IBC2016 Daily D4 Monday 12 September by Future PLC

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MONDAY 12.09.2016

NEP chooses LDX 86N for five new trucks Grass Valley By David Fox NEP Europe is to standardise on the new Grass Valley LDX 86N for Ultra HD production, buying at least 40 cameras initially for five new OB trucks, having signed the agreement at IBC. “We see 4K is starting to develop in Europe, and now is the time to stop buying normal HD cameras,” said Paul Henriksen, president at NEP Broadcast Services Europe “This is the first commitment we’ve had from someone to standardise on [the LDX 86N],”

In agreement: JP van Welsem, VP sales and marketing, EMEA, Grass Valley; Marcel Koutstaal, SVP and GM of camera product group, Grass Valley; Scott Rothenberg, SVP of technology and asset management, NEP Group; Paul Henriksen, president, NEP Broadcast Services Europe; Leo Smeding, sales manager, Benelux, Grass Valley; and Steve Stubelt, SVP, sales and marketing communications, Grass Valley

said Steve Stubelt, SVP, sales and marketing communications, Grass Valley. “It’s had a very positive response. We now need to increase our production. [Orders are] already exceeding our expectations.” “What we have seen from having

a proper test of the camera, the feedback we had from my technicians is that what [Grass Valley] has done with its noise reduction is very impressive,” said Henriksen. The five trucks, including Grass Valley switchers, will be built by

Broadcast Solutions over the next seven months. Four will be 10-16 camera vehicles, while the fifth will be a triple-expanding trailer capable of handling more than 30 cameras. NEP Europe recently started UHD production in Germany and Switzerland. Swisscom Teleclub is doing half of its coverage of Swiss football in UHD, using NEP’s 16-camera HD41 truck, while Deutsche Telekom will produce one match in each round of the German hockey league in UHD using NEP’s new 8-camera HD34K truck, which is being shown at IBC and goes on air next week.

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Lord Puttnam warns broadcast media: “It must engage” By Chris Forrester Lord David Puttnam delivered an unashamed masterclass for IBC that embraced filmmaking, journalism, broadcast media, political influence and his current passion for climate change, and generated a standing ovation from delegates. Lord Puttnam said that the technology at IBC was clearly getting better and better, especially in IBC’s Future Zone, but that perhaps broadcast media was getting worse and worse at actually helping us to understand what was going on around us. He was critical of UK broadcasters and their coverage of the recent Brexit debate. “There was no challenge to

the Brexit lies. Broadcast media was pathetic in how they followed the ridiculous impartiality rules.” He backed up his comments with film clips, in particular his own The Mission (1986) and what he described as the most perfect two minutes, 18 seconds from the movie. He praised George Clooney’s Oscar-winning Good Night, and Good Luck (2005) where the real-life hero of the film, Edward R Murrow (speaking in 1958) argued that “unless TV started again to teach, and to illuminate, and to inspire then it was no more than merely wires and lights in a box”. Lord Puttnam stressed that he wanted Europe’s public broadcasters to start explaining, and

not simply following the money. Puttnam said the message was every bit as important as the medium. Indeed, this passion to tell it as it is, but also to entertain, is why he is returning to filmmaking. He has scripted a climate change story about Greenpeace’s Arctic 30, the multinational crew of the Arctic Sunrise who took part in a protest against Russia’s drilling for oil in the Arctic in 2013 and were arrested by gunpoint. The film tells the story from one of the activist’s point of view. “And we follow her journey,” he said. Asked whether he agreed with Sir Martin Sorrell’s statement made at IBC that the UK’s Channel 4 should be sold, Lord Puttnam

Inside

NASA looking for cameras to go to Mars The US space agency is at IBC to ﬁnd technology partners for future missions Page 03 Monday night movie Experience the very latest in projection and sound technology with tonight’s screening of The Revenant, presented in Dolby Vision HDR and Dolby Atmos Page 08 100 years of SMPTE Barbara H. Lange discusses the continuing importance of Standards, Membership and Education as the organisation celebrates its centenary Page 26

Lord David Puttnam: Making plans for a movie in 2017

said the publicly-owned channel should stay public (“profoundly wrong to privatise it”), and continue to plough back its profits from advertising into programme making. He also argued for a tax on the English Premier League, and on gambling and even on each email sent (one cent), “which would stop people sending them, and also hitting the ‘reply to all’ key!”

Ang Lee offers exclusive insight into Billy Lynn The Oscar-winning director returns to talk about the revolutionary cinematographic technique used on his latest project Page 28

Read our IBC news stories on the move… Published on behalf of the IBC Partnership by

We turn Always On Into Always New Surprise them every day with TV experiences that keep getting better.

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11/09/2016 18:37

Add professional monitoring and recording to any SDI and HDMI camera with Blackmagic Video Assist! Blackmagic Video Assist is the ultimate on set production monitor and recorder for any SDI or HDMI camera! The large bright 5 inch monitor lets you see your framing and ensure you get absolutely perfect focus! The built in recorder uses common SD cards and records extremely high quality 10-bit 4:2:2 ProRes or DNxHD files that are much better quality than most cameras can record and are compatible with all video software. Now it’s easy to add professional monitoring and recording to any camera!

On Set HD Monitor Blackmagic Video Assist has an extremely bright and sharp full HD 1920 x 1080 resolution display that’s much bigger than the tiny built in display found on most cameras. Mount it directly to your camera or use a longer cable so it can be hand held by the cinematographer for composing shots. You can even monitor Ultra HD sources!

Professional HD Recorder Now you can bypass the lossy compression used on most DSLR and video cameras! Blackmagic Video Assist records broadcast quality 10-bit 4:2:2 ProRes or DNxHD files onto high speed SD cards. Recording can be automatically triggered by camera start/stop and the files are compatible with all leading editing and color correction software!

