drivers behind our re-invention of Mediaflex, our core asset management product. We have completely re-engineered the underlying architecture introducing our Unified Media Services (UMS) platform. Mediaflex-UMS applications are based on micro-services, which can be spooled up as necessary, and released when not required. This serviceoriented architecture allows the easy integration of third parties – such as Fadel, BroadStream and others – into our softwaredefined workflows.

Working QA magic for pay-TV Eurofins

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By Adrian Pennington

TestWizard can help reduce the time spent on repetitive, manual tests

efficient and reliable automated test cases that support a more continuous delivery environment for operators’ next-gen TV and video services. TestWizard – through its modular and cloud-based architecture – is said to provide the functionality to fully automate

and manage test execution on multiple devices, including settop boxes, smartphones, tablets and games consoles. Eurofins claimed it ensures optimal efficiency in preparation, execution, reporting and maintenance of automated tests. 5.C30

cloud. Metadata that is created, stored, used and updated in the cloud is available to users wherever they are, supporting collaborative and decentralised operations. My prediction for IBC, then, is that there will be much talk of the cloud, but the really practical applications, deliverable today, will seize the opportunities to automate, precisely and cost-effectively, the complexities of content delivery and revenue maximisation through software-defined workflows. 2.B59

ATSC 3.0 return channel analysed NERC

By Ian McMurray End-to-end testing and QA tools and services designed to validate digital media systems for operators around the globe are the IBC focus for Eurofins. The company explained it helps pay-TV operators to increase test coverage and consistency to provide service validation, insights into the end-user experience and performance monitoring for quality assurance. Specifically, Eurofins is demonstrating how it believes its TestWizard test automation system can help reduce the time spent on repetitive, manual tests. The company claimed to provide

The result is both powerful and flexible. As well as highly capable systems for major content providers, the architecture also allows TMD to create entry-level, pre-packaged applications such as Paragon for archive and OnPoint for production management that can address the workflow requirements of workgroups while still scaling to enterprise solutions when required. A micro-services architecture is a classic software-defined environment, and thus readily suited for implementation in the

To support emerging interactive services it is generally agreed that the inclusion of an optional, in-band dedicated return channel or DRC should be implemented in the nextgeneration terrestrial broadcast system, ATSC 3.0. Researchers at the Shanghai National Engineering Research Center of Digital Television (NERC) are presenting a paper in The Future Zone which introduces the design of DRC as well as several implementation concerns. The NERC was established

in 2010 to strengthen the technological progress and restructuring of China’s television industry. The network architecture, link budget and radiation feature of DRC are described in detail in the paper. The requirements and detailed design of DRC are presented and the performance of DRC is evaluated. Comparisons with typical techniques are carried out in terms of bit error rate, access probability, resource utilisation and so on. Furthermore, the co-operation between downlink broadcast and DRC is analysed. 8.F10

26/08/2016 11:59

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Managing complexity through workflow automation Workflow automation is the ability to trigger and complete actions based on state, status, metadata, or other critical criteria, explains David Schleifer, COO, Primestream Complexity can be a doubleedged sword. On the one hand it is how we accomplish great things. On the other hand, workflows that are complex are often prone to error. The challenges facing broadcasters have always been in balancing more and more complexity in the process of delivering creative products against the staffing and infrastructure requirements needed to get the job done. People are good at taking on and completing complex tasks. We add process, we add people, we add technology, we check, we double check and we get the job done. In many cases we document the

workflow so we can refer back to it and then create detailed training around it so that we can bring in new people down the road. Repeated tasks are often where mistakes are made: either someone new does something just a little differently, or in the process of repetition, something is overlooked or mistakes are made. As is often the case, technology is now ready to offer a solution to this problem. Workflow automation gives the broadcaster a way to codify the workflow and to relieve the user from repetitive or difficult tasks along the way. We define workflow automation as the ability to

trigger and complete actions based on state, status, metadata, user action, location or other critical criteria. If every broadcaster had the same complex workflow and wanted the same result it would be simple for manufacturers to build systems that solved those customer requirements, but more and more we find that each broadcaster is defining their own path to success. A customer’s workflow may be at the core of how they are differentiating themselves and defining their competitive advantages. The systems that were designed ten or so years ago were very good at taking what

were at the time difficult tasks, like sharing high-resolution video and getting to air on time, and making them reliable. Today, those tasks can be accomplished with off-theshelf hardware or best in class products from different vendors. The solution that ties it all together needs to assist the user along the way to eliminate the tedious tasks and reduce the complexity of the required workflow, and to do so by following the pre-defined set of rules needed to integrate tasks, third-party products, requirements and more. The goal is ultimately to increase reliability and release creativity. While content creators need to be able to manage technical facilities and requirements, their primary goals are around the creative process of creating the

deliverables. Creating great content and supplying it in the required formats with a workflow that supports a viable cost structure: that is where workflow automation excels. It can push the often-complex technology into the background, allowing great products to be created in a cost-effective and repeatable process. 7.D21

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26/08/2016 12:00

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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.

TSAnalyzer provides powerful transport stream analysis for ATSC and DVB compliant network streams, TS ďŹ les and Muxes analyzed on LogServer in real-time. It also provides seamless access to any LogServer via a low bandwidth connection to monitor TS section trees, ETR290 (ASI priority 1, 2 & 3), TS errors and closed captions via the leading edge user interface.

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Adapting loudness in multicasting The current broadcast universe is far more complex than it was when loudness normalisation was first adopted, says Alessandro Travaglini, product manager, research & development group, Minnetonka Audio The broadcast industry has assisted in the rapid transition from Peak Limiting processing to audio mixing and mastering best practices that entirely rely on the so-called ‘Loudness Paradigm’. This revolution has affected all technical operations from production to transmission. It deeply changed the way digital audio is approached, processed and ultimately perceived. Has this change improved the listening experience for the viewer? Definitely yes, and for many reasons. Viewers are being provided with consistent loudness levels and the overall listening experience has generally improved. Music producers and sound mixers have been freed by the restrictions and the artifacts

generated by over-compression and peak limiting. They could finally regain control on dynamics processors in a way to use them as sound designing tools, with the benefit of greater digital headroom that allows the creative use of the entire sonic palette. However, the scenario evolved again and new tools became necessary to deal with the challenges that are facing the horizon of media entertainment. While file-based processing has the benefit of tailoring the loudness adaptation with no time constraints, it cannot fulfill the requirements of live productions and of multicast distribution. In fact, broadcasting is not just pre-produced content from one digital feed to the TV, but

can occur via multiple streams including cable, DTT, OTT and through multiple devices such as flat-screen displays, smartphones, gaming consoles or home cinema. The unique audio characteristics, in terms of channel configuration, dynamics, frequency range and SPL, presented by those devices require customised loudness adaptation that needs to be based on more sophisticated technologies than the ones we have been using in the past decade. Critical aspects include dialogue intelligibility, sound degradation, alterations of the mixing balance and foreground sounds modulations. Although loudness compliance can still be achieved, the aim of providing

New remote production service pioneered Globecast By Ian McMurray Claiming that it is turning the concept of traditional supply of a ‘ready to broadcast’ feed from venues on its head, Globecast is pioneering a new remote production service. The company said that content owners would now be able to select from multiple source feeds at their own global locations, allowing them to create bespoke programming on their own production systems, and prepare their ‘ready to broadcast’ feeds. According to Globecast, it is putting in place the technology to provide efficient access to source feeds – directly from cameras and elsewhere – to international broadcasters at key Globecast Media Center

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listening comfort would fail if the adaptation would not address those specific issues, especially for the unpredictable multicasting environment. The complexities that characterise the current broadcast universe, which include linear and nonlinear television, is definitely greater than what it was when loudness normalisation was first adopted. The next wave of loudness control requirements will focus more on adaptability to provide an excellent listening experience across the multitude of delivery specifications and devices, such as live streaming and multiscreen broadcasts. File-based and real-time operations need to coexist in order to provide the consistent listening experience to viewers while complying with regulatory requirements. Sound quality must be preserved, or even enhanced when possible. The Linear Acoustic APTO ecosystem is a loudness adaptation technology consisting of APTO.file for file-based and APTO.stream for real-time workflows that

Advancing QC to the cloud Etere By Mark Hallinger

Globecast aims to reduce upfront investment, speed up time to market and maximise quality with its new solution

handover points, with delivery in secure IP format. The company has developed what it described as a costeffective, multi-tenant video headend solution to allow any telco, anywhere in the world, to deliver a video service to its subscribers. The solution is claimed to reduce upfront investment, speed up time to market and maximise

quality through provision as a supported, fully managed service. Also being discussed on the Globecast stand is the company’s VoD Logistics, which it said makes creation and delivery of VoD packages simple, handling the complex and intricate requirements of each VoD platform. 1.A29

uses psychoacoustic findings and adaptive algorithms to provide uncompromised loudness consistency with full regulatory compliance for many different platforms, devices and standards. Linear Acoustic APTO provides fully coherent channels and mix balance, dialogue intelligibility, controllable target values and a very efficient processing time and achieves uncompromised loudness consistency throughout the broadcast chain, and ultimately, the viewer. 7.J40

An all-new cloud-ready solution that allows significant time savings in QC tasks is being unveiled in Hall 8. Etere Advanced QC is offered as part of Etere MAM at no additional cost. This latest release is built with an integrated modular architecture designed to perform comprehensive QC. The video quality check software system is able to analyse an expansive list of file formats, including support for all major wrappers and all compression schemas. Etere Advanced QC is cloud-ready and is able to

automatically detect and mark audio/video issues such as freeze frames, black frames, scene changes, audio loss, video block, video blur, luminance line errors, chrominance line errors, audio clipping, scene cut detection, luminance headroom violations, chroma headroom violations and more. In addition, the software has the capacity to deliver analysis from live sources. It also comes with clustering and easy load balancing, and is capable of supporting simultaneous multiusers, multi-formats, multilevel reporting environments, multi-parameter analysis and parallel analysis of multiple and simultaneous sources. 8.B89

26/08/2016 12:00

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VR gateway for TV

OUTLINED

Reliability has never been so important

NSTV

In these uncertain times, companies and consumers are looking for dependability, believes Roland Ollek, CEO, Guntermann & Drunck The broadcast market is now driven by a move to new technology, meeting the need to merge yesterday’s original broadcasting equipment with today’s professional IT systems. Moreover, these new systems need to be future-proof and provide compatibility via an open framework. The recent shift towards 4K and IP is an example of the difficulties these changes can create. So it comes as no surprise to see new alliances coming together to proclaim common standards, in the hope of creating the certainty our industry demands. Such standards require more than simply common wordings that end in proprietary cul-de-sacs. Manufacturers need to pull together with real innovations that encourage new investment to move us ahead of old technologies and onwards into tomorrow. We need to provide future-proof

investments that generate need and deliver tangible advantages to our customers’ businesses. To be future-proof, systems need to be adaptable so that they can still be used even when requirements change. At G&D, we have always placed an emphasis on the compatibility of our systems, ensuring existing installations not only work with new developments but are enhanced by them. Usability is also much in demand. With more and more IT systems incorporating the latest, tapeless workflow structures, easy-to-operate humanmachine-interface technology is becoming an absolute essential. Having the right machines available as and when required is a core competence of KVM. A KVM system is an enabling technology so it needs to be as intuitive as possible without placing an additional operation layer for the user to deal with.

For G&D, one of today’s biggest challenges is in the heavy demand for ever-higher resolutions. This is an area we have seen coming and we’ve made every effort to prepare for it. For example, we’ve spent a considerable amount of time and work in developing our own compression algorithm to provide the highest video quality with zero delay. As a result, the user experience remains unaffected, even when working remotely. Network systems are becoming more and more powerful, particularly in the broadcasting industry. So we now offer a KVM system that allows access over IP structures. The new DPVision-IP transmits signals via G&D’s KVM-over-IP so that users can now utilise IP to access the connected computers. Maximum reliability is an essential, particularly in control room applications. The

By Ian McMurray

control room is an area that we have focused on and we are now seen as specialists, not just by the broadcast industry. Working with other industries has given us the experience to develop our product portfolio with enhanced safety features and improved functionality that benefits all. In summary, reliability is paramount throughout our business, it is an essential component in our personal consultancy, our solutions and in the usability and performance of our products: the products that make G&D the industry’s most comprehensive KVM range. 1.B10

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Take IMAGING to the NEXT LEVEL MAN ANN invisible_181*121 - AIMS Daily NEWS_16.indd 1 68 IBC D3 2016 v2JRJMcK.indd 1

A new VR solution is the IBC highlight for NSTV. NSTV offers customised digital TV content protection solutions for cable, satellite, terrestrial, IPTV/OTT and telecom operators. Its core products are CAS (Conditional Access Systems) and DRM (Digital Rights Management) systems which secure premium digital content and prevent unauthorised access to the network. NSTV provides VR capture, editing and broadcasting solutions to TV stations and content producers, and claimed that its gateway solution (DVB transfer to IP) can ensure the successful application of the VR solution for end users. David Zhang, VP, NSTV, said: “Chinese technology companies have developed their technological edge very successfully with the advantage of a huge domestic market as a test-bed. Our products and solutions are on par with international offerings. NSTV has a customer base of more than 130 million users. We are enjoying 30 per cent growth in revenue from overseas market.” “NSTV will continue to pursue international markets aggressively, participating in IBC2016 is part of the strategy,” continued Zhang. “We view IBC [to be] the most influential exhibition in this industry.” 5.B51

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Zhang: “Chinese technology companies have developed their edge very successfully”

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IP is a wake-up call for ‘flat earthers’

the rate of cloud adoption for broadcast and media applications. We’re also developing an eco-structure of strategic business partnerships across the Group. These relationships aren’t just marketing hype; we’re very specific about extracting customer business value from them. The net result of all this is our collective ability to mitigate risk whilst we enable and accelerate our customers’ business and operational transformations. 8.B51