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NASA looking for cameras to go to Mars By Carolyn Giardina “I’m looking for cameras for vehicles going to Mars,” reported NASA’s Carlos Fontanot, imagery manager for the International Space Station. Speaking Sunday, he explained that the US space agency is looking for technology partners for future missions, including those that can provide small cameras with low data rates, that are intelligent and could

autotrack objects. NASA’s Kelly O. Humphries, who serves as news chief at Johnson Space Center in Houston and was the voice of mission control for more than 50 shuttle missions, reported on the development of the Orion Multi-Purpose Crew Vehicle. NASA, he said, aims to send this spacecraft to Mars by 2030. Among the current initiatives, NASA and Harmonic partnered to launch a UHD public TV

channel. Jeff Koehler, VP of solutions engineering at Harmonic, said Harmonic and NASA also released a 360-degree virtual reality experience, shot underwater at NASA’s Neutral Buoyancy Laboratory; a training facility featuring a 6.5 million gallon indoor pool with a life-size replica of the ISS. Summed up Fontanot: “It’s our mission for you on earth to take advance of what we learn.”

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Boldly taking centre stage: NASA’s news chief, Kelly O. Humphries OUTLINED and International Space Station’s imagery manager, Carlos Fontanot join Harmonic VP Jeﬀ Koehler for Sunday’s Keynote, Live From Space. NASA wants to partner with industry on kit to use on its Mars voyages. Fontanot added that the agency is looking for auto tracking, self-aware imaging systems that can detect change and store images for review. Humphries added: “If you have something at IBC that can help document what’s happening to people on the ground, then we’d like to hear from you.”

From left: Koehler, Fontanot, Humphries and moderator Carolyn Giardina

Flagship Nexis storage system unveiled

4K module for DKM

Avid

Black Box

By Carolyn Giardina Nexis E5, the new top of the line system in Avid’s softwaredefined Nexis storage line, was unveiled at IBC. According to Avid, the enterprise-class storage system provides 40GbE connectivity and 80 – 480TB of storage capacity per engine, with the ability to scale up to 1.4PB of capacity and 9.6GBps of bandwidth, supporting more than 2000 DNxHR HD streams or 500 DNxHR 4K streams across over 300 connected clients in 17U of rackspace. Avid is also offering Nexis High Availability options

including a redundant storage controller, redundant system director, redundant networking and media mirroring. Also unveiled were new tools to enable “story-centric” newsroom workflows, aimed at speeding up how teams find and access media and information. Avid added that content could be pushed across various platforms as the story evolves, including on-air, online, and on mobile devices – helping audiences to get their information and contribute to live broadcasts through social media interaction. MediaCentral UX is the hub in this workflow and several new panes within MediaCentral UX facilitate the workflow

and integrate with other platform-connected systems such as iNEWS and Interplay Production. The new panes include the Assignment Pane, Elements Pane, Calendar Pane, and Trending Pane, as well as panes for Maestro and Social Media Hub. Continuing its emphasis on openness at IBC, Avid also announced that the newest members of its Avid Alliance Partner programme, include Glookast, StorageDNA, Digital Film Tree, Atto and Filmlight. In audio, Avid is showing Pro Tools 12.6 and a new standalone version of Pro Tools HD software. 7.J20

By Mark Hallinger One way in which Black Box is responding to the trend towards 4K is with the new 4K60 module for the established DKM system that is in widespread use in studios. Thanks to the modular design, only the relevant new card needs to be added, allowing users to benefit from the latest technology without having to replace whole systems. The DKM system enables flexible and immediate matrix switching and not only permits problem-free console extension for numerous video formats, but also allows flexible cross point switching – regardless

Autogyro takes off for aerial filming BeyondHD/Dynamic Perspective By David Fox BeyondHD is the first company in the UK to offer a fully certified gyrocopter for aerial filming, which CEO Keith Harding believes is ideal for filming a wide range of productions, including touring sports, at lower costs than helicopters. The aircraft, which doesn’t have a powered rotor, can go much more slowly than a fixed wing aircraft (25 knots/46kph),

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and if you go below that you just start to descend, slowly. “The benefit of that is it makes it very safe at low speeds,” he said. It can also track at more than 190kph, making it useful for car racing. Harding has partnered with Dynamic Perspective, “because we needed a very high-quality five-axis gimbal that was light enough to go on this very small aircraft”. The DynaX5 gimbal can take a wide range of cameras, including Arri or Red with cine lenses, or broadcast cameras such as Sony’s P1 with a zoom

lens for live use. It is being used with a retractable mount that can be lowered once in the air to give the camera an unrestricted 360-degree view under the aircraft. BeyondHD also operates drones, but they have battery limits and are “heavily regulated and limited on distance from the operator”, he said. The Autogyro is ideal “where the budget doesn’t fit a full-size helicopter and where a drone can’t be used because of regulations”. 0.F01, 12.F71

of whether one single user is to switch 287 CPUs or 50 employees are to have access to up to 238 CPUs. Black Box says that this means that the workstation/ control room and CPU/server can be at a distance of up to 140 metres from one another, over Catx, or up to ten kilometres apart if fibre is used. Moreover, redundant network parts that can be replaced during operation ensure high availability, making the system particularly suitable for critical usage scenarios such as live broadcasting. 8.E32

Conference Highlights Today at IBC Big Screen Keynote: IBC proudly presents Mr Ang Lee on his creative artistry and transformational vision of cinema 10:00, Auditorium Paper Session: Advanced Ideas in Audio Production 08:30, Emerald Advanced Technologies for Audio – in association with IEEE BTS 11:00, Emerald The IBC Wrap-Up 2016: Identifying the Key Trends 11:30, Forum High Dynamic Range and Wide Colour Gamut: The Art and Science 13:00, Auditorium

Harding with his Autogyro Cavalon Pro and DynaX5 gimbal

Meet the Dutch Innovators 14:00, E102

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theibcdaily Spend, Spend, Spend! How advertising is improving ROI OUTLINED

By Chris Forrester Getting the best bang for your advertising buck has always been the mantra for clients, and FTI Consulting’s Mary Ann Halford created a pitch panel for four new creative ideas each designed to improve a client’s return on their investment. The four had to pitch to two real-life agencies. In truth, each of the ideas had considerable merit. Nic Yeeles’s Peg and its tool to identify relevant so-called

influencer marketers, was one example. “The trouble with these bloggers and influencers is that 99 per cent of them are absolute rubbish, but the other one per cent are brilliant. Identify the one per cent and your client could hugely benefit,” he argued. Paul Coggins, CEO, at Adludio, said his application adds 3D to smart devices and taps into the phone’s built-in gyroscope and thus measures the user’s involvement with the product being promoted by how

Improving their advertising impacts: (L-R) Allen Klosowski, SpotX; Nic Yeeles, Peg; Paul Coggins, Adludio; Mark Popkiewicz, Mirriad; Karen Arndt, Dentsu Aegis; Adam Smith, GroupM; and Mary Ann Halford (FTI Consulting)

the user swipes and touches while the product is on screen. Mark Popkiewicz (CEO, Mirriad) showcased a clever video entertainment idea also

designed to boost involvement, via speciality product placement which integrates products and brands into existing video content and monetises the process.

AZilPix virtual camera system launched

Sony extends super-motion time

Axon Digital Design

Sony

By Heather McLean

By George Jarrett

AZilPix Studio.One, a new virtual camera system for live video capture and streaming, is being showcased by Axon, which is a founding partner of AZilPix. Developed by a team of academics in Belgium, Studio.One employs costeffective, ultra-high-resolution cameras with wide angle and/ or fisheye lenses to capture every aspect of a live event from multiple angles. With just two to three cameras, up to nine virtual cameras can be created. The system is designed to integrate into a traditional or IP broadcast environment and blend seamlessly with virtual reality video production, making it useful for remote internet or broadcast live productions. Axon has created an interface

Sony has extended its shooting options for live 4K projects with a point-of-view version of the HDC-4300. It has also started delivering the impressive HDC4800 super-motion camera. Talking first about the HDC-43, Norbert Paquet, live production strategic marketing manager with Sony France, said: “There was a requirement to introduce a smaller version of the 4300 to install in environments like the top of basketball nets, on cranes and in helicopters. It has exactly the same specs and features, and the technical challenge was to strip down the body shape with the three native 4K sensors and the huge data out of the camera

Studio.One integrates into a traditional or IP broadcast environment

for Studio.One that allows the system’s cameras to link to its Cerebrum control and monitoring software. Axon is also assisting with sales and marketing for the broadcast market. Studio.One consists of three components: camera, capture server and processing software. The server ingests the raw, wide angle video data from the cameras and allows recording and live processing of this data into one or more rectilinear views and a mosaic view. 10.B21

By Ian McMurray

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– RGB 4:4:4, so 10Gig.” The camera has a B4 mount and given the real native 4K sensors, 4K lenses are a must. The HFR camera has something new to offer. “The four shaders that are used for control are just like any Sony camera, but then in terms of workflow for the director, who calls for the replays, we can instantly initiate a replay after an action happens – the first replay,” said Paquet. 13.A10

Partnership with TiVo announced ruwido

Skipaclass, a feedback platform for online courses for both teachers and students using facial recognition technology, was yesterday announced as the winner of the IBC Hackfest. The Hackers comprised of over 100 developers, designers and entrepreneurs aiming to apply ideas and software solutions to generate innovative concepts that will leverage partner technology and IoT.

Paquet: “We can record four hours in HFR”

IBC sees the announcement of a partnership between ruwido and TiVo in what the companies said was “a joint mission to make content more easily accessible for the user and to bring back the joy into navigation”. “We greatly value our partnership, particularly as TiVo supports textual search as well as conceptual search,” said Ferdinand Maier, CEO, ruwido. “That’s important to our goal to reach user experience excellence as it allows for wider yet more specific

search capability that is almost as natural as with another human.” “In today’s world of ubiquitous content and devices, advanced discovery capabilities are crucial to connect consumers to their desired content quickly and easily,” said Matt Berry, senior vice president and general manager of advanced search and recommendations, TiVo. “We understand the specific challenges faced by TV service providers, hardware manufacturers, streaming media services, broadcasters, content producers and advertisers to attract, build and retain consumers. 1.D69

Already used by RTL, Star Asia and Globo, Mirriad is focused on pure entertainment, but could also be talking sport if the rights issues can be negotiated. Allen Klosowski (VP/SpotX) brings existing ad-content into more relevant transmissions while maximising online visibility. “It might be an ad for a highvalue Jaguar car and placing it into a travel-related programme. It greatly eliminates the prospect of an ad not making its mark, or not reaching its target numbers.” The two agency speakers – Karen Arndt from Dentsu Aegis and Adam Smith from GroupM – both chose Adludio for its creativity in mobile applications.