With the rate of change in our industry so phenomenal, it no longer fits within the ‘pure play’ broadcast model. So what will the future look like from a supplier’s perspective? Russell Peirson-Hagger, managing director, ATG Danmon, explores Five years ago, I remember some of the first suggestions to use SaaS (software as a service) in broadcast, the concept was received badly. I think the early industry pioneers must have felt like Galileo, regularly ‘stoned as heretics’ by the broadcast ‘flat earth society’. In fairness the reception was divided. Many knew the sun was really at the centre of the Solar System, and SaaS will have a place in our industry. Five years on, those of us who once stood on the SaaS margins of the industry are now mainstream. The earliest cloud adoptions were around business logic, light graphics and offline editing. Improved network performance has marked the arrival of ‘heavy

lifting’ cloud applications, libraries, transmission and post. Importantly it’s the business and operational benefits that have been driving these transformations. IP’s recent ability to deliver low latency video resiliently and deterministically is industry transforming, and marks the demise of SDI. IP enables completely new workflows on common network infrastructure. As example remote production is already transforming sports broadcasting. Importantly it’s the business and operational benefits that have been driving these transformations. If we consider SaaS, S3 and IP, and look forward ten years, will the broadcast and media world will be turned on its

head? Maybe rolling out a new media service could be rapid and inexpensive. ‘Spin up’ ondemand services, applications, network, storage; add creative ideas, branding, scripts, talent, content, rights management etc; and decide who you are going the deliver the service to. Maybe this vision is crude; even if it’s half true it’s a radical change. For large media companies, this can’t happen overnight as they will require complex migration solutions; because of legacy of applications, workflows, data integrations, asset metadata and media types. A significant amount of Danmon Group’s competence is embodied in business and technology transformation, exclusively for the broadcast

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and media vertical. It is our strategy to invest in this transformation in terms of technologies, partnerships and expertise. For example, at IBC, Marquis Broadcast, part of Danmon Group, will announce the world’s first implementation of partial file retrieve for S3. It doesn’t sound that significant but it actually transforms the economics of using cloud storage for media applications. From our early modelling it could reduce the cost by 90 per cent. This is game changing and will accelerate

www.omnitek.tv

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

Compact option for top radio performer Nautel By Mark Hallinger On display is the NX100 MW transmitter, supplying 100 kW of analogue power output in a compact footprint. Nautel claimed that the NX100, along with its other high-power MW products, offers the industry’s top efficiency (90 per cent). It also claimed the transmitter features AM pre-correction with unmatched linearity, instrument-grade spectrum analysers for both audio and RF, 100 per cent remote access to monitoring and control functions, and Nautel’s Advanced User Interface (AUI). The NX100 is just one member of Nautel’s NX line, which encompasses products with power outputs of 3kW to 2MW. Nautel is also showing selected products from the company’s VS, NV and NVlt Series FM transmitters. 8.C49

For a demonstration, visit: Stand 10.A24 Energy saver: the NX100 features 90 per cent efficiency

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Hi-res: The series is available in sizes from 24 to 84-inches

Managing media for VR and 4K

Expanding the 4K vision Plura Broadcast By Mark Hallinger A complete portfolio of 4K monitors available in multiple

sizes from 24 to 84-inches is being showcased. The Plura PBM-4K Series supports SMPTE 2036-1 and offers 12G/3G/HD-SDI

inputs with active loop, OUTLINED an SFP slot to support multiple IP and fibre I/O standards, and a HDMI 2.0 port, in addition to all other legacy I/O. 8.B73

Schleifer: “The value of media has never been so great”

Primestream By Carolyn Giardina Primestream is demonstrating its Dynamic Media Management system, integrating workflow from capture, production and management through to delivery of all types of assets. The latest features include virtual reality/360 workflows, enhancements to 4K, MXF workflows, metadata logging and enhanced integration with Adobe Premiere Pro, Avid Media Composer and Apple Final Cut Pro X. Primestream is also showcasing FORK v5.5 and Xchange v5.0, highlighting tools for edit-while-capture workflows with XDCAM, ProRes and AVC-Intra, as well as archival workflows with object-based storage systems for sports, news, entertainment and corporate video operations. David Schleifer, COO, Primestream, said: “We pride ourselves on helping producers and editors get the most out of their assets, whether through asset management or our automated software solutions and deep integration with industry-leading NLEs. The value of media has never been so great, and being able to manage, manipulate and have full control over those assets during every stage of production, post and distribution is crucial in today’s business climate.” 7.D21

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Audio Monitoring in a Networked World TSL Products professional audio monitors are used by major broadcasters worldwide. Our expertise embraces everything from live sports production to 24 Hour news; from post production and master control to playout, transmission and delivery.

PAM – Precision Audio Monitor The NEW PAM-IP range builds on our flagship Precision Audio Monitors and is designed to smooth the transition to an IP based workflow. The PAM range supports stereo, multichannel, multi-language and surround sound environments via a sophisticated, intuitive control interface. The IP variant adds support for Video over IP (S2022 and S2110), Audio over IP (Dante / AES67) and UHD (4K over 12G-SDI or QUAD3G-SDI) making the PAM-IP range more format flexible than any other monitoring device.

Visit TSL Products @IBC 2016 Stand 10.B41

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IPTV is here – and it’s not just for broadcasters Companies in different markets, including many not traditionally focused on AV, are wise to the many possibilities of IPTV, says Michael Chorpash, VP of sales, Vitec There’s no question that the IP video revolution – the migration from traditional content and signal distribution technologies to IP networks – is having a huge impact on broadcasting and media operations. But broadcasters aren’t the only companies that are waking up to the many possibilities and benefits of IPTV systems. At Vitec, we’re seeing interest in our end-to-end IPTV solutions from a wide variety of customers in different markets, including many who aren’t traditionally focused on AV. Companies understand that placing video content in the IP domain opens up many new possibilities that aren’t available with traditional cable TV. With the right IP technologies, they can reliably transmit high-quality video over their local enterprise network while avoiding the expense of

installing and maintaining coax cabling and reaching further over the internet. They can also offer viewers special features that aren’t available through traditional cable services. Streaming of high-quality video is becoming easier and more cost-effective than ever with increases in broadband access, and with the growth of solutions like Vitec’s encoders and decoders that support forward error correction (FEC). Video transmission over the open internet is strictly a unicast proposition, and customers still experience packet drops and bandwidth restrictions in certain areas. However, there are solutions that make unicast more reliable by improving the quality of service, such as CDNs, transcoding technologies and encoders and decoders that provide FEC. Companies that are

Virtual reality has a new Hero GoPro By David Fox Two camera systems for capturing 360 degree VR images have been introduced by GoPro. Omni is a six-camera spherical array that produces highresolution images and works seamlessly with its Kolor stitching

software to produce immersive content. It uses proprietary hardware to enable pixel-level synchronisation between all six Hero4 Black cameras, which can also be set to record or controlled as one – if you change a setting on the primary camera in the array, it sets all the cameras. Omni may also be used for ‘over capture’ – meaning to

looking to stream video inside the firewall on an enterprise network can take advantage of multicast, which provides lower latency, reduces network congestion, avoids the expense of transcoders, and eliminates the need for a CDN. Some of the most important enabling IPTV technologies include reliable, high-quality encoders with low latency, as well as gateways for digital turnaround (DTA) to maintain high quality and lower costs for end-to-end enterprise streaming solutions. Transcoding and encapsulation is critical for reaching out over different networks outside the firewall to deliver feeds properly to multiple devices, and also for providing the best possible user experience on each one. Another important requirement is rights management and encrypted content sent by

capture at 8K and extract an HD deliverable. In addition, GoPro has collaborated with Adobe to make it easier to edit spherical content by enabling native handling of 360 degree video up to 8K resolution in Adobe Premiere Pro CC and After Effects CC. The company set up GoPro VR, a platform to view and share immersive content. For high-end work, there is Odyssey, which is packed with 16 synchronised Hero4 Black

broadcast providers. Most enterprise IPTV systems don’t support the content providers’ encrypted content because of prohibitive seat licensing costs, the equipment needed to secure content, and the lack of capabilities for delivering a single origination feed to desktops, mobile devices and TVs. We’ve addressed many of these requirements at Vitec with our highly successful EZ TV enterprise IPTV solution, which provides a central server for managing all aspects of IP video including IPTV with VoD and digital signage. EZ TV provides the central hub for delivering all types of IP services and providing an immersive user experience. We also understand the challenges AV dealers and integrators face in keeping up with the many facets of

IPTV technologies. One of the biggest challenges is adapting from a broadcast-focused sales model to a focus on other types of customers. That’s why Vitec is committed to teaming up with its systems integrator partners to help them deliver IPTV solutions and services that will deliver the best value for all clients. With our two-decade track record, we’re confident we can provide the right solution for any customer looking to stream IP video, either over the internet or an internal enterprise network. 7.G16

Round and round: Some 360 degree images captured by GoPro’s Omni system

cameras, in a rugged all-inone design. It is optimised for Google’s cloud-based Jump Assembler, which automatically stitches the camera content into panoramic stereoscopic 8K30

UHK-430 Ultra Wide Bandwidth Native 4K Full Colour Space RGB 4:4:4

video, which can be viewed via YouTube. It also offers longer recording times and support for external power (AC/DC) via an XLR connector. 11.C40

VISIT US!-13 September 9

h A.31 Hall 12 • Boot Amsterdam

www.ikegami.eu Ikegami Electronics Europe GmbH

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E-Mail: info@ikegami.eu

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HDR upgrade for UHD and HD cameras OUTLINED

and Mobile Transmission Vehicle, to demonstrate how Hitachi can capture images in the highest resolution and then communicate these pictures back to base quickly and easily, in the most cost-effective ways. 12.F38

Conference 8 – 12 September : Exhibition 9 – 13 September RAI, Amsterdam Hitachi’s SK-UHD4000 Ultra HD camera now oﬀers HDR capture

Hitachi Kokusai Electric By David Fox High dynamic range capabilities have been added to a wide selection of Hitachi cameras, including not only its flagship SKUHD4000 2/3-inch UHD studio/field camera, but also its Z-Series, SK-Series and DK-Series HD cameras. “[HDR] is a key feature on our UHD and HDTV broadcast cameras since it provides the increased contrast, richer colour and dynamic lighting of the video it captures,” said Cemal Yilmaz, general manager of Hitachi Kokusai Turkey. “We have worked hard on our implementation of HDR in our cameras; as a result users will be able to produce significantly superior HDR imagery without having to upgrade their existing infrastructure or transmission systems.” Among the cameras offering HDR is the SKHD1300, Hitachi’s new topof-the-line progressive scan HD studio and EFP camera, which captures 1080p images with its three 2/3-inch, 2.6 megapixel MOS sensors. It also offers F11 standard sensitivity with 62dB of video headroom plus real-time lens aberration correction. The new HDR cameras are being shown working alongside Hitachi’s OB-Box

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Discover the IBC Exhibition Explore the growing showﬂoor with over 1,600 exhibitors and our newest addition to the RAI, Hall 9, and discover our reimagined feature areas in the best IBC yet! • • • • • • • •

IBC Content Everywhere Europe - Hall 14 IBC Content Everywhere Hub - Hall 14 IBC Future Zone - Park Foyer IBC Future Reality Theatre - Park Foyer IBC Hackfest - Diamond Lounge IBC IP Interoperability Zone - Hall 8 IBC Launch Pad - Hall 9 IBC Technology in Action Theatre - Hall 3

Find out more at IBC.org/discover

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OUTLINED

For the latest show news and updates follow

More power for HD monitors SmallHD

By David Fox

SmallHD monitors now have extra power options, like this Anton/Bauer battery

An array of power accessories have been released for SmallHD’s 500 Series (5-inch) and 700 Series (7-inch) HD field monitors. Besides running 700 Series monitors off L-Series and LP-E6 batteries, there are new 700 Series Pro Battery Plate Kits to allow the use of a Gold Mount or V-mount battery. These 14volt supplies power the monitor

Automatic production boosts Women’s soccer Pixellot

soccer match and generate footage which, it said, increased coverage of the game. Pixellot’s Lemur system was installed at SC Heerenveen’s Abe Lenstra stadium for the match between SC Heerenveen and FC Twente. The device has a panoramic camera head and

By Adrian Pennington SportsExposure, a Dutch sports marketing agency, has used automatic video production solutions to cover a women’s Netherlands’ Major League

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

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automatic tracking and directing mechanisms to follow the flow of play. During the match, footage was narrow-cast on the stadium screens and streamed live to fans’ mobile phones in an interactive, panoramic format. SportsExposure cut several clips for distribution via SC

continuously for over a day. The DCA5 D-Tap to barrel power cable works for 500 and 700 Series monitors. Drawing power from the D-Tap/P-Tap output on professional battery systems like Anton/Bauer, PAG and Blueshape, it accepts 6v to 30v, to provide output of 6.4v. An AC system enables both monitor ranges to be powered by 120v or 240v AC, while a Lemo Power system means the monitors can be run from the Lemo power port on cine batteries. These three DCA5 Heerenveens, their sponsor Unive and the Helden sports magazine’s Facebook pages. Bart Gabrials, business manager, SportsExposure, said: “Within eight hours, the highlights of this soccer match reached 280,000 people, which is a truly amazing outcome. SC Heerenveen’s page views increased by 214 per cent.” 15.MS44

systems use only one of the monitors’ two battery slots, so an additional LP-E6 battery can be used for secure backup in case of power loss. Wes Phillips, co-founder, SmallHD, said: “We understand that all camera set-ups are different with individual needs. Now, regardless of the on-camera configuration, we have a solution to fearlessly power your monitor via DV or larger camera batteries, Lemo, D-Tap or AC power.” 12.E65

Lemur installed at SC Heerenveen’s Abe Lenstra stadium

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OPINION Software as a Service, IP connectivity, and HDR themes will dominate at IBC, says Tom Lattie, VP, market development & product strategy, video products, Harmonic

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OUTLINED

Strategise with clear thinking

The primary themes impacting the industry at IBC are Software as a Service (SaaS), IP connectivity and HDR, yet it’s only when these issues are explored in more detail that the true state of the transformation underway within the broadcast industry will be revealed. From a production perspective, there is a definite drive to use SaaS and IP as the main vehicles for existing workflows, in addition to experimenting with value-add services like virtual reality and gaming. Mezzanine production formats are increasingly seen as the best way to address the growing consumer demand for

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multiscreen content. But for broadcasters contemplating live UHD deployments, the key issue will be how to accommodate HDR during capture and deliver it to HDR-capable screens, while maintaining sufficient backwards compatibility with the vast majority of SDR viewers. The challenge for broadcasters is complex. Do they join the UHD bandwagon based on 4K resolution alone, wait until HDR screens become more widespread, or adopt a phased approach from SDR to HDR? In the midst of this decision lies the prospect of 1080p, which is considered by many as the ideal compromise

between offering HDR and being backwards compatible with the current HD infrastructure. As it stands, most UHD workflow demos have been 1080p while the industry catches up with the requirement to handle native UHD, ideally as part of an IPbased infrastructure upgrade. Add to this the reality that typical access bandwidths favour HD delivery and the case for HDR in 1080p is clear. Or is it? Personally, I believe backwards compatibility implies interoperability with HD workflows and screens already deployed. Expecting existing HD infrastructure to be 3G capable and pass 1080p all the

way through an STB is asking a lot, unless an operator has just rolled out broadband-based movie streaming. Furthermore, introducing HDR necessitates that viewers have advanced screens supporting wider colour gamut. Advanced signaling is required to deliver HDR to the latest in bright screens, begging the question: Why not just upgrade to UHD? Don’t get me wrong, 1080p has a big part to play, but only as a subset of UHD, not as a complete alternative. 1080p HDR still requires adopting new screens and infrastructure. SaaS and IP are more clear-cut issues. Many IBC attendees are approaching the topics from an enterprise perspective and are eager to see video processing run as software applications on COTS servers. Regardless of whether the video production and delivery workflow is

managed on-premises or via a professional cloud media processing service, operators want to know the tangibility of these applications and to what extent they can replace existing infrastructure. Critical evaluation criteria include performance, density and flexibility, in terms of adapting existing workflows to software-based solutions. The long-term goal is like-forlike replacement, and at IBC we’ll see how close to this ideal exhibitors have come. 1.B20

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Sign of the times for OB OUTLINED

Riedel By Heather McLean Supporting the biggest global events, television studios, or sporting spectacles, TV coverage specialist AMP Visual TV has one of the most extensive European fleets of OB vans for video productions, and Riedel is here at IBC talking about its involvement in the company’s latest truck. AMP Visual TV’s Millenium Signature 12 (MS12) HD/4Kcapable OB van supports up to 40 cameras on a Riedel MediorNet real time media network of unprecedented scale. Due to its modular design and mobile partition system, MS12 can turn into a twoin-one OB truck capable of conducting joint operations with two production areas, two audio mixers, two

MS12 made its debut recently for the 24 Hours of Le Mans, the world’s oldest active sports car endurance race

vision rooms and up to 42 modular workspaces. AMP Visual TV’s approach relies on a robust MediorNet infrastructure – one of Riedel’s biggest so far – that offers benefits by replacing the traditional router, providing video, audio, data and intercom transport, and delivering routing and processing capabilities. Deployed in a fully redundant configuration built on a 10Gbps

fibre network, 68 MicroN highdensity signal interfaces, eight MetroN core routers, three MediorNet Compact Pros, and two MediorNet Modular frames combine to serve as a decentralised matrix. Reidel described the MS12 as a ‘unique OB van concept’, with router elements situated in the ideal physical location for any given workflow or production. 10.A31

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EXEcutor broadcast servers launched PlayBox Technology EU By Ian McMurray Occupying its own stand for the first time at IBC, PlayBox Technology EU is launching its EXEcutor line of broadcast servers. The company describes the EXEcutor as power-efficient, providing a highly customisable, robust and dependable backbone for all areas of broadcast and production installation, including television stations, production studios and post production companies. By providing facilities for ingest and media management, titling and graphics, as well as playout and scheduling, PlayBox believes that EXEcutor can provide a complete TV channel-in-a-box solution.

The company said it could be configured to provide any combination of component services using PlayBox software, to enable very efficient, scalable and flexible production pipelines to be created. These incorporate traditional, streaming and hybrid workflow models, as well as the cloud and private cloud. Content can be output to numerous IP-streaming formats or via traditional SDI connections. Resolutions from SD to 4K are supported, including the ability to stream multiple channels simultaneously. EXEcutor broadcast servers are also designed to interface seamlessly with many types of routers, and can be activated with LTC timecodes and GPI triggers. 5.A02

EXEcutor is claimed to be power-eﬃcient and provide a highly customisable backbone

Making 4K production easy! Axon boosts your 4K production J J J J J J

4K signal processing and distribution 4K & IP multiviewers 4K toolboxes 12 Gb/s digital router Quad 3 Gb/s to 12 Gb/s converters Control and monitoring of 4K workflows

With Ultra-HD shaping the future of television, Axon offers a complete range of infrastructure solutions to enable broadcasters to create spectacular 4K content and immersive viewing experiences for ever-demanding audiences. Discover the full glorious picture for yourself at our IBC booth.

See us at IBC2016 Hall 10 Stand A21 & B21

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DAB antenna on the side Jampro

By Mark Hallinger

to provide many years of dependable performance, even in the harshest environments. Jampro said its DAB portfolio is backed by years of proven service throughout Europe, and meets all the requirements of the Eureka 147 specification.

Filters, with up to eight sections in constant impedance and reflective configurations, have been supplied in systems requiring stable group delay and rejection. Also on show is a range of mask filters, which are designed

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to provide superior mask filter performance. Cross OUTLINED coupling creates steep rejection skirts and the high-Q cavities provide low pass band insertion loss in a compact package, said Jampro. 8.B96

The JVD dipole side-mounted antenna is for DAB Band III and TV broadcasting applications that require low wind load

On show at IBC is the JVD dipole side-mounted antenna, which Jampro claimed was ideal for DAB Band III and TV broadcasting applications where low wind loadings are required. Designed for vertical polarisation, the antenna’s rugged galvanised and stainless steel construction is intended

Multi-touch on-air mixing

The console supports physical controls for live mixing, while other controls are virtualised

Harman Professional By Mark Hallinger Brand new at IBC is the Studer Modular Series, which Harman said offers flexibility and interoperability not seen before in an on-air mixing console. In this product, only the necessary controls for live operation are provided physically, all other control are virtualised via user-definable, multi-touch GUIs. The GUIs can be customised to match the technical level of each user, displaying all the controls they need and hiding those they don’t, according to Harman. The company said that removing parameters that the operator doesn’t need from the surface makes operation faster and easier. The GUI also provides the ability to host comprehensive control interfaces for other third-party equipment typically found in the studio, such as broadcast automation, codec management or a CMS. 8.D60

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The true cost of multi-DRM for OTT video Underestimate the cost, complexity and business opportunity of DRM at your peril, warns Steve Oetegenn, president, Verimatrix DRM has emerged as a critical component of online video services, not just for protecting premium content, but also underlining various business models and unlocking the potential of monetisation. Unfortunately, it is also one aspect of online services that can increase complexity and potentially increases costs. A recent study by Frost & Sullivan found that most operators were significantly underestimating these complexities and costs with the risk of missing out on potential revenue streams. To help service providers better understand these challenges, this study identified the five key factors that contribute to the total cost of ownership of a complete

multi-DRM ecosystem. 1. The fallacy that DRM is free. This false notion is based on the licence for the core software that manages licence formatting and key exchange, which is sometimes inexpensive or even bundled for free. But in these cases, the client still has to manage the full range of authentication, entitlement checks, permissions enforcement, device integrity verification and other functions. Therefore, the cost of developing and maintaining a portfolio of secure clients must be taken into account. 2. Continuous fragmentation. Without a doubt, there is increasing fragmentation in devices and platforms. Yet, it is essential that service providers

deliver a high-quality experience across all these devices. When billions of people use various devices to stream many types of media, the optimum protection strategy needs to be applied to each device, also known as DRM core logic. Different DRM core logic must be supported if the target device platform offers no download option, adding to the overall complexity of management. 3. Consistent viewer experience. There is a need for a consistent approach to security across this fragmented multi-DRM world. Each DRM utilises a different rights language, which means expertise is necessary to ensure that a given set of rights is executed in the same way

across all the DRMs. This is necessary to ensure that the end-user experience on all corresponding devices and browsers is consistent. 4. DRM is a programme, not a project. A DRM system is not a one-off project, but rather an ongoing programme that must keep abreast of emerging platforms and the ever-evolving threat landscape. Indeed, breach management and renewability is the most crucial aspect of the entire DRM implementation. The cost of ongoing DRM management and improvement is arguably the most important aspect of TCO estimation and yet one which is most often overlooked. 5. Show me the money. Frost & Sullivan sees DRM not simply as an anti-piracy solution, but as a business-enabling monetisation technology. This monetisation layer needs to be capable of scaling and adapting with the same ease as the OTT

ecosystem; just as quickly and cost effectively. Few service providers or OVPs have the resources or expertise available to dedicate to this complex multi-DRM infrastructure. We developed our MultiRights OTT solution with this in mind, designed such that service providers can absorb changes in security schemes as they occur and rapidly evolve compelling multiscreen services. Visit our stand for a copy of the Frost & Sullivan white paper and learn more about MultiRights OTT. 5.A59

Signalling the end of rain fade Peak Communications By Ian McMurray Aiming to overcome ‘rain fade’ in satellite links is the Peak Automatic UpLink Power Controller (AUPC) system, on show at IBC. This natural atmospheric attenuation of the satellite signal occurs at all frequencies,

according to Peak. However, it is more pronounced at higher frequencies. So the UPC7000 AUPC system is proving especially popular with earth stations operating Ku and KaBand links to help achieve often stringent availability targets. Units monitor the satellite beacon signal via either an internal or external beacon receiver and subsequently

automatically determine the uplink path gain compensation required to maintain a constant uplink signal level. Gain compensation is automatically applied to the uplink paths via internal attenuator channels (standalone system), or external attenuators within the Peak UpConverter, BUC or line amplifier products. Up to four internal uplink

Classic cuts and perfect playback RCS By Mark Hallinger Zetta 4.0 is expanding the feature set of the digital radio automation system at IBC2016. While Zetta has always been able to relay stretch and squeeze data for spot block lengths from the master to slave (split)

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Zetta 4.0 has incorporated several new modules to offer greater automation

The UPC7000 AUPC system is designed to mitigate attenuation

compensation channels can be provided in the standard 1RU unit, with a separate expansion unit providing up to ten modular channels ‘slaved’ from the main unit. This, claimed Peak, offers flexibility, maintainability and future-proof ‘expandability’.

stations, RCS said it now has the ability to provide reverse length information to the master station. This means spot block sizing can be driven by the most sold out break, rather than just the size of the master log break. As with prior configurations, Zetta will use its integrated tool sets to stretch, squeeze and fill across all affiliated breaks to ensure perfect spot break playback on all (master and

Single channel units are now available with an optional scintillation enhancement facility. This allows rapid compensation to overcome the effects of scintillation seen in typically low look angle satellites. 1.C33

split) station logs. Zetta2GO now incorporates more modules for use in remote environments. The newly added Library module allows the user to browse the media assets of the system and associate them to a position in the log or on the Hot Key grid as needed. Voice Tracking has also been enhanced to allow for adding beds or other assets to the voice track recording. 8.D16

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Making prompting more personal and PTZ friendly Portaprompt By David Fox The new 465 Personal Prompter Rig is an upgrade for the 365 rig Portaprompt launched at IBC2014. Jon Hilton, sales and marketing manager, Portaprompt, said: “We are finding that many clients are now looking for something a little more sophisticated when

using tablet-style prompters, especially in corporate video production where editorial changes are very common. Making those changes on a tablet-based system takes too much time.” The new 465 includes Portaprompt’s Windigi PCbased prompting software, and a 7-inch or 10-inch dedicated Micro Prompt with rigging adapters. Pan, tilt and zoom (PTZ) cameras

are becoming popular in self-drive studios, but they are particularly difficult for prompters to rig onto (as there is not much to rig on and you have to maintain camera movement). To overcome this, Portaprompt has developed a new rigging and hood structure for PTZ installations, which is suitable for both its mid-budget Fusion range and its Broadcast Premium and Quasar ranges.

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Tablet-style prompting rig: Portaprompt’s new 465 10-inch Lilliput prompter

There is also a new Premium 17-inch monitor in its Broadcast Range, featuring all the standard broadcast functions, including built-in Tally lamps. It offers 400

Nits brightness, compared to the more expensive 1200 Nit 17-inch Quasar which is designed for studio and outdoor applications. 12.G49

Lollipop-powered 4K STB Venztech By Ian McMurray

The Venz V14 is equipped with both a DVB-T2 and a DVB-S2 tuner

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An Android hybrid set-top box built on the Amlogic S905 chipset with a quad core 64-bit 2.0GHz Cortex A53 CPU and a penta core Mali450 GPU is

being showcased in Hall 5. Venz V14 enables support for 10-bit HEVC H.265 files and tuner streams and offers an output of 60fps, including support for UHD 4K content. The operating system is the Venz custom version of Android 5.1 (Lollipop),

designed to be more userfriendly with the company claiming that it is the most stable Android operating system available currently for set-top box solutions. The Venz V14 is equipped with both a DVB-T2 and a DVB-S2 tuner. 5.C15

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Emerging opportunities in fibre-optic transport Traditional point-to-point dark fibre remains the best transport option for 4K and 8K, says Frank Jachetta, president, MultiDyne The broadcast industry is in a constant state of transition. However, the changes we are seeing today – notably IP migration and the rise of highresolution UHD formats – are compelling broadcasters to take a broader look at how their end-to-end architecture today measures up to tomorrow’s opportunities. In broadcast and production facilities – fixed and mobile – broadcasters are testing and applying new ways to more efficiently move video, audio and data in alignment with today’s emerging trends. In the fibre transport universe, moving 4K and 8K requires more efficient point-to-point bandwidth management to accommodate higher data rates. Furthermore, broadcasters are relying on fibre transport innovators like MultiDyne to

establish a sensible gateway to the multipoint networking capabilities of IP. In surveying the landscape today, point-to-point dark fibre transport remains the standard. This means the deployment fibre strands to move signals from Point A to Point B, with supporting conversion and distribution gear to facilitate transport. As we look at 4K and 8K in the short run, we expect that the traditional point-to-point dark fibre approach will remain the best signal transport option. When we look towards the IP transition, it’s helpful to frame the progression of fibre to this point. In the simplest sense, the basic copper-tofibre conversion established the foundation for the broader opportunities associated with IP connectivity.

In the coming year, MultiDyne will offer a wider array of networked appliances to the market, and will assist in building stronger bridges between IP, fibre and copper connectivity. These include rugged, field-based units for location-based sports production and newsgathering; and mobile camera-back systems for similar applications while on the move. The fact is that by moving to IP, the broadcaster may even use the same fibre connection to add network traffic. Instead of being limited to point-topoint distribution, the migration to IP allows the broadcaster to join or establish a broader multipoint network. And just like in an office environment, there is now an easy way to move all kinds of video, audio and data signals on and off that IP network.