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

11/09/2016 19:13

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The cloud and Robert Zemeckis OUTLINED

By Catherine Wright During his masterclass on Robert Zemeckis’ most recent feature film The Walk on Saturday, special effects supervisor and Atomic Fiction CEO Kevin Baillie gave a detailed account of the virtual production technology used to recreate New York in 1974 and the Twin Towers, which famously were at each end of French artist Philippe Petit’s iconic high wire walk. Among the tools used, Baillie

described Cloud Conductor, an in-house developed technology enabling VR rendering in the cloud, which Atomic Fiction plans to release to the public in late September. “Actual rendering needs are super duper spikey: you will use lots at some points, then less when people go on holiday and spike massively towards the end of production, so it really makes sense to use the cloud,” he said. Atomic Fiction had a $31 million budget for

The Walk, which Baillie said “is what other movies spend on special effects alone”. He acknowledged, however, that using such a tool, while costefficient, was complicated: “It takes many types of software and techniques that digital effects are not familiar with, so we needed to figure out what textures and models were required and we uploaded all that to the cloud securely. It allowed us to control those renders and then automatically

Kevin Baillie: “Blending truth and spectacle”

download the results back to people’s desktops.” Baillie also showed an interview he made especially for IBC with Robert Zemeckis, where the director described his way of

working, “of blending truth and spectacle”. He always produces a ‘previz’ before the actual script “so that everyone can understand what the director has in mind”, a way of “writing in images”.

IP video comes of age Comfort and protection Tektronix By Heather McLean 2016 is to be remembered as the year IP video finally came of age, according to Tektronix, which claimed it saw its leads on the first day of IBC rise by 45 per cent year on year thanks to an influx of potential customers ready to implement the technology. Tektronix has been working with other manufacturers in the industry to showcase technology readiness for the migration to live video over IP with the LiveIP Project, run by the VRT and EBU. The project concluded in June this year and a production team involved in it from Belgian children’s TV network, Ketnet, were so

impressed by the results that they have been using the infrastructure since June to go live on the channel. Paul Robinson, CTO for video at Tektronix, stated: “Ketnet has been a proof point that using IP for live production is completely viable and works. This is one of the reasons people are now saying they are ready to deploy the technology.” He continued: “There’s been a lot of talk about IP video over the last couple of years, and deployments in 2016 have proven it works, so people are now ready to use it and are seeking technology out. Everybody that comes to the stand knows what they want; people are saying, ‘we want to see Prism, we’ve heard about it and want to see what it does’.

Sennheiser By Mark Hallinger

“Prism is the only product available today to make real-time transport protocol IP measurements,” said Paul Robinson

“Tektronix invested in IP video at the right time, strategically, and now Prism is the only product available today to make realtime transport protocol (RTP) IP measurements. This allows you to measure dropped packets and jitter, so you can optimise the network before you put anything over it.” 10.D41

Global landscape for broadcast TV systems CONFERENCE TODAY Emerald 13:30–16:00 One of this afternoon’s special open-to-all sessions in the Conference’s Advances in Technology stream combines some short informative technical presentations with a ‘crystal ball’ panel discussion, looking into

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the future of broadcast TV. This event, scheduled for 13:30–16:00 in the Emerald Room, brings together major players and knowledgeable experts from around the world, to provide a complete analysis of the broadcast landscape. At this event, you will gain the answer to some critical questions for the industry:

• What are the new standards and architectures that are being proposed (and in some areas being rolled out)? • Are these technologies competing or collaborating? • What are the challenges for a single world broadcast standard… is this just fantasy? We look forward to some illuminating answers!

All models of Sennheiser’s new 27 series broadcast headsets feature a closed, circumaural design while remaining lightweight and compact. This series of headsets complies with the EC directive on noise in the workplace, as they are fitted with a switchable ActiveGard function that protects the commentator against noise bursts. “The 27 series is our latest offering for commentators and high-quality intercom use,” said Nicole Fresen, product manager for broadcast and media. Soft earpads have been

combined with Sennheiser’s classic ‘split’ headband, which opens automatically when the headset is put on and keeps the sensitive fontanelle area of the head free from pressure. For users who prefer a conventional headband, a wide headband padding is included that converts the two-piece headband into a single piece. 8.D50

Protective: the 27 series complies with the EC directive on noise in the workplace

YouTube: ‘Video is now a mobile-first experience’ By Ann-Marie Corvin By 2020 YouTube expects video to account for 77 per cent of all US mobile data traffic, according to the video sharing network’s content solutions lead for northern Europe, Ben Spheres. Speaking at Saturday’s ‘Harnessing the Power of Influencers’ session, Spheres said that YouTube’s latest stats show that more than 60 per cent of views from its site are

coming through mobile devices and the average session time has skyrocketed to 40 minutes, a 50 per cent year-on-year rise.

YouTube’s Ben Spheres

11/09/2016 16:59

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DiCaprio lights up IBC in brilliant Dolby Vision HDR OUTLINED

This year’s Monday night movie is The Revenant, directed by Alejandro González Iñárritu and starring Leonardo DiCaprio. IBC offers screenings of recent movies that represent the state of the art in moviemaking technology and creativity. 20th Century Fox, distributor of The Revenant, is a great supporter of IBC’s screening programme. Set in the 1820s, the movie traces the adventures of Hugh Glass (DiCaprio), a frontiersman who barely survives a mauling

from a bear. His compatriots leave him for dead, and he has to fight his way back to life and back to civilisation. As well as showcasing the technology behind the film, the Monday night screening is also an opportunity to experience the very latest in projection and sound. For the first time, this year’s IBC Big Screen features Dolby Vision HDR projection, allowing audiences to experience the stunning, award winning cinematography of

The Revenant. Presented in Dolby Vision HDR and Dolby Atmos immersive audio, the film is truly unmissable. Screened by kind courtesy of 20th Century Fox. Sincere thanks to Dolby Laboratories, QSC, Harkness Screens, and to Christie for their long-term support of IBC Big Screen. The Revenant is screened tonight at 18:30, and is free for all visitors. IBC screenings are always very popular, so be ready when the doors open at 18:15 to secure your seat.