We view this as an exciting new business opportunity for broadcasters and production teams working with fibre today. It’s exciting to bring these developments to IBC this year. As an American company, IBC is our gateway to the world. It is the premier international broadcast show, and we find that both our domestic and international customers enjoy

the slower pace and longer timeframe of IBC in comparison to other shows. This gives them more time to explore trends and developments such as the above in greater detail, while allowing a more leisurely pace for exploring new products. We look forward to sharing in the IBC experience with our customers, partners and peers. 11.D40

Personal recommendation for graphyne2 ADB By Ian McMurray graphyne2, the new personal TV software platform from ADB, now benefits from the integration of ContentWise’s personalised recommendation capabilities. Both graphyne2, and the resulting product are making

a debut at IBC. The newly launched graphyne2 platform is described as a feature-rich client device and backend software platform, optimised for pay-TV network operators and service providers. Through integrating ContentWise into the platform, ADB said that graphyne2 was able to provide a fully personalised, intuitive and

user-friendly UX, enabling quick and easy access to content. Pancrazio Auteri, CTO, ContentWise, said: “This partnership with ADB is a great fit. Configurable and flexible personalisation, built into graphyne2, allows pay-TV operators to find the perfect balance of UI automation based

on machine learning and editorial content curation.” Wojciech Doganowski, VP product marketing, personal solutions, ADB, said: “From the moment the viewer switches on the TV, they are presented with their personalised highlights of the day, which begins the immersive, personal experience from the outset.

“Integrating this feature into the graphyne2 platform is a vital component for our customers, who know that to engage viewers and ensure ongoing loyalty, it is imperative that the TV they are watching is truly theirs, and that the recommendations they receive are relevant and personal.” 5.B60

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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Swing armed and ready:

Marine Conner IBC_big-screen_2016_v2_IBC Big-Screen 2016 08/08/2016 16:27Robbins Pagetests 1 Easyrig’s Mini Max

Easyrig

Conference 8 – 12 September : Exhibition 9 – 13 September RAI, Amsterdam

By David Fox The new Easyrig Mini Max, which supports cameras weighing between 2 and 7kg is on show. Prototypes of the small back-mounted rig have been tested by users over the summer, with good results. “I think many of the best things [about] the Cinema 3 Easyrigs have been incorporated into the Mini Max: more solid supportive vest, smoother running of support line, pivoting upper arm and the plus and minus adjustment without releasing entire tension as on the original Mini,” said Australian DoP, David Paul, who likened it to “a baby Cinema 3”. He added: “Being able to swing the camera to the side, or sit it on your shoulder easily, is a major improvement.” “It’s a big difference between the Mini and the Mini Maxi. The feeder is so smooth all the way. And I like that the angle of the arm is higher,” said Swedish wildlife cameraman, Peter Lindgren. “I really love the system, because it gives me the manoeuvrability that I want while retaining the stability of a tripod. It feels nice that I can go on multiple hour shoots and not feel a thing as I wear [it],” said Conner Robbins, a combat camera video chief with the US Marines “As many cameras nowadays are lighter, the Mini Max will suit a large number of camera people,” said Paul, adding that with the wider weight range he’d use it more on documentaries than with the original Mini, as he can use it with both his F55 and his Sony A7s rig. 12.A59

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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? 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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Celebrating seven decades of innovation From the first portable hand-held TV camera to today’s groundbreaking 8K models, Ikegami Electronics has always led change, explains the company’s key account manager for Europe, Daniel Storch Ikegami celebrates its 70th anniversary at IBC2016. During the company’s lifetime, the electronics industry has advanced to an extent that far exceeds many other spheres of human endeavour. The main drivers within our industry have been component miniaturisation, the transition from vacuum tubes to solidstate semiconductors and the introduction of integrated circuits, combined with a seemingly limitless level of human ingenuity. Ikegami was founded in September 1946, initially producing electrical components. The company’s first product was an automatic frequency response analyser. Ikegami milestones include the first portable hand-held television

camera in 1962, the first compact ENG colour camera in 1972, the first tapeless video acquisition format in 1995 (with Avid) and in 2002 the first 8K camera (with NHK). Continuing the development partnership with NHK, we announced the first hand-held 8K camera in 2015. In the same year, we completed the first fully 8K OB vehicle which many IBC Daily readers may have seen in the Future Technology zone at the 2016 NAB Show. The vehicle was recently in action at the Summer Games in Rio. Our focus at IBC is very much on the television production needs of today, both in HD and in 4K. One of the toughest challenges currently facing broadcasters is how to capture good quality video

in very low light conditions. A common workaround is to use relatively high sensitivity monochrome cameras or, more sensitive still but much worse in picture quality, thermal imagers. At IBC2016 we will be launching the HDL-F3000 1080-line ultra-low-light camera. Capable of operating at illumination levels down to starlight, this produces highquality colour video under an extremely wide range of night or daytime conditions. Image adjustment capabilities include haze removal, backlight correction and digital zoom. The camera head measures a compact 100 x 123 x 80mm WHD and weighs only 1kg, making it ideal for a wide range of ground-based or airborne gyro-mounted applications.

The HDL-F3000 employs three 2/3-inch, 2.6 million pixel MOS sensors in RGB prism configuration to achieve 1,000 television lines horizontal resolution. 4K resolution and high dynamic range have become important issues throughout the broadcast media industry as content producers and delivery channels plan their investment strategy for the coming five to ten years. The Ikegami UHK-430 portable broadcast camera incorporates three newly-developed 4K-native 2/3-inch 8 megapixel CMOS sensors which provide full 3840x2160 ultra-high definition resolution plus the depth of field required for studio and outdoor production. The camera has a colour depth of 10 bits per

pixel instead of the current limit of 8 bits per pixel. Also being introduced at IBC2016 are the HQLM-3120W 31-inch full 4K master reference monitor and the MCP-300 network master control panel. The MCP-300 can be used with our conventional ICCP control and Arcnet based control or under Ethernet based control. Whether your focus is on the past, the present or the future of broadcasting, come and see us at IBC. 12.A31

Foot Lites for small spaces Advances in wireless workflow Aladdin Lights By David Fox The Foot Lite 50 is a new bicolour LED light with a low profile, which is designed to be used in small studios that have low ceilings or limited space to place lights. The fully dimmable 50W light costs about €1,000-€1,100

(depending on whether it ships in a barn door kit or not) and comes with a built-in power supply as well as DMX. It has the added advantage of being able to run off V-mount or Anton Bauer camera batteries – optional mounts for both costing about €100 each. There is also a frame that holds four Foot Lite fixtures, which can all be controlled individually. 12.A70

Tracking system shines for AR Mo-Sys Engineering By Caroyn Giardina The Startracker camera tracking system from Mo-Sys Engineering is on display at several IBC stands including that of NEP The Netherlands (14.C34), which selected Startracker to provide optical camera tracking technology for virtual graphics.

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The initial order from NEP The Netherlands is for six systems, with an option for an undisclosed number in the near future. The systems will be used for daily news, sports broadcasts and large entertainment productions. The technology is also in use at IBC by Chyronhego (7.D11), Signum (7.D31), Zero Density (7.K31), Brainstorm (7.C12) and RT Software (7.F33) 14.C34

Timecode Systems By Heather McLean

The close of IBC last year marked the start of the most intense period of product development to date for Timecode Systems, said the company. Following an expansion in development resources, it has returned to Amsterdam one year on with a completely refreshed range of new and upgraded wireless timecode and metadata hardware and a brand new, free web-based production

dashboard and device control app. The company’s wireless workflow system has been updated to focus on four core multi-functional hardware products the :pulse, SyncBac PRO, :wave and :minitrx+, and the new B:LINK Hub app. For productions that involve a single camera in a studio, multiple cameras, or a whole army of GoPros on location, these core products can be simply configured and combined to

fit the individual requirements of any shoot, stated Timecode Systems. SyncBac PRO is a clip on, wireless, embedded timecode sync solution for GoPro’s Hero4 black and silver action cameras. It is among the first accessories to be verified by the new Works with GoPro initiative. With production of SyncBac PRO units now in full flow, the GoPro sync accessory is being demonstrated on the company’s stand and is also available to buy through its international network of dealers. 11.B30

SyncBac PRO is a clip on, wireless, embedded timecode sync solution for GoPro

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‘World first’ clip-on battery system Taylor brings over 25 years of experience to sales team OUTLINED

Zacuto

By David Fox The new Gripper Series is claimed to be the first clip-on battery system, and the first batteries specifically designed for use on modern professional rigs. Unlike a traditional V-mount battery, the Gripper clips directly onto 15mm rods without requiring additional brackets or clamps, whereas Gold or V-mount batteries

need battery plates, cheese plates and extra accessories. Gripper batteries just need a little space on the 15mm rods, and it is claimed to be half the weight and price of traditional rod mounted V-mount battery set-ups. They are particularly suitable for use with a Zacuto Recoil Rig, especially for Gratical Eye SDI EVF users, as the EVF has a 2-pin Lemo for power and requires external batteries. A Gripper 75Wh battery will power a Gratical

Eye for 14 hours. The batteries are manufactured by HawkWoods and distributed worldwide by Zacuto. They cost $260 for 75Wh and $290 for 100Wh. A single fast charger costs $90 and charges 75Wh in three hours (an upcoming dual charger will cost $146). Each battery has an LED battery gauge and two P-Taps; an optional accessory with four additional P-Taps attaches to rods. 12.F55

ATG Danmon UK

By Mark Hallinger Stuart Taylor is a recent addition to the sales team at ATG Danmon UK. On the stand at IBC this week, he is primarily active across the current portfolio of products, which includes Dalet Amberfin transcoding and Vidcheck QC software. He is also supporting core systems integration services to an expanding customer base. “I am delighted have joined ATG Danmon UK,” said Taylor. “The company has achieved a very high reputation as a systems integrator with a large international customer base. My focus will be both on supporting current clients and reaching out to new business areas.”

Taylor: “Focus on supporting current clients and reaching out to new business areas”

After graduating from De Montfort University with a Physics HND, Taylor joined Abekas Video Systems in 1990 as a senior test engineer, advancing to product support and customer support roles. He progressed in 1998 to Leitch Europe, where he was active in technical sales during the company’s integration with Harris Broadcast and the transition of Harris into Imagine Communications. 8.B51

Get a grip: The new Hawk-Woods/Zacuto Gripper Series batteries

HTML5 - The easiest way to get your online video content onto Smart TVs To find out more visit us in Hall 14 Stand N.29

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Encoding for any environment OUTLINED

ATEME By Ian McMurray The Kyrion range is being showcased, featuring what ATEME claimed are futureproof encoder and decoder solutions, specifically designed for contribution over satellite, fibre and internet networks.

The products are also said to include quick start-up, ultralow latency, ABR output and Automatic Repeat reQuest (ARQ) that ensures high-quality OTT streaming. The latest updates to the range, including support for HEVC via a software upgrade, are being demonstrated. The other IBC focus is on the Titan pure-software encoding

solutions, including Titan Mux and Titan Edge. The company claimed the system can run on any commercial off-the-shelf server, in any environment, removing all infrastructure constraints. ATEME believes that a ‘building block’ approach provides more flexibility, with software modules able to be

The Kyrion range of encoders and decoders, described as ‘future-proof’

combined as needed, including any input/output, any codec, any resolution, and from an encoder to a video headend in a box. Titan Mux is described as a virtualised multi-function software stream processor, while

ATEME positions Titan Edge as a virtualised integrated receiver decoder transcoder. The latter combines decoding, encoding, multiplexing, time-shifting, advertising and packaging functionalities together. 1.D71

Lightweight ‘production workhorse’ for colour unveiled

The DM170 utilises a native HD 10 bit LCD panel covering 99 per cent of the DCI P3 colour space

Flanders Scientific By Heather McLean The DM170 is a new colour critical production monitor from Flanders Scientific. The 16.5-inch DM170 is a lightweight sibling to Flanders Scientific’s flagship DM250 display, and is equipped with the same features and capabilities.

Fast mode processing, a strong all-metal chassis, and direct integration with colour management tools make the DM170 a production environment workhorse for colour-critical applications, claimed the company. The DM170 utilises a native HD 10 bit LCD panel with a wide colour gamut covering 99 per cent of the DCI P3 colour space and features a real-world

contrast ratio of 1400:1. The monitor features 12 bit 3Gbps SDI inputs and is equipped with Flanders Scientific’s third generation colour fidelity engine that supports both calibration and DIT/Look LUTs. Bram Desmet, CEO and GM, Flanders Scientific, said: “The DM170 has been purpose-built for production applications where a colour critical compact

monitor is required.” Additional capabilities include second screen processed monitor outputs, full screen image flip, zero delay, DVI and DisplayPort cross conversion to SDI. 10.B10

High Speed... Three Axis Antenna Mount

220°

90° 90°

MEET US AT STAND 5.B80

SATCOM Systems Manufacturer www.hiltron.de

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On-camera waveform monitors OUTLINED

Swit Electronics By David Fox Two new HD (1920x1080) waveform LCD monitors have been introduced by Swit. The 5.5-inch S-1053F and 7-inch S-1073F models both come in a robust all-metal housing

with a foldable sun hood. The monitors feature 2K/3G/HD/ SD-SDI input and loop out and a lockable HDMI input port that can be cross-converted to SDI for output. There are 16-channel embedded audio meters with alert from which users can select any two audio channels to output, a USB port

for upgrades, and the ability to take various DV battery plates. They also have a range of visual aids, such as waveform (Y/Cb/Cr/R/G/B and single line), vector scope (histogram R/G/B/Y), peaking focus assist (dual colour), AFD, timecode, H/V delay, Zebra stripes, markers (4:3, 13:9, 14:9, 15:9,

1.85:1, 2.35:1), false colour, R/G/B/Mono and 100 per cent colour bar. Swit is also launching a new line of EBU Grade2 HD waveform studio LCD monitors, the 17.3-inch, 21.5inch and 23.8-inch. 12.C61 Under the hood: Swit’s new 5.5-inch S-1053F HD waveform monitor

C-Cast shoots for expanded audience goal EVS By Mark Hallinger

New distribution models aim to enhance the live experience

Visitors to the EVS stand are being introduced to C-Cast Syndication, which allows broadcasters and media rights holders to expand their audiences and their revenue. This is achieved through the distribution of near-live multi-

angles and highlight VoD to affiliated partners like regional and unilateral broadcasters as well as sports teams, leagues and federations. EVS said these innovative distribution models enhance the live experience, engage audiences and generate new revenue streams across multiple platforms. 8.B90

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

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Do data centres need dedicated hardware? Marwan Al-Habbal, product manager, Matrox, discusses why a combination of both software and hardware is the right approach for building broadcast solutions The broadcast industry’s computation needs are dramatically increasing with demands for even more customised content, higher resolutions (4K) and wider repurposing of the original content to fit various devices. With the advent of IT infrastructures, software-centric solutions have proliferated within broadcast environments. A software-based broadcast solution entails an application running on hardware in a preconfigured PC platform. This platform has traditionally been a physical machine with the paradigm now shifting towards a virtual machine in a broadcast data centre. In a homogeneous data centre, the same pool

of computation devices are dynamically allocated, expanded or contracted as needed. In this context, software can be envisioned as completely hardware agnostic with CPUs being the only form of hardware computation; this has created a misleading perception of a software versus hardware dichotomy. The reality is, software and hardware are intertwined when seeking high system efficiency. Although CPUs are indispensable, general-purpose computation devices, they are an expensive choice when used for predictable recurring computational needs. For example, a PC-based IP playout solution providing high

bitrate contribution feeds has a core function of reading and decoding files from a mixed playlist and a secondary function of encoding and delivering them. Current playout deployments have shown a fourfold increase in the number of systems required when CPUs are used for both file decoding and for H.264 delivery. At scale, the quadrupling of power, rackspace and cost becomes a major concern. For this particular application, CPUs are better suited for decoding the many different possible file formats, while offloading the predictable encoding task to an accelerator card. The most favourable approach would be

a scalable solution that provides the flexibility of software coupled with the performance of a purposedesigned hardware. IBC comes at a great time for us to showcase how increasing H.264 computational demands can be accelerated with the new Matrox M264 S2 and M264 S3 cards. The M264 S2 and M264 S3 cards are ¾ length PCI Express cards providing unprecedented high-density H.264 encoding/ decoding to accelerate workflows throughout the entire broadcast infrastructure: for contribution, acquisition, playout and distribution. The M264 family of cards provide generic H.264 computational horsepower that can be harnessed at 4Kp60 all the way down to custom web and mobile resolutions; from high bitrate 4:2:2 10-bit contribution streams to low bitrate 4:2:0 8-bit delivery streams. The M264 family also

supports the H.264-based Sony XAVC and Panasonic AVC-Ultra mezzanine codecs, providing the only means of building multichannel 4Kp60 Sony XAVC class 300/480 production servers. The M264 S3 card is cloud friendly and its resources can be shared across virtual machines. While the broadcast industry moves towards data centres and IP, dedicated, purposebuilt hardware accelerators, like the Matrox M264 family of cards, can provide a flexible environment promoting highlyefficient workflows. 7.B29

Interface bonding ViA codec

Four stars in the sky

By Mark Hallinger

By Ian McMurray

The new ViA codec is being unveiled for the first time. Leveraging Tieline’s approach to mobile reporting using the Report-IT Enterprise smartphone app, ViA delivers a simple and intuitive codec user interface, said the company. Connection is via dual Ethernet ports or two USB modems, or an on-board WiFi module. A user can insert an optional POTS or ISDN module, and the codec is instantly transformed to connect over alternative network transports. With Tieline’s proprietary Fuse-IP data aggregation technology, a user can bond any three IP interfaces. As an example, two USB modems can be bonded with a WiFi connection, or two Ethernet connections with a WiFi connection or USB modem.

IBC is proving to be an ideal opportunity for this Russian satellite operator to tell the industry about its capabilities. Gazprom operates the Yamal Satellite Communication System, providing users with satellite capacity worldwide and satellite services within Russia, including point-topoint links, TV distribution, VSAT networks, broadband and mobile backhaul. The system currently consists of four satellites (Yamal-202, Yamal-300K, Yamal-401, Yamal-402), a telecommunication centre and VSAT networks. Total satellite constellation capacity amounts to 248 36MHz-equivalent transponders. Around a third of GSS satellite capacity is concentrated

Tieline

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ViA delivers a simple and intuitive codec user interface

Fuse-IP technology automatically manages the data capability of each link. Tieline’s SmartStream Plus dual redundant streaming software for redundant IP streaming over the public internet is also included as standard.

The company said ViA seamlessly integrates with Tieline’s Merlin and Merlin Plus audio codecs to transmit high fidelity, full duplex stereo program audio with a separate bidirectional IFB circuit. 8.E74

JSC Gazprom Space Systems

in beams pointed over territories outside Russia. Yamal-202 (49E), with its semi-global C-band coverage (Europe, Middle East, Northern Africa, South and South East Asia) is focused mainly on the international market. Yamal401 (90E) is designed to serve the Russian market and CIS countries. The satellite covers even the most isolated regions in Russia, providing C and Ku-band capacity. Yamal-402 (55E) covers Russia, the CIS countries, Europe, and part of the Middle East and Africa to the south of the Sahara. The satellite’s southern beam brings enhanced capacity to Africa and is said to be ideal for supporting DTH services. Yamal-300K is now located at 183E, and is equipped with a combined payload including 11 C-band and 18 Ku-band 72MHz transponders. 5.B68

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Advanced solutions Gearing up for for modernisation the IP future OUTLINED

Imagine Communications

operations. We are now and technical, that are prompting entering another phase of the some media companies to transformation of the industry delay the modernisation of By Ian McMurray and that is the practical and their operations. growing adoption of next4.A01 Imagine Communications is generation architectures that at IBC to demonstrate what enable media companies to it describes as advanced expand their businesses and solutions that will help maintain their competitive broadcasters, service providers edge without sacrificing and other media companies quality, reliability or disrupting accelerate the modernisation their current operations and of their production, playout and investment cycles. At IBC2016, distribution facilities. Imagine Communications is Charlie Vogt, CEO, Imagine demonstrating how we are Communications, said: “The delivering to our customers the last few years have been about future of TV, today.” accepting the need to transform An additional IBC2016 and overcoming uncertainties objective for Imagine that IT-oriented, generic Communications is to computer and networking demonstrate how it is working platforms are able to deliver with leading IT companies, the robustness, precision and standards bodies and its Vogt: “We are now entering another phase reliability needed to handle customers to overcome any of the transformation of the industry” IBC_Supporters_2016_half_v2_IBC Supporters Half 2016both 05/08/2016 the most demanding media lingering concerns, cultural 10:41 Page 1

Tektronix Solutions By Heather McLean

To support the transition to live IP production, Tektronix is showcasing Prism to help transitioning media companies who wish to preserve existing investments. Offering insights into hybrid SDI/IP production workflow issues, it fosters collaboration between IT experts and broadcast engineers, said the company. As a software-defined platform, Prism can accommodate a range of applications and will be updated as new technologies and standards emerge. Alongside Prism, the SPG8000A master sync and PTP grandmaster clock generator is being showcased.

Claimed by Tektronix to be the first in the industry, it offers an optional, software-only field upgrade to add IEEE 1588 support for both traditional SDI-based and IP-based media infrastructures. Charlie Dunn, general manager, video product line, Tektronix, said: “Tektronix has the experience, tools and applications to carry our customers into the future as they embrace a range of exciting new and emerging technologies. “We encourage everyone in the industry who is facing these transitions to stop by our stand during IBC to see our latest solutions for managing the transition to IP infrastructures or monitoring and optimising 4K, HDR and ABR content.” 10.D41

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.

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Anylive expansion announced OUTLINED

SIS LIVE By Ian McMurray The further expansion of its Anylive fibre network is being announced at IBC by SIS LIVE. The company said this strengthens its mission to become the connectivity provider for critical media content. SIS LIVE is also announcing details of Anylive+, a new range of services that will extend the capabilities of the Anylive network to include remote production options. David Meynell, managing director, SIS LIVE, said: “The

need for high production values for live events, continues to rise and with them, the costs. That’s why the advent of highquality, low-latency connectivity over IP, like that offered by our Anylive network, is an attractive proposition for those who need the power and flexibility of IP-based production for multiplatform delivery.” Two teleports and 24/7 network operations centres at MediaCityUK and SIS LIVE’s head office in Milton Keynes are backed by extensive, permanently leased satellite capacity to supplement the fibre-based connectivity.

According to SIS LIVE, the network has been successfully trialled for the production of major, national sporting events, which has led to the official launch of the network. “Anylive+ is a major initiative that, as we transition from SNG provider to a connectivity service provider, will further extend our reach as the country’s fastest growing broadcast media fibre supplier and, in turn, greatly enhance the remote production capabilities of our clients,” said Meynell. 1.C55

Meynell: “An attractive proposition for those who need the power and ﬂexibility of IP-based production”

Large format, big performer

Monarch LCS tackles lecture question

Yamaha Commercial Audio

Matrox Video By Carolyn Giardina

By Mark Hallinger Products on show from Yamaha include mixing consoles ranging from the flagship Rivage PM10 through to the compact TF series, which delivers Yamaha digital audio technology in a more cost-effective format. The broadcast functionality of Yamaha’s CL and QL series mixers are being

The Rivage PM10 features onboard processing, built-in effects, and Rupert Neve Designs transformers

demonstrated, as is the Nuage post production system and AES67 support from Yamaha’s Dante devices. The Rivage PM10 just ‘feels like a large-format desk’, according to some customers, said Yamaha.

Yamaha claimed the console featured ‘excellent’ onboard processing, as well as built-in effects and Rupert Neve Designs transformers. Other PM10 features include onboard EQs and two stereo busses. 8.A69

Tiny all-seeing nakedEye VR camera Indiecam By David Fox A ‘miniscule’ professional VRcamera offering high-quality, high-resolution, full 360 degree capture has been launched by Indiecam for the production of cinematic virtual reality

content. The tiny nakedEye camera measures 79mm in diameter, with an overall height of 91mm. It weighs just 380g, and is aimed at immersive PoV-style VR shots from moving vehicles, athletes or remote locations. The two square, high-speed, large-format global shutter

All round performance: Indiecam’s new nakedEye 360 degree virtual reality camera

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sensors have a resolution of 2Kx2K each and are fully synchronised, to cover the entire 360 degree sphere at a resolution of 4K, with full control over all camera settings. The sensors are claimed to offer “superior dynamic range and excellent low-light performance”. The system records CinemaDNG Raw files, and Indiecam provides a streamlined post production workflow for nakedEye, including sophisticated stitching algorithms. 12.G75

A highlight of the Matrox Video stand is its new Matrox Monarch LCS, a compact, two-input lecture capture appliance. Featured this week at IBC, the Monarch LCS accepts video from any SDI or HDMI camera, as well as presentation content from computers over HDMI. The inputs can be encoded independently and in sync for use with multi-stream video players. Alternatively, the inputs can be combined prior to encoding in a variety of production layouts, including picture-in-picture and sideby-side, for use with standard video players. Dan Maloney, technical marketing manager, Matrox, said: “Video is an integral part of the modern classroom,

and easily delivering content from educator to student is a challenge that Monarch LCS solves. “It syncs the three aspects of a high-quality lecture: video of the instructor, audio of the spoken information, and high-resolution, computergenerated content such as slides or media presented in the physical classroom.” Monarch LCS is a standalone network appliance that IT administrators could set up and integrate into video management systems, such as Opencast and Kaltura, and learning management systems such as Moodle. A web interface lets users define profiles for live streamed and recorded lectures, mixing camera and presentation material from SDI and HDMI sources. For streaming purposes, the encoders use either RTMP or RTSP protocols to deliver live streams to local media servers or cloud-based CDNs. In recording applications, the encoders write MP4 or MOV files directly to network-mapped drives. 7.B29

Monarch LCS enables lecture recording and streaming

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Instant interactive multi-view

theibcdaily Eye-catching colour for grading

Minglvision

Postium Korea

By Adrian Pennington Pressing a ‘red button’ to view alternative camera angles can be a painful process, leading to five or ten second delays in the game as the new video buffers. Minglvision is different. The London-based start-up claims to have developed the first truly personalised multi-angle/multigame broadcasting player and infrastructure. Artem Kiselev, CEO & founder, Minglvision, explained: “Our number one goal was to let you switch between camera angles really, really fast, so there is no delay buffering,” The technology has been trialled during several Formula One races, with results that leads Kiselev to claim Minglvision will increase average ratings and advertisement open rates [a measure of engagement] by 40 per cent.

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“Essentially for the first time in TV history, people could actually interact with what they’re watching,” he says. “We created a personalised video notification that basically provides you access to the best moments of the race, but doesn’t sacrifice your overall understanding of what’s going on.” When a significant event happens on a camera a viewer is not watching, Minglvision will pop-up a notification showing the real-time video of a goal being scored, or Formula One car overtaking. Not confined to sport, the application is for any type of content including live music. “[The two step integration] is extremely simple,” Kiselev explained. “A broadcaster or production company relays camera angles to Minglvision’s

OUTLINED

By Mark Hallinger

No more ‘red button’ delays with Minglvision

video ingest points. Then the broadcaster inserts unique short codes, provided by Minglvision, into their OTT applications/ website. The player with customised interface will appear once the broadcast starts.” A set-top box version of the app is due this autumn and Kiselev is also exploring what Minglvision could do for broadcasters by feeding back the data of what cameras people are watching. Ogilvy Labs and Spanish telco Telefónica assisted in the technology development. 8.F29

The manufacturer of broadcast monitors, rack monitors and LED lights is showcasing the BXM-243T3G, a professional 24-inch LCD monitor for colour grading. Postium said the monitor employs a high-purity RGB LED backlight LCD panel to reproduce highly accurate colours. The colour depth of the panel is 10 bit, which can reproduce 1.07 billion colours.

A 12-bit video processor is incorporated to greatly increase gradation levels, resulting in much smoother and more natural images, said Postium. The integrated 3D LUT allows for previewing how colours will be reproduced on the final film print. Users can select from colour gamuts such as NTSC, EBU, BT.709, SMPTEC, or D-Cinema. The BXM-243T3G allows a user to change the Gamma value from 1.0 to 3.0. The BXM-243T3G features Waveform, Vector Scope, UMD/IMD, 16-channel Audio Level Meter, Fast Mode, Advanced PiP, and many other functions. 8.B30

A 12-bit video processor greatly increases gradation levels on the BXM-243T3G

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OUTLINED

Anyware Video

By Mark Hallinger OneGenie, a product that effectively combines IP and SDI workflows for ingest or playout, is being introduced at IBC. Anywhere Video said OneGenie 4K provides an allin-one interface that combines automation, a 4K playout server and 4K branding in a channel-in-a-box system. This was recently chosen by several French operators because of its interoperability, reliability, dynamic on-air branding and premium playout functionalities, said the company.