Ready to guide you to IP. See us in SAM’s new hall 9.A01

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Weekly 4K football takes off EVS By Mark Hallinger The Mediapro Group, an international media company and provider of technical, production and distribution services for the broadcast industry, has purchased ten XT4K live production servers from EVS. Two of the newly-announced live production servers have already been installed in Mediapro’s OB39 outside broadcast facility; the truck which produced Mediapro’s first UHD output of an El Clasico game in the 2015 season. With these servers installed, OB39 will be utilised for the weekly production and transmission of La Liga football matches in 4K. Another five XT4K servers will be integrated into OB33, a new truck that is currently being built by Mediapro that will debut in November and be able to produce in multicast UHD using up to 16 cameras. The three remaining live

production servers will be installed into OB40, an HD production facility which is currently being upgraded to create UHD content. “Following a series of successful UHD tests, including two El Clasicos, La Liga knew it wanted to deliver higher resolution content to its sports fans,” said Francisco José de la Fuente of Mediapro. “When producing 4K content on a weekly basis it’s important to have the right tools in the hands of our creative personnel. With EVS technology on board OB39, we’re convinced that we’ll will be able to seamlessly deliver UHD content.” 8.A96

Higher deﬁnition: Francisco José de la Fuente of Mediapro and EVS SVP EMEA Marc Caeymax

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European co-operation takes conference prize OUTLINED

This year’s IBC Best Conference Paper award goes to joint authors Erik Stare of Teracom in Stockholm, Dr Jordi Giménez of Universitat Politècnica de València in Spain, and Dr Peter Klenner of Panasonic Europe. They collected their trophies as part of last night’s awards ceremony. Each year, the peer reviewers for the technical papers programme choose the paper which both significantly advances the industry’s knowledge and does so in language and description which is clear, informative, and engaging. As well as taking

the IBC Best Conference Paper award, this paper is also published in the joint IBC and IET publication The Best of IBC and IET. The trio’s paper is called ‘WIB – a new system concept for digital terrestrial television’. It suggests a new technology for broadcast transmission that can both increase capacity and reduce power consumption. It was presented in a session yesterday morning. Dr Nick Lodge, chair of the technical papers committee, said: “What these researchers propose is a way to achieve higher digital bandwidth, an

Erik Stare, Teracom

incredibly efficient use of spectrum and a huge reduction in power consumption. This is genuinely ground-breaking work, turning conventional

OTTs offered content solution Alpha Networks By Anne Morris OTT software platform specialist Alpha Networks is showcasing its Tucano turnkey solution for OTT providers that have their own content and want to create a good experience for users. At the same time, the company targets network and mobile operators that want to enter the pay-TV market and create a unique package for their

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subscribers. Operators, content owners and service providers are all looking for different ways to create new business models to drive more revenue. Guillaume Devezeaux, chief technology officer, Alpha Networks, said: “By bringing to market a fully integrated solution that addresses the video expectations created by big players such as Google and Netflix, Alpha Networks together with its partners allows operators to compete on a similar footing.” Tucano provides an open API

Dr Jordi Giménez, Universitat Politècnica de València

wisdom on its head. It’s a very exciting paper indeed.” Accepting the award, Erik Stare said: “I am overwhelmed and feel deeply honoured to

Panasonic’s Dr Peter Klenner

receive this prestigious and important award. I am especially happy for the recognition of the work on new development directions for DTT.”

New 35-140mm /i technology anamorphic zoom Cooke Optics By David Fox

Devezeaux: “Addressing the video expectations created by big players such as Google and Netﬂix”

that enables all back-end features to be available on all device types. The platform is natively integrated with partners on the pay-TV market, such as Wyplay and Wiztivi. 14.F05

The new Cooke 35-140mm Anamorphic/i zoom is a true, front anamorphic with oval bokeh throughout zoom and focus, with a patented optical zoom. The new lens allows shooting from very wide angle to telephoto with a 4x zoom ratio and 2x anamorphic squeeze. It features T3.1-22 aperture and the colour and depth of field characteristics

are matched to Cooke’s existing Anamorphic/i primes. Cooke’s Anamorphic/i lenses have been used to shoot a range of features and TV commercials including Pete’s Dragon, L’Odysée, Jungle, El Clan, Un Homme Ideal, Spectral, Sinister 2, and the Coke Super Bowl spot. 12.D10

Putting the squeeze on: Cooke’s 35-140mm Anamorphic/i zoom

23/08/2016 14:36

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EBU loudness changes OUTLINED

EBU R128 s1 – the supplement dealing with short-form content, such as commercials – has been simplified. In the previous version, users could use either a Maximum Momentary or a Maximum Short-term Loudness measurement as a parameter to prevent overly dynamic mixes. In the new version, only the shortterm measurement is specified. The EBU anticipates that reducing the options will help simplify content exchange and reduce costs in daily operations.

The ‘EBU Mode’ Loudness Metering specification (EBU Tech 3341) has been updated with new minimum compliance requirements and various clarifications; one of which is the need for meters to signal that the Loudness Range calculation is not stable within the first 60 seconds of a programme. The complementary EBU Loudness Test Set has been extended with many new test signals, which help implementers to check if equipment measures short-term and Momentary

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Bitstreams or PCM – LK = −23 LUFS

Probably the most practical of all of the EBU Loudness publications are the updated ‘Production Guidelines’ (EBU Tech 3343). If you are new to audio/loudness, EBU Tech 3343 is the specification to read first. The advice for mixing and normalising different genres has been expanded, especially for sports, shows, movies and commercials. Another important change is the new Reference Listening Level for studios. To help production staff to set up rooms correctly when normalising to the EBU recommended Loudness Level

Processing

The Loudness Range (LRA) specification (EBU Tech 3342) now specifies that the minimum block overlap between consecutive analysis windows is 2.9 seconds (i.e. ≥10Hz sampling of the loudness level). This new value fits well with the requirements for the Integrated Loudness and short-term measurements. LRA can be used as an indicator for potential dynamics reduction processes in a signal chain, performed on purpose or accidentally. LRA is useful as a mixing tool, but it should not be a brickwall parameter for delivery specifications of programmes. It is important to understand that no single maximum value of LRA can be specified for all broadcasters and all programmes.