OneGenie offers a new way of integrating 4K-ready content into a pre-existing workflow, while using Anyware Video’s familiar user interface to ease the transition, said the company. All Anyware Video products, such as the media logger or ingest products, are operable, configurable and supervisable through web clients. This architecture allows broadcasters, whether local or national premium channels, to optimise their operations by using the full potential of IP technology to deploy and control their technical infrastructure. 8.B36

Take five for afterbroadcast logger

SML 5 oﬀers HTML5 video playback and HLS capture

Stirlitz Media By Mark Hallinger The new Stirlitz Media Logger (SML) 5 is now available as a free upgrade to clients with an active maintenance contract with the company. The company claimed it to be the fastest after-broadcast logging software with HTML5 video playback and HLS capture. SML records up to 50 TV or radio stations together with subtitles and metadata on a single generic server. SML is a native IP, software-only logger, with the fifth generation ready for plugin-free browsers and internet TV. It supports HTML5 video playback in

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desktop SML webPlayer using MSE, compatible with the latest browsers, and with no additional plug-ins needed. It also supports HTML5 video playback in mobile SML webPlayer using HLS, compatible with the latest iOS and Android devices. Another new feature is HLS capture, allowing direct capture of HTTP live streaming video streams, while multi-quality proxy allows the recording of the same feed automatically in multiple qualities. Performance and compatibility improvements, including Windows 10 compatibility, are also included. 7.H32

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Increasing file-based broadcast QA Vidcheck By Mark Hallinger On show at IBC is the latest Vidchecker V.7 software, designed for checking and repairing file-based video, audio and related metadata before and after distribution. The new version offers automatic correction of luminance flashes known to cause problems for people prone to photosensitive epilepsy. Other features include automated error correction, automatic video segment detection, advanced validation of IMF metadata and essence, multilingual alerts, transparent attenuation of audio peaks and transcoding to a pre-defined in-house file format

Status check: IMF information displayed on the Vidcheck Task Monitor GUI

regardless of input format. Vidchecker is also used by broadcasters to ensure that the metadata, video and audio parameters and levels of media files received from post production companies and content owners are correct for general transmission. The utility provides a serverbased alternative to checking

conformance by eye and hand. It can automatically and intelligently correct video and audio levels, including peak audio attenuation, and perform automatic video segment detection. Sub-SD, SD, HD, UHD, 4K, 8K and mixed workflows are supported. 8.A30

DTT retransmission made simple Enensys By Will Strauss A new product said to be able to inexpensively retransmit DTT networks at regional or local transmitter sites where IP or satellite connectivity isn’t possible, has been unveiled at IBC. The DTTCaster from Enensys receives network content using a simple antenna then re-generates it on another frequency. The content remains consistent following the transfer and is SFN-compliant. Units are housed in an Enensys HDc chassis with a maximum of six units in each 1U enabling the reception of 24 RF signals.

DTTCaster units are housed in the Enensys HDc chassis

The DTTCaster can handle DVB-T and DVB-T2 and ISDB-T and ISDB-Tb via DTT sites or cable headends. Also at IBC, Enensys is displaying AdsEdge, an application that allows regional and targeted content to be inserted into DTT and cable networks. It supports the ‘splicing’ of file-based content, such as advertising spots, local news and regional weather forecasts, at the final stage of signal distribution. AdsEdge is single frequency network-compatible for DTT, and

combines the Ads Server and Splicer in a single unit. Other products on show include IPGuardV2, a transparent IP switch that provides network and equipment redundancy. This is being shown at IBC for the first time. Enensys is also highlighting its rEWS (Regional Early Warning System) and OneBeam. The latter provides the ability to use a standard satellite DTH network to also distribute services to DVB-T/T2 or ISDB-T transmitter sites. 2.B30

Making audio sound better Cedar Audio

By Mark Hallinger The Cedar Studio suite of plugins offers eight audio restoration and noise suppression processes which together can greatly reduce or even eliminate the common audio problems found in film and TV post.

Also being showcased in Hall 8 is the latest version of the company’s flagship Cedar Cambridge workstation, which it said was proving popular in demanding audio restoration environments at national sound archives, film archives and libraries remastering material for commercial re-release. 8.D98

Archive audio: The Cedar workstation is used for remastering and restoring audio

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Four streams of 4K Supercharged computing on a card take flight at IBC OUTLINED

Nvidia

AV Stumpfl By Mark Hallinger An 8K version of the company’s Wings Engine Raw super media server is being shown at IBC. Wings Engine Raw is designed for media-based installations requiring high-resolution content, such as live events and production. The upgraded ultra-high-performance server now delivers four streams of full 4K uncompressed content at 60Hz, plus media overlays, text generation and show control on top.

A single Wings Engine Raw server can manage content over multiple LED screens, or drive a 4x4K projection system with soft edge blending, mapping and geometry correction. Alternatively, Wings Engine Raw can be used to blend or overlay multiple parallel HD, 4K, 5K or up to 6K streams in real time. Show start and control is frame accurate and without any delay, claimed the company. Wings Engine Raw now includes additional hardware upgrades such as four DisplayPort 1.2 video interfaces, professional multi-channel audio options and various input options such as DVI, HDMI 2.0 and 3G-SDI. 8.C58 Wings Engine Raw is designed for media-based installations requiring highresolution content

By Adrian Pennington To meet the unprecedented computational demands placed on modern data centres, the Tesla P100 GPU accelerator delivers ‘massive leaps in performance and value’ compared with CPU-based systems, according to Nvidia. The developer is making use of its Pascal GPU architecture to enable the creation of ‘super nodes’ that provide the throughput of more than 32 commodity CPU-based nodes and deliver up to 70 per cent lower capital and operational costs. Ian Buck, VP of accelerated computing, Nvidia, said: “Accelerated computing is the only path forward to keep up with the insatiable demand for highperformance computing and

AI supercomputing. Deploying CPU-only systems to meet this demand would require large numbers of commodity computer nodes, leading to substantially increased costs without proportional performance gains.” He added: “Dramatically scaling performance with fewer, more powerful Tesla P100-powered nodes puts more dollars into computing instead of vast infrastructure overhead.” Later this year, Tesla P100 accelerators for PCIe

will power an upgraded version of Europe’s fastest supercomputer, the Piz Daint system at the Swiss National Supercomputing Centre in Lugano, Switzerland. The Tesla P100 for PCIe is available in a standard PCIe form factor and is compatible with today’s GPU-accelerated servers. It is expected to be available beginning in Q4 from reseller partners and server manufacturers, including Cray, Dell, Hewlett Packard Enterprise, IBM and SGI. 15.MS3

Nvidia aims to scale performance with the Tesla P100 GPU

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Updates for DMNG app OUTLINED

Aviwest By Will Strauss A new version of the DMNG app and a contribution and distribution video encoder that supports HEVC compression are among the product highlights on Aviwest’s IBC stand. The DMNG app, for iOS and Android, allows video to be transmitted from the front or rear camera of a smartphone. It now includes an improved interface and the addition of advanced camera settings such as focus, exposure and white balance. Dynamic resolution and video quality improvements are also included.

It is also available as a Software Development Kit (SDK) allowing broadcasters to develop their own bespoke application based on Aviwest technology. Also on show at IBC is a new version of the company’s DMNG Manager that includes video grid and statistics view. The grid feature allows users to allocate system resources using a drag and drop action while the statistics feature supplies information on SIM card consumption and bandwidth. DMNG Manager can be used to monitor and manage a fleet of DMNG equipment. The contribution and distribution video encoder is the HE4000.

This device supports HEVC compression for the distribution of SD, HD, and 4K content over unmanaged networks including the public internet. It uses an HEVC/H.265 video encoder that allows broadcasters to deliver the same visu-al quality as H.264/AVC but with 50 per cent of the bitrate, in up to 4K. The HE4000 also makes use of Aviwest’s SafeStream, a technology that incorporates IP bonding stack and contribution network protocols, such as the H-ARQ (Hybrid Automatic Repeat Request) mechanism, to ensure safe delivery of live video. 2.A29

DMNG Manager: grid feature allows for easy system resource allocation

Streamlining scalable streaming Streamroot By Anne Morris At IBC2016, Streamroot is presenting recent deployments of its multi-device, peer-assisted streaming solution with broadcasters across the globe. The company noted that streaming platforms are constantly seeking solutions to better scale to their audiences.

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The nature of their traffic is inherently volatile, with spikes that are increasingly large and difficult to predict. Broadcasters must often adapt quickly by supplying bandwidth in various parts of the world. Not surprisingly, outages are common as platforms struggle to cope with unprecedented demand. Providing for additional capacity at peak viewing times is both expensive and risky, as it is increasingly difficult

to estimate the number of viewers and provision accordingly. Streamroot thus aims to help resolve these issues with decentralised peerassisted delivery. With a mixed CDN/P2P solution, Streamroot connects the different peers watching the same stream in order to reduce broadcasters’ bandwidth by up to 90 per cent. 14.D02

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Colour temperature tuneable Vari-White Fresnels

DeSisti’s new Super LED F6 VW and F10 VW Vari-White Fresnels

De Sisti By David Fox The new Super LED Vari-White range of LED Fresnels from De Sisti allows users to modulate the colour temperature range from 2800K to 6600K, with equal output throughout the colour temperature range. There are two models: the 120W Super Led F6 VW has a 150mm (6-inch) diameter Fresnel lens, while the 200W Super Led F10 VW has a 250mm (10-inch) lens. Both have a TLCI rating of 96 and can be DMX controlled.

They offer smooth, silent dimming from 0 to 100 per cent, with little to no colour shift, and are flicker free. There is also a Step Mode for Correlated Colour Temperature control in increments of 400K for every ten per cent of DMX variation, as well as a Continuous Mode for CCT control. They use active cooling, but the hydrodynamic bearing fan is claimed to operate si-lently at a very low RPM. They are available with either positive lock manual yokes or poleoperated yokes. 12.B45

Click Effects for live stadium presentations ChyronHego By Carolyn Giardina At the ChyronHego exhibit, the spotlight is on workflows for news and sports production, channel branding and tickers, as well as weather production. That includes the Click Effects product family for live AV entertainment production, which ChyronHego added to its portfolio following the acquisition of developer Sound & Video Creations. Click Effects products are developed for live sports and broadcast presentation environments, with capabilities ranging from video playback and replay to data delivery, graphics

generation, and audio content delivery. The company said it is showing how broadcast workflows can be created when Click Effects products are combined with ChyronHego’s additional tools. Also on display, for live sports broadcasting, is a 4K production workflow based on ChyronHego’s Paint telestration and analysis system, Virtual Placement products, and broadcast graphics tool LyricX. In addition, ChyronHego is introducing Live Arena for sports arena productions at IBC. Running on standard hardware, this all-software system integrates Live Compositor, Lyric and Hybrid. 7.D11

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New motor way for follow focus Kinorg

the high-torque, direct drive motors: basic and slim. The slim motors weigh 255g and are used primarily with the three motor handle when there

By David Fox

Polish cine-machinery design company Kinorg has introduced the latest versions of its wireless follow focus: D25Ws, a single motor system; and D25Wm, which can work with up to three motors. The device handle and motors are manufactured in a solid aluminium body, making it stronger and longer lasting, while the improved ergonomic design of the handle should make it more convenient to use. There are A basic motor and (top) control handle being used on a project two versions of

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is a need to have more space on the rods, while the 360g basic motor is used for tight lenses when the focus puller needs high rotation speeds. All the motors have a built-in wireless transmitter and power stabiliser, so there are no external units. The basic motors are powerful enough to operate with all the lenses currently available in film and video production. They have long-lasting batteries (the 2600mA built-in battery provides up to 30 hours non-stop usage, while an additional 1200mA fast-switch external magnet-mounted battery supplies a further 12 hours). They support 6-38 volt supplies, offer one-touch motor setup and calibration, and have a two-clicks motor-find connection mode. 12.A75

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Multiscreen advertising solution launched Nokia

OUTLINED

By Adrian Pennington The Velocix Multiscreen Advertising Solution, launched at IBC, is designed to help operators tap additional revenue as they shift content to the cloud. Nokiaâ&#x20AC;&#x2122;s solution, which supports ad insertion and replacement for linear TV, time-shifted TV and video on demand, is available today. Nokia is conducting trials with several operators in the United States. Paul Larbey, head of IP video business, Nokia, said, â&#x20AC;&#x153;Nokia is committed to help our customers optimise their infrastructure for the delivery of added-value, personalised services. The Velocix Multiscreen Advertising solution is the first truly scalable ad insertion solution in the market and supports a sound strategy to deliver profitable cloud TV services.â&#x20AC;?

The solution builds on Nokiaâ&#x20AC;&#x2122;s Velocix Personalisation Platform, which collects individual viewing information context and presents it to an ad decision server to ensure the value of every ad placement. Advanced session-based tracking captures every viewing experience, determines whether an ad reaches its intended target viewer, and delivers that data to operators to demonstrate value for ad buyers. When deployed with the optional Velocix Media Delivery Platform, Nokiaâ&#x20AC;&#x2122;s distributed content delivery network, the solution allows manipulation of the content and caching of ads closer to subscribers. â&#x20AC;&#x153;This leads to a superior end-user experience, simpler operations and more efficient use of network resources,â&#x20AC;? claimed Larbey. 15.MS25

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Streaming Engine upgraded OUTLINED

Wowza Media Systems By Ian McMurray Significant upgrades to the Wowza Streaming Engine software are being showcased. Wowza Streaming Engine is a customisable media server that delivers live video streaming and video on demand to any device.