New studio listening level More test signals for EBU Mode

File media or streaming source

More accurate loudness range

Alignment

Short content = short measurement

Loudness, as well as True Peak levels correctly.

Outputs

In 2016, the European Broadcasting Union (EBU) updated all of its loudness specifications, except for the core, EBU R128 itself. The updates take into account the experience gained over the past five years of loudness measurement and normalisation. Here is a recap of the key specifications and the main changes.

Inputs

Florian Camerer, ORF

Non PRL based codec stereo decoder

PRL based codec to AC-3 transcoder

PRL based codec pass-through

PRL based codec stereo/down-mix decoder

PRL based codec multi-channel/ down-mix decoder

PCM pass-through

PCM – LK = −23 LUFS

AC-3 bitstream

Bitstream

PCM – LK = −23 LUFS

PCM – LK = −31 LUFS

PCM – LK = −23 LUFS

Menu dependent attenuator

TV Mode: 0 dB HT Mode: 8 dB

PCM – LK = −23/−31 LUFS

SPDIF output

HDMI output

Stereo D-A converter & analogue outputs

Multi-channel D-A converter & analogue outputs

Bitstream or PCM – LK = −23/−31 LUFS

Analogue audio LK ≈ −23 LUFS

Analogue audio LK ≈ −31 LUFS

of -23 LUFS, the EBU now specifies that each loudspeaker should be adjusted to 73dBC SPL, respectively, when playing back a reference monophonic noise signal (500-2000Hz @ -23 LUFS). The signal is appropriate for average size mixing rooms ranging from 125 to 250 cubic metres. This method is completely independent of the actual format and thus the number of loudspeakers. The proceeding is the same for stereo, surround sound or one of the currently discussed immersive systems like 9.1 Auro 3D.

Shorter distribution guide In 2016, the EBU also published a new version of its Loudness Guidelines for distribution and reproduction (EBU Tech 3344). The new guidelines are easier to read, as they have been halved in size (-3dB in engineers speak), but without losing any

8 dB attenuator

PCM – LK = −31 LUFS

of their power. The main goal of EBU Tech 3344 is to make sure that the quality of the audio provided by broadcasters is kept all along the chain. In today’s multimedia world, programme audio can travel many paths and be subject to many changes along the way. EBU Tech 3344, arguably, is the only document in the industry that provides a complete overview of how audio signals flow from studio via distributors to consumer devices such as IRDs, televisions, radios, and media players. It covers audio levels in anything from legacy SCART outputs to the latest AC-4 and MPEG-H compression systems and includes checklists to help ensure compliance. Important changes include the addition of AC-4 and MPEG-H, guidance on DRC for various codecs, including ‘presentation mode’ for MPEG-4 AAC & HE-AAC, and details

on how to handle mono audio presented on stereo and multichannel outputs. On the radio distribution side, updated FM alignment guarantees a better correspondence with networks based on 0dBr MPX power, and automatic loudness matching in combined FM radio and DAB/ DAB+ receivers provides for a better user experience when switching between analogue and digital radio reception. EBU Tech 3344 Version 2.0 also includes advice on loudness normalisation in mobile devices such as personal music players. The EBU’s loudness work continues, with special attention now being paid to streaming audio services. The PLOUD Group will celebrate its 8th anniversary at its annual meeting during IBC this year; the place where it all started in 2008. For more information, see: https://tech.ebu.ch/loudness

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theibcdaily OPINION OUTLINED

Supporting broadcasters on the road to UHD 4K and IP is already shaping the future of sports production, explains Jan Eveleens, CEO, Axon Digital Design The move to Ultra HD is sure to be a hot topic at IBC2016 and many broadcasters visiting the show will be looking at ways to invest in this format so that they can deliver an immersive viewing experience and grow audience share. 4K is already shaping the future of sports production workflows with new camera technology, core infrastructure, and new techniques evolving that will have major implications on the creative process. Axon’s response has been to deliver a range of cost-effective solutions that support the move to 4K. These include our Synapse Production Tool Boxes (U4T100 and U4T1400) that ease the challenges of a 4-wire

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production set-up by carrying Vanc and Hanc data such as time-code and embedded audio, and also provide Dolby E encoder and decoder capabilities. Developed in close co-operation with BT Sport, our new Synapse tools are incorporated into Timeline TV’s 4K OB truck, which delivers 4K sports programming to BT Sport’s Ultra HD channel. Another issue that is top of the broadcast agenda is IP production, with the debate about which standard to adopt – S2022 or TR03 via TR04 – likely to be much in evidence on the show floor. The possibility of another change in standards before the end of the year has created a degree of uncertainty

that is leading some customers to put their IP plans on hold or invest further in SDI. Given the current ambiguity about standards, Axon has focused on developing a range of products with an open standards philosophy, thus giving our customers the flexibility to meet whichever route is adopted. By ensuring that our signal processing equipment can support any standard the industry decides to embrace, including hybrid SDI-IP options, we are enabling broadcasters to keep their technology up to date without compromising their future. Broadcasters who visit our stand at IBC will see this philosophy encapsulated in the

launch of our next generation SynView modular multiviewer. Capable of handling both 4K and any IP video format, our new SynView multiviewer is designed for use as a standalone unit or as part of an Axon Synapse signal processing system. As the only single field latency (20ms@50Hz and 16.7ms@59.94Hz) multiview system on the market, SynView can be combined with over 300 different processing modules and can scale, position, deembed, overlay and process eight video channels. At the show, we will run multiple screens from two cards, demonstrating Synview’s effectiveness in a variety of situations, including fast response production monitor walls (where it offers unequalled low processing delay and start up time); high resolution, high

source count monitor walls and OB van preview monitoring and shading. We will also showcase Cerebrum control and monitoring, demonstrating ease of use with its customisable user interface and how the platform can simplify complex sports production chains, supporting a range of third-party technologies. 10.A21/B21