With the latest release, Wowza said that companies can publish video directly to Facebook Live from within the software. Additional improvements are said to give organisations more reach for their content, and to simplify the creation, delivery and ongoing management of broadcast-quality video. David Stubenvoll, CEO and

co-founder, Wowza Media Systems, said: “Some of the biggest brands in the world choose Wowza solutions for their streaming needs. Our software has become the de facto standard for highquality video streaming that is flexible, reliable, scalable and affordable. Video sits at the epicentre of some of the decade’s hottest trends,

from 360 degree video and virtual reality to live streaming and second-screen viewing. Our customers know that video infrastructure can make or break a company’s ability to capitalise on these trends, which is why they rely on Wowza to continuously shape the streaming landscape.” 5.C42

Stubenvoll: “The de facto standard for high-quality video streaming”

Radeon Pro SSG highlighted AMD

By Carolyn Giardina Radeon Pro technology for large dataset applications is being introduced, and showcased by AMD at IBC. It will be available initially as a developer kit, with a wide release planned for 2017. Starting at a full terabyte of Radeon Solid State Graphics (SSG), it’s aimed at demanding use case scenarios including real-time post production of 8K

video, high-resolution rendering, virtual reality content creation and computational engineering. Raja Koduri, senior vice president and chief architect, Radeon Technologies Group, AMD, said: “One of the most challenging constraints faced by GPU computing applications is the inability to access terabytes of data. Radeon Pro SSG is poised to not only speed-up processing for many applications with very large datasets, but also to enable new application experiences

by utilising data persistence of non-volatile memory.” According to AMD, with this new GPU technology a one terabyte extended frame buffer is dedicated to support the GPU. This enables large datasets to be loaded locally, connected over a dedicated PCIe bus. When the GPU requests content, it looks first in the local frame buffer and only needs to involve the CPU if the data is not already in the extended frame buffer. 7.H35

New QC in the cloud Venera Technologies By Carolyn Giardina Quasar, a new native cloudbased QC offering from Venera Technologies, is

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being featured at IBC. Based on the company’s flagship Pulsar file-based QC system, Quasar can be used as a service without investing into the infrastructure. It’s scalable and can be integrated with REST API.

The company recommends Quasar ideally for VoD content that is delivered in Adaptive bitrate formats such as MPEG-DASH, HLS or Smooth Streaming, or as MPEG-4/ MPEG-TS files. It’s available as

Radeon Pro SSG, set to “enable new application experiences”

SaaS on AWS or can be installed within private clouds with monthly plans. Venera is also highlighting updates to Pulsar in areas including DCP/IMP verification, DCP encryption, report editing, language support, baseband checks and loudness correction. According to Venera, users can now review the Pulsar

analysis results with the integrated GrayMeta IRIS player; and Pulsar’s performance has been enhanced so that an HD file can now be processed up to 6x real-time speeds. The company is also on hand to discuss its Pulsar Pay-Per-Use (PPU), which makes Pulsar available to facilities as they are needed. 7.G43

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Highlight for sports automation OUTLINED

revenues beyond traditional sponsorship.” Gal Oz, company CTO, added: “Until now, auto-

tracking just followed the flow of play, but the new Lemur version deploys deep-learning networks to understand

different game situations. This is what enables the system to combine feeds from multiple cameras, insert graphics and

create game summaries, as if a director had produced the video.” 15.MS44

IBC Content Everywhere Europe RAI, Amsterdam 8 – 13 September 2016

Lemur, described as ‘a quantum leap towards fully automated sports production’

Pixellot By Adrian Pennington Automatic highlight generation is one of the key features in the new generation of automated sports production tool Lemur. Using algorithms, the system identifies game highlights, such as baskets scored, in real time and then, seconds after half time starts or the game ends, compiles these game sequences, together with replays from different angles, into highlight reels. Highlight reels can be made available through web portals or mobile applications, with share options for fans. Pixellot’s video analytics layer is also at the base of the Lemur Auto-Director. When breaks or idle time are identified, this displays pre-defined banner ads. The Auto-Director also includes feeds from various angles for a multi-cam experience. Alon Werber, CEO, Pixellot, said: “The new Lemur is a quantum leap towards fully automated sports production that provides a rich, TVlike viewing experience. The highlight generator is particularly interesting to summarise amateur games with their sometimes slower pace, while the ability to display banner ads enables clubs to generate

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First view of Halo UI OUTLINED

Massive Interactive

Downey: “Changing the approach to video app UI deployment”

By Anne Morris A new video user interface server solution from Massive Interactive is making its public debut at IBC2016 in Hall 14. Massive Halo is designed for Massive partners to bring managed, multiscreen video UI to market for their mid-tier video operator clients, including video app editing, delivery and lifecycle management. Based on the Massive AXIS platform that powers services for national and international operators including Channel 5, Sony Pictures Television and Bell Media, Massive Halo is designed for mid-sized and niche content owners and operators. Ron Downey, CEO and cofounder of Massive Interactive, claimed that the company is “fundamentally changing the approach to video app UI

AoE interfaces ready for Dante Focusrite Audio Engineering By Mark Hallinger

deployment and defining our industry’s future.” Massive Halo includes features such as real-time control over presentation, content merchandising and scheduling as a productised solution, avoiding complex and expensive development cycles previously out of reach of mid-market video service providers. The company’s technology is designed to solve the issue faced by video service providers of having to maintain multiple

CMS, code bases and parallel development programs to support video apps across mobile devices, the internet, settop-boxes, consoles, smart TVs and other emerging devices. Massive Halo also allows technology partners to deliver advanced application lifecycle management features to their customers and is integrated with partner technology environments to create ‘prebaked’ end-to-end offerings. 14.B20

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A complete range of Ethernet-networked audio interfaces that harness the power of Audinate’s Dante is being showcased. Products include the RedNet A8R and A16R which provide Dante-networked A-D and D-A conversion, with network and PSU redundancy. There’s also a RedNet PCI

Express card with network redundancy, enabling ultra-low latency audio and full track count for Dante audio-over-IP networks. The RedNet AM2 stereo Dante headphone amplifier and line output interface solution with PoE is also on show, while the range is completed by the Red 4Pre: 58 in/64 out Thunderbolt 2 and Pro Tools HD compatible audio interface, with Dante network audio connectivity. 8.A42

Focusrite is oﬀering several products that rely on Audinate’s Dante networking

Seamless satellite coverage in sight ND Satcom By Ian McMurray On show from ND Satcom is News-On-The-Move. According to the company, it is ideal for situations in which time-to-air requirements mean transmitting a first report on-the-go, such as live coverage of a cycle race. ND Satcom said that leading satellite operators have confirmed that the use of an adopted (non-proprietary)

satellite antenna with the SKYWAN terminal suspends transmission when the line of sight to the satellite is interrupted by buildings or trees, and that transmission continues immediately when the sight line is clear again. ND SatCom claimed it offers a more seamless transmission solution. The special COTM (Communications on the Move) feature of the SKYWAN system maintains connectivity even

when passing groups of trees or buildings, thus providing a higher availability than other solutions, the company claims. The built-in Doppler-Shift feature compensates for accelerations and curves and is tested up to 2,000km/h. A remote site can be a compact backpack terminal, a standard vehicle with a mobile News-On-The-Move system with roof-mountable antenna requiring no modifications to

the vehicle, or a special vehicle with an integrated antenna. Customers can select any

integrated camera, encoding and recording equipment. 5.A60

A standard vehicle with a roof-mountable antenna can become a remote site

Find Vortex just inside Hall 12

12.G11 E: info@vtx.co.uk T: +44(0)20 8579 2743

Pre-Programmed Layouts Digital Clocks, Analogue Clocks Multi-Zone Clocks & Timers

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Building a Trigger Happy community on All4 OUTLINED

By Ann-Marie Corvin Speaking about the return of his hit noughties hidden camera show Trigger Happy TV, Dom Joly said that he hopes the new short-form version of the Channel 4 show will pave the way for a community of like-minded pranksters to post content. “Trigger is my calling card but we hope to use it to bring some other content under the brand. We want to be able to curate

content as well as produce it on the All4 platform,” said Joly at Friday’s ‘Portability and Discovery’ session. Joly’s six-minute show, which is being produced through Spirit Media, was commissioned by All4’s Charlie Palmer and will launch later this month. “What I really like about online is that you can build a presence and if people like it then you are able to do much more leftfield stuff which can sit beside the main thing,” Joly added.

“That’s what I’m interested in doing, building up a community.” The comedian admitted that if Trigger, originally a 23-minute sketch series which ran on Channel 4 in the early 2000s, had been produced any later than this, then he would probably have eschewed TV altogether and gone straight to YouTube. “This time, we’ve had a bit more control and bit more time to get it working on All4. It’s a different way of showing stuff,” he said.

Technicolor showcases live HDR and drives for open solutions Technicolor By David Wood Technicolor is showcasing its Live HDR workflow in Hall 15 and is predicting that live HDR up conversion will be big business in sports broadcasting. At IBC, Technicolor is showing its end-to-end SDR to HDR workflow, taking live sports content from Time Warner Cable and the Rio Olympics throughout the broadcast chain using its Intelligent Tone Management up conversion tool. TVs equipped with Advanced HDR by Technicolor can view the up converted SDR signal in HDR. Earlier this year, Technicolor announced an agreement with Philips to merge their ongoing delivery roadmaps

for HDR, including content creation tools, encoding and decoding software and implementation support. Senior IP counsel, Philips Intellectual Property and Standards, Frederic Guillanneuf, told The IBC Daily: “Up conversion will be important because there is a lot of demand from sports broadcasters for HDR content but most sport is shot with cameras that acquire SDR material.” Technicolor and Philips also confirmed that their partnership would continue to offer open HDR solutions to the market. The risk with a market offering different forms of HDR is that confusion could grow among consumers about what HDR actually means. Technicolor CTO Cristina Gomila said: “It’s true that

there remains a grey zone between SDR and HDR – we have to make sure that the consumer can really see the difference with HDR.” Technicolor and Philips are members of the UHD Alliance which continues to define minimum standards for HDR and UHD quality covering resolution, colour depth, colour gamut, HDR and minimum brightness and contrast. The two companies aim to lessen the confusion in the industry over different competing HDR standards. Technicolor CTO Cristina Gomila said: “We will continue to offer open solutions to the market that will be curve agnostic and able to deliver any HDR content.” Gomila said that advanced discussions on the future of HDR would continue this year. 15.MS7

Alto twinned with Paragon TMD

By Will Strauss Disk Archive’s Alto has been added to the storage options for the Paragon archive application. Alto is a replication-based, high-density cold storage platform for large volumes of archive storage that has a MAID-III architecture, making it a non-linear alternative to LTFS tape systems. TMD’s Paragon

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manages the online, offline and vault storage replicas in the same way as barcoded tapes. That results in a scalable and flexible archive platform that can expand on demand, based on locally sourced commodity disks, from a few terabytes to hundreds of petabytes. At the same time, the Alto replication technique allows disks that are not actively reading or writing to be taken offline, reducing power consumption.

Tony Taylor, chairman of TMD, said: “Alto storage is very attractive for the sort of applications we see for Paragon, which routinely need fast access to clips. Alto gives the speed boost of random disk access, while being easy to deploy and easy to maintain. It is a great addition to our offering.” Paragon also works with LTO tapes, including LTO-7 and cloud storage. 2.B59

Dom Joly and fellow speaker Matt Campion of Spirit Media

HS2 rides remote phosphor Wave Cineo Lighting/LCA By David Fox The new HS2 Wave remote phosphor light is the latest in Cineo’s HS range, offering “an integrated lamp head and power supply that are preconfigured for simple, one-piece operation”, explained Rich Pierceall, Cineo’s CEO. “The power supply can also be removed and be up to 300 feet [100m] away,” added sales executive, Drew Yuhas. The HS2 Wave also includes integrated antennas for LumenRadio, giving wireless DMX support and RDM programming (which can be done from Cineo’s Lumenair 3 iOS app), in addition to traditional 5-pin XLR control. A 5v USB port has been added to power thirdparty wireless receivers, as well as for firmware updates.

Cineo’s Drew Yuhas shows oﬀ the new HS2 Wave

Other features include an enhanced digital display, rotary control local dimming, three-channel DMX fine dimming, one-channel DMX smooth dimming and DMX strobe capabilities. Users can individually change the colour and luminance of both of the panels via DMX while in threechannel operation. 12.D39

Two become one Tivo By Anne Morris Coinciding with IBC, Rovi completed its planned acquisition of Tivo and immediately adopted the well-known Tivo brand for the Nasdaq-listed group with annual revenue of around $800 million. According to Charles Dawes, senior director for international marketing at the ‘new’ Tivo, the acquisition was first announced in April with the goal of bringing together two market leaders in their respective fields. Tivo is well known as a pioneer

in the area of DVR capabilities, while Rovi specialised in guides, personalisation, advertising, analytics and cloud services. The combined company has started the process of integrating technological and product capabilities, although Dawes pointed out that an integrated product is already being demonstrated at IBC: a new Tivo user experience (UX) featuring an upgraded interface, prediction technology that bases recommendations on viewing habits, personalisation features, customisable shortcuts and more. 14.G01

10/09/2016 14:21

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The unstoppable rise of online content By Catherine Wright The launch of SkyQ in the UK earlier this year brought online video to the pay-TV operator’s linear TV subscribers for the first time. “Our target audience is late millennials, in the 25- to 35-yearold age bracket,” said Julia Barry, editorial director of On Demand for Sky in the UK, speaking at Friday’s session on rich content creation. What criteria does Sky use to select which online video it will show to its viewers? “We look at what’s doing the numbers

on the web, obviously, but we also look for quality content and new creators like Red Bull”, she described. Sky is also talking to companies like The Qyou, which packages online content. “We focus on original creators who don’t necessarily get the internet traffic or know how to get that traffic,” indicated Scott Ehrlich, its CEO in the US. The question still remains how to make money in the online world. “You can if you think multiple revenue streams and

more laterally, like getting a brand to sponsor your show,” said Sam Barcroft, founder and CEO of UK production outfit Barcroft TV. Ronald Horstmann, founder and MD of Studio 71 in Germany, which aggregates a network of online video creators, knows how different the rules are when you create video online. “The attention span online is much shorter than on TV, it is only about eight seconds, so you have to be very fast and to the point. We use jump cuts all the time and no 30-second intros.”