25/08/2016 10:41

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theibcdaily OPINION OUTLINED

VC-2 enables transition to IP The VC-2 video codec opens real opportunities for the broadcast market, because it’s an open standard ready for adoption, says Jean-Marie Cloquet, video product manager, Barco Silex The broadcast contribution facilities are now moving away from SDI to the more flexible and scalable IP network. At the same time, the video experience will continue to improve through higher resolution, frame rate and colour depth increasing the video bandwidth. The lightweight VC-2 HQ video compression (SMPTE 2042 standard) is the logical answer to reduce the infrastructure cost caused by the uncompressed video bitrate. VC-2 HQ achieves a compression ratio up to four times without any compromise on the image quality. There are currently two ongoing trends regarding IP transport. The first one is to

directly map the SDI payload to networking packets according to the SMPTE 2022 standards. The second one, according to the VSF TR-03, consists of a simple encapsulation of each video/audio stream individually to RTP packets. A big advantage of the VC-2 codec is its suitability to both scenarios. The SMPTE 2022 mapping is directly supported by the existing SMPTE 2047 standard, while the VSF TR-03 RTP mapping for VC-2 is already drafted in an RFC document proposed at IETF. The VC-2 video codec opens real opportunities for the broadcast market, because it’s an open standard ready for adoption. Anyone requiring

lightweight compression in their product development has the choice of either implementing it themselves or integrating one of the VC-2 libraries available on the market in order to get a faster time to market. The recently released open source implementation of VC-2 is a real-time software solution to encode or decode a video stream on a usual CPU-based platform. This software library is directly downloadable from the collaborative Github website under the VC2HQEncode and VC2HQDecode projects. And nowadays, VC-2 is even supported by the FFmpeg package enabling its adoption. To be complete, a GStreamer plug-in is also available for

FM spin-off aims for cutting edge ABE Elettronica By Mark Hallinger IBC2016 is seeing the launch of WaveArt, a spin-off company from ABE Elettronica. WaveArt specialises in the design and manufacture of FM transmitters that ABE claimed would provide outstanding performance for cutting-edge radio stations.

WaveArt transmitters feature digital processing with embedded stereo MPX and RDS encoders, an embedded audio processor, high

Established: Though the company is new, WaveArt products have a decades-long legacy

Guests and Reporters Click-and-Connect to your IP Codecs including the NEW CallMe-T

16 IBC D4 2016 v2JRJMcK.indd 1

efficiency adaptive boost, analysis for predictive maintenance and a free five-year warranty. 8.A25

the RTP mapping of the VC-2 codestream. VC-2 being an open standard provides many advantages to the broadcast market. It guarantees competitiveness of the available solutions on the market and avoids arbitrary pricing. It will also reduce the chance of being locked to a specific vendor. The adoption of the VC-2 codec is made easy, as anyone can start developing a product at lower cost, or even implementing open source libraries. These advantages guarantee a safe long-term

choice for VC-2 as a codec for the IP-based transport in the broadcast market. For those looking for a more integrated solution, Barco Silex offers Viper boards. The Viper boards enable 4K HDMI audio and video transport over IP network thanks to the VC-2 open standard. The Viper product is available as an OEM module that accelerates the prototyping and development of your own product. This is yet another option to start using the VC-2 codec. 10.D31

Import export control Levels Beyond By Adrian Pennington Marquis’ workflow automation solution Medway, and Levels Beyond’s open platform Reach Engine, now work together to enable production houses to access all Avid capabilities from project start to finish. Reach Engine is a software

that allows companies to create and curate video content. Luc Comeau, VP sales, Levels Beyond, said: “The power of this partnership is in the seamless exchange and transformation between Avid NLE and production asset management and Reach Engine’s open content activity and management hub.” 15.MS38

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Queen’s Award for Argon Streams OUTLINED

Argon Design By Adrian Pennington The growth in demand for HD video for both TV transmissions and internet streaming has driven the development of ever more complex video codecs, such as HEVC/H.265 and VP9. These codecs provide higher

levels of compression for the storage and transmission of video, but at the cost of higher complexity in both the encoder and decoder. Argon Streams are used to verify that the video decoders required to play back video on mobile phones, computers and set-top boxes, are fully compatible with these new standards. Argon Streams

are described as conformance test bit-streams providing full coverage and verification of HEVC/H.265 and VP9 video decoders. The bit-streams are derived directly from the codec specifications, a process which uses directed random numbers to ensure that the bitstreams provide comprehensive coverage testing of all functions

Greater control for going Live+ Dejero

By David Fox The Live+ Control management system has been updated to enhance monitoring, station administration and reporting capabilities, displaying realtime analytics of network connection performance and

overall transmission quality for each Dejero transmitter. These updates complement the recent release of version 4.0 of Dejero’s Live+ Core software that powers its mobile transmitters, servers and mobile apps. This software has added significant new capabilities to the Live+ platform, including an enhanced congestion control algorithm and

faster file transport. Dejero is also demonstrating a collaboration with Grass Valley that sees its Live+ Control embedded into the GV Stratus video production and content management system, to simplify the overall file-based workflow. Users will be able to move recorded clips from a Live+ Broadcast Server to the Stratus Express server, and have files

Freedom is software defined.