Redwood makes the news Aveco

By Will Strauss The new Redwood Play master control branding and playout device is the big draw on the Aveco stand at IBC. Designed for small news organisations or large news broadcasters with regional operations, it is available in different models with either six or eight DVEs and two or four SDI inputs. All models have four HD video playback channels, four stereo audio players, four stereo mic/line inputs,

an audio mixer, graphics with 32 layers of compositing and a character generator that is able to receive external data feeds for crawls and tickers. It also has a multiviewer, MAM, traffic interface and workflow management. Redwood Play forms part of an Aveco platform that includes production and playout automation for discreet devices, as well as a studio-in-a-box. At IBC Aveco is also promoting Take 2, an automation application for multi-camera studio recording that generates the equivalent of an assembly

edit in order to reduce time in post production. Designed for news and sports magazine shows, among other things, Take 2 controls all production resources including switchers, virtual sets and graphics, video and audio servers, robotic cameras, audio mixers, monitor walls, and lighting systems. During production, if a ‘cut’ is called, a user can choose a resumption point on the Take 2 timeline and start recording again with all systems re-aligned and synchronised. 3.B67

TV brands and their future plans By Catherine Wright “We believe many mobile operators are on the cusp of becoming fully-fledged TV platforms. In response, we are investing heavily in must-have long- and shortform content and making our content and brands available everywhere. We are looking at new opportunities with mobile operators and making our apps directly available to consumers”, said James Currell, COO of Viacom for the UK, Northern and Eastern Europe, during a panel on the importance of brands for the consumer experience on Friday.

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The company has recently signed a deal with Singtel in the Asia-Pacific region making its Play Plex apps available to Singtel’s OTT subscriber and is looking to sign up similar deals in the Asia-Pacific region as well as in Europe, including in the UK, Italy and the Netherlands. “Mobile can be the new growth path for TV generally,” he added. Virgin Media has built its reputation in providing broadband connectivity to its users but the company is looking to invest more in TV entertainment, revealed Kerris Bright, CMO for Virgin Media in the UK. “This is the beginning

of a revitalisation for us in TV and entertainment,” she said. The company will be launching a new set-top later this year, so watch this space. Spotify’s VP of global business development in the US Jorge Espinel said the company was focusing on data. “Data analytics is critical because music can be interpreted in so many ways: it’s much more than pop or rock, it’s music you might like to listen to when you take a shower, for instance, or while having dinner… Don’t forget that we have a catalogue of 30 million songs that need to be served.”

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OUTLINED

Julia Barry (centre) and the ‘Creating Rich Content with Multiple Platforms in Mind’ panel

Old programmes get new life at ITV Vintage Cloud By Mark Hallinger ITV has rented one of the Vintage Cloud Steenbeck tables, and is now working its way through many shelves of celluloid content, digitising hours of entertainment. The majority of content created during ITV’s 60-year history is stored on rolls of celluloid in old film cans. “Up until now, the restoration procedure has been complicated and costly,” said technical operations manager with ITV, Sonny Hanley. “I could not bear the thought of this material just stacked there on the shelves so I was looking

for a solution that could somehow make these one million-plus assets available for everyone to enjoy.” He found the Danish company Vintage Cloud, which, after four years of constructing, engineering and testing, was just going to market with its new film digitiser. Vintage Cloud calls its Steenbeck the first ‘true’ film archive digitisation system. It renders real-time digital material from both picture and sound, with tender respect for the sometimes very delicate material, in one go. Along with this, it handles colour correction, framing, lighting and audio adjustment. 8.C01

Peter Englesson, CEO, Vintage Cloud; Sonny Hanley, technical operations manager, content operations and delivery, ITV; Niels Bokkenheuser, COO, Vintage Cloud

Going live Verizon Digital Media Services By Anne Morris Verizon Digital Media Services’ live streaming solution is now available to broadcasters, venues and event producers to help them remove the complexity and costs of such services. Mary Kay Evans, chief marketing officer at Verizon Digital Media Services, noted that while the provision of live

streaming services was not new – “we have been doing live events for many years” – what is new is that the services are now provided in a single package, with customers able to choose the elements that they want. Verizon Digital Media Services, owned by US-based telco Verizon and now included under the AOL umbrella, recently made a high-profile acquisition with Yahoo, and has indicated that it plans to combine the internet company with AOL to better compete with Facebook and Google in digital advertising. 14.C17

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European content owners are vital to the BDA By George Jarrett The Blu-Ray Disc Association, a decade old and consisting of about 80 members, is just starting to ramp up the launch of titles on its Ultra HD Blu-ray format. At the end of August, the releases stood at 63. IBC is one of several events the BDA likes to support. “The main reason we are here is to make sure that the European community is aware of how positive that launch has been,” said Victor K Matsuda, chairman of the BDA promotions committee and VP of Sony Corporation of America’s visual entertainment project group. “It is a new experience but it is backwards compatible: the 12,000 titles on DVD are all playable on

the new Ultra HD Blu-ray machines.” Using the analogy of a train, Matsuda said the BDA still needs more people to jump on board. “We have studios that have launched, but only very initial titles. We have to have a robust line-up from all of those guys that are already supporters,” he commented. “We have to get the people that have not quite gotten on board yet. Look at the consumer electronics companies: you will see we got Panasonic first, Samsung second, Philips third and Microsoft fourth, but there are many, many more consumer manufacturers who we hope jump on board. “In Europe, local content owners are so important for the launch of any new

Commitment to IP SAM

By Carolyn Giardina One year after Quantel and Snell came to IBC to announce a rebranding as Snell Advanced Media, SAM is on show demonstrating a commitment to IP technology. “The reality of the IP transition marks a big transformation for the broadcast industry as media companies look to future-proof their network, drive cost efficiencies, scale, adapt

their business models as well as add incremental revenue streams,” said SAM CEO Tim Thorsteinson. “We have seen increased interest in the past year in our IP technology from both existing as well as new customers.” IP-supported SAM technologies at IBC include its newly-announced LiveTouch 4K highlights and replay system, as well as its IP Edge Routing System, including routers, switchers and its dedicated IP-only processing and control

By Ian McMurray A new video caching solution for broadcasters and content aggregators has been announced by Broadpeak. BroadCache Box is designed to enable content providers to deploy local caches into telecom or cable operators’ networks to substantially reduce CDN costs while boosting subscribers’ quality of experience (QoE). “BroadCache Box extends

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our range of CDN solutions for broadcasters and content aggregators, adding a local video cache solution to our existing array of solutions comprising our CDN selector, origin packager, CDN as a service and video delivery analytics,” said Jacques Le Mancq, CEO at Broadpeak. BroadCache Box consists of a system of local caching servers. Each CDN-in-a-box unit deployed in an ISP’s point of presence stores the most popular content from a specific content provider. Since the content is

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XC15: the better connected UHD camera OUTLINED

Canon Europe By David Fox

Victor Matsuda of the BDA: “HDR is a real killer”

format. Getting them on board is the major objective moving forward,” he added. “On the technical side, HDR is proving to be a real killer: it makes a world of difference to the consumer experience.”

products. The IP Edge Routing System supports multiple signal types including SMTE 2022 6 and SMTE 2022 7; VSF TR-03 and 04. Also on stand is the SAM News technology. “Today breaking news can come from any source and needs to hit multiple platforms at the same time, social media sites, websites and broadcast,” said Trevor Francis, director of production systems at SAM. “What SAM is debuting at IBC allows any content to be natively handled in the story creation process.” A new line-up of MultiViewers,

BroadCache Box announced Broadpeak

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Le Mancq: BroadCache Box “extends our range of CDN solutions for broadcasters and content aggregators”

streamed from a location closer to end users, latency and network congestion are said to be reduced. As the most popular content can represent more than 80 per cent of the video traffic, Broadpeak says that caching at the ISP level significantly lowers CDN service costs. 5.B72

When the low-cost Canon XC10 Ultra HD camcorder launched last year, one criticism was that it didn’t have professional audio connections. That has been addressed with the XC15, which includes a new microphone adapter with dual XLR inputs, as well as improved autofocus and a 24p frame rate option. “It has the same EBU image quality, but now we have highquality audio and a waveform monitor. We are targeting the more professional user,” said James Burwood, product manager UK for professional imaging. The compact camera is also designed to complement Canon’s Cinema EOS range, and has the ability to record with

including the MV-Flex modular multiViewer and MV-8 series, is available from SAM in sizes from quad splits to enterprise monitoring systems and featuring image monitoring with IP and 4K UHD options. The newly updated range of Vega hybrid small to mid-sized routers includes an upgraded 100 range of modular 2RU, 4RU and 7RU routers, as well as the new Vega 10 series of more cost-effective routers. SAM is setting up a Global Customer IP Innovation Centre at its headquarters in Newbury, UK, which will house its complete IP portfolio.

Burwood with Canon’s new XC15 with removable XLR audio adapter

Canon Log gamma, offering 12 stops of dynamic range. It records UHD at 24/25p to an internal CFast 2.0 card at up to 305Mbps, or HD to an SD card at up to 50Mbps. It also features a 1-inch CMOS sensor, built-in 10x optical zoom lens, ND filter, vari-angle touch LCD and rotating side handgrip. 12.D60

In related news, the company has engaged with Isis Enterprise, the innovation management consultancy division of Oxford University Innovation, for the management and commercialisation of its intellectual property portfolio. Isis Enterprise will be supporting SAM to commercialise a select number of patent applications. The company additionally reported that it has shipped more than 100 of its Kula range of multi-format production switchers worldwide since the launch last spring. 9.A01

Clear synergy: Clear-Com’s CEO Mitzi Dominquez and president Bob Boster are discussing its recent acquisition of Trilogy Communications here at IBC. “Trilogy fits into our company culture and our technology offering,” said Boster. “We have a lot of synergy in the military and aerospace areas, as well as broadcast. Their specialised matrix solutions perfectly complement ClearCom’s highly programmable and scalable digital matrix portfolio, increasing each team’s capabilities to meet the evergrowing and vastly diverse communication needs across the markets we serve. Trilogy’s SPG solutions will also be well received by our broadcast customers globally.”10.D29

10/09/2016 14:20

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NEP Switzerland goes UHD with UC3000 OUTLINED

Panasonic By David Fox NEP is producing two matches per round during this season in Switzerland’s top football league in Ultra HD, using ten UHD Panasonic cameras in its latest truck. After testing, NEP decided to fit its new Ultra HD-41 vehicle with the AK-UC3000. “As the results show, the UC3000

offers unequalled performance and 4K picture quality. We were impressed not only by the quality but also by the camera’s ease of use and handling,” said Trond Hermansen, CTO, NEP Switzerland. “The UC3000 achieves an excellent balance between the various parameters for picture quality, for example high sensitivity and resolution, a good signal-to-noise ratio and a wide dynamic range. The camera’s low

power consumption and compact size are also worthy of note.” It also helped that the cameras could be delivered in time for the start of the football season. The compact 50/60p studio camera is compatible with B4 lens mounts, and offers turbo (shockless) gain (-3dB to 36dB) and multi-level digital noise suppression. It can also be used in UHD and HD mode simultaneously. 11.C45

MediorNet Control App launched Riedel

By Heather McLean With its introduction of the MediorNet Control App for the company’s RSP-2318 SmartPanel multifunctional user interface, Riedel Communications claimed it has closed the loop between communications and real-time media routing. In addition to linking the SmartPanel directly into the Riedel MediorNet media network as a dedicated control panel, the new MediorNet Control App, in

combination with the existing Intercom Apps, gives users simultaneous intercom functionality, enabling them to route, control and communicate all at once using a single 1RU system. The MediorNet Control App is the second app family developed for Riedel’s SmartPanel interface, allowing users to consolidate two panels into one that provides full intercom and control functionality at all times. It was used extensively by Fox Sports Mexico in Rio this summer and has been adopted by Sky Germany

for use in seven new satellite newsgathering vans. “With the release of the MediorNet Control App, our SmartPanel has grown into much more than an intercom solution; it now facilitates direct communication with the MediorNet network and control of devices within it,” said Dr Karsten Konrad, product manager at Riedel. “Eliminating the need for a separate control system, this solution allows users to realise valuable routing and communications functionality while saving both rack space and money.” 10.A31

Options mount up for miniS4/i lenses Cooke Optics By David Fox A new range of interchangeable mounts for Cooke’s miniS4/i lenses will allow a much wider range of cameras to obtain the “Cooke Look”. The mounts will include Canon EF, Nikon F, Sony E and Micro 4/3, which will ship in October. A single mount will fit every focal length lens in the miniS4/i

series. Existing miniS4/i users can unbolt the PL mount that comes as standard, bolt on the replacement mount and shim as required. For new miniS4/i deliveries the lenses will be available with the mount of choice from the factory. The mounts are designed so that they can be used with mirror-less cameras. The lenses were recently used to shoot UK TV drama Midsomer Murders and the Spanish feature film El pregón. 12.D10

Medway supports 4K Marquis Broadcast By Carolyn Giardina At IBC, Marquis Broadcast is demonstrating the 4K capability

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of its workflow interoperability system Medway. Additionally, it is extending Medway’s automation capabilities to support S3 cloud storage, meaning that when using

Zellan shows oﬀ Cooke’s new multi-mounts miniS4/i lenses

Medway in broadcast workflows, these can be linked to private or public cloud services. S3 support also means that Marquis can provide partial file retrieval from the cloud. The benefit of this, in sports for instance, is that it is possible to pull a ten-second highlight from

IBC visitors try out Panasonic’s new UC3000 UHD camera

No more five-year development cycles By George Jarrett A core element behind the success of the IP Interoperability Zone has been the enabling work done with the AMWA Incubator project at workshop sessions in London, Manchester, and Wuppertal. “Built on the Joint Taskforce for Networked Media reference architecture, it had a solid founding as a basis for the starting point for the early participants,” said Neil Dunstan, AMWA’s director of membership. “At the workshops we had 30 participating companies, all bringing their developed software to an open development environment, and making it work successfully with all the other participants’ software. That is the goal that we have been striving for. Building on what’s happened with the Incubator, it will broaden.” Dunstan’s pick as the key element of the interoperability event is the gathering of the trade associations. “Those organisations, working on disparate elements of IP technology, are ensuring

a 90-minute game. “Medway integrates more than 30 bestof-breed broadcast systems,” reported Chris Steele, managing director, Marquis Broadcast. “Using 4K could require eight times more edit storage space than HD and so offline work has become necessary.

Neil Dunstan: “The Incubator will broaden”

together that they inform a uniform whole, which will introduce genuine interoperable products so users can build best-ofbreed systems which are reliable,” he said. “Speed is now necessary because the market is moving incredibly quickly. The end users who want their media companies to be successful are having to adapt at a faster rate than they have ever needed, and with the new players using IP for delivering content to the home we do not have the luxury of three- or fiveyear development cycles, which worked perfectly two decades ago. Everyone needs to be quicker on their feet.”

Medway generates an HD ‘mezzanine’ format of the required content for editing, then when the editor is ready to switch to 4K, Medway trims the 4K files to only the used frames with handles and delivers to the edit storage.” 7.G05

10/09/2016 14:19

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06/09/2016 13:26