and ranges and cross coverage combinations. The resulting set of bit-streams are measured for test coverage. Argon Streams are used by semiconductor manufacturers such as ARM and Imagination. Headquartered in Cambridge, Argon Design won a 2016 Queen’s Award for Enterprise in the Innovation category in recognition of this

automatically transcoded to the desired format. For IP video users, there is also a new modem module and convenient SIM module for Live+ EnGo, Dejero’s compact mobile transmitter. It encodes IP video and bonds all available networks, including cellular, WiFi, Ethernet and satellite, to deliver improved picture quality with very low latency. 12.C56

product. lan Scott, CEO, Argon Design, said: “The Queen’s Award is the crowning achievement of a hat-trick of recent awards for Argon Streams; complementing the BEEA New Product of the Year and the NMI Innovation of the Year awards, both won by Argon Streams in 2015.” 8.G14

Enhanced monitoring capabilities are part of the latest Live+ Control update

See us in SAM’s new hall 9.A01

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Q&A

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OUTLINED

Kevin Fitzgerald, sales manager, Gearhouse Broadcast Has IBC come at a good time for the electronic media industry? Why? IBC comes at a very important time for the industry as we’re approaching a major sea change. Questions still need answering around IP and I’m hoping these will be addressed in Amsterdam because they weren’t at NAB. The industry needs to be heading in the same direction as there’s a lot of stalling on decisions at the moment.

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

various stakeholders are now understanding that this standardisation has to be done very quickly.

The lack of consistency, clear standards and agreed way forward is a problem. This confusion is slowing everything down, so we’re looking for leadership from IP standards organisations such as AIMS. I’m confident, however, that we’re getting closer, and I think that the

Why should delegates visit your stand at IBC? This year we’re running an exciting technology demonstration on our stand with Aperi. This will highlight the future direction of IP infrastructures for live production and is part of our commitment to adopting

Working in Aqord for high-quality contribution Digigram By Mark Hallinger The Aqord 4K Ultra HD (UHD) HEVC Encoder/Decoder

leverages HEVC/H.265 to enable high-resolution video (up to 4K 60, 4:2:2, 10-bit, 120Mbps) for premium-quality live event production. Digigram said the device allows broadcasters

to build an end-to-end live 4K UHD or multiple HD contribution link with a single pair of hardware-based, OB-van-compatible videoover-IP codecs.

new technologies. We’ll also be on hand to discuss your up-coming production

Requiring half as much bandwidth as legacy H.264 systems, this solution is designed to stream premium live content

and SI projects over a beer or two! 10.B39

with high video quality and ultralow latency at a minimal bitrate, said the company. 8.C51

The Aqord 4K UHD HEVC Encoder/Decoder

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.

Deluxe Media, London

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.

We were looking for a great KVM system and chose the IHSE Draco tera. It seamlessly integrates into all our rooms and allows us to connect any Pro Tools system onto any screen.

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

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Mark Sheffield, Director of Audio Operations

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Has storage got too complex? OUTLINED

Stan Moote, CTO, IABM Storage for video production used to be simple: you picked the video camera you could afford, and the camera choice often dictated the videotape format you would use. Perhaps this seemed simple however tape operations are definitely time-consuming, expensive and inflexible.

Adding scale There are many reasons for file-based workflows to have completely taken over media creation and distribution, but the nature of linear videotapes as a storage medium isn’t usually thought of as the primary one. The issue was scale: you could only produce as much as you had edit bays and dedicated VTRs available to you, and adding or upgrading a bay was a time- and capital-intensive proposition. The first file-based workflows emulated the existing VTR model, with dedicated islands of storage purchased in ‘number of hours of SD or HD’. Subsequent generations of pure file-based systems realised that network-attached storage could be used for multiple workloads – not just replicating the linear way that productions used to be done. Multiple editors could work collaboratively on the same show, a sequence or a segment – vastly increasing the flexibility and agility of the production process.

Flexibility and control With collaboration came asset management issues: who was

working on that clip? And with pre-release content came security issues: you shouldn’t be able to see the clips I’m working on from your edit workstation! Finally, as facilities began to implement ‘followthe-sun’ global collaborative production techniques borrowed from the VFX world, post production engineers came to realise that their choice of storage determined their workflow, costs and ability to recover from errors. Video engineers used to think that the enemy was enterprise IT admins who didn’t understand their world and couldn’t deal with low-latency high data throughput streams through their packet-filtered spectacles. And yet storage access via IP networks has become the norm in today’s converged media facility. What has changed?

Adding tiers Scale-out storage systems are ideal at providing the bandwidth and capacity on-demand as media usage scales in a facility. Scale-out NAS is inherently flexible by virtue of clustered file systems and the ability to add storage nodes to a shared pool as needed. IP networks enable the use of multiple access protocols and these in turn support innovative workflows to meet business needs. Many of these innovative workflows come from enterprise IT vendors who have implemented intelligent tiering of storage, at varying cost/performance ratios. Other enterprise features like multi-

Figure 1 – Storage systems give clients new features including instant scalability

tenancy and unified security models have allowed content creation and distribution companies to utilise the cloud as just another storage tier, with security controls that encourage collaboration in ways that couldn’t be imagined in a bricksand-mortar facility. Enterprise IT vendors have solved a number of challenges in the content creation and distribution space, giving media customers new capabilities that allow productions to extend to ‘edge’ locations, optimise their core media operations, and leverage hybrid clouds for collaboration as well as archiving and disaster recovery.

Making IT work for all media In the back of your mind, you are no doubt still thinking that the Enterprise IT geeks don’t understand how different

your media assets are from other industries’ assets. This is where the SMPTE AxF (Archive eXchange Format) standard comes into play. AxF is an encapsulation format for generic file-based content that allows it to be stored, transported and preserved on any type of operating system, file system, storage media or technology. It is used by media entertainment companies that need a long-term solution for storing large volumes of big media files down to a single person who just needs to transfer or store a few files with focus on future accessibility. Storage is more that just about media files being archived and recalled. Clients need to intake, process and analyse data too (Figure 1). This is done via various protocols like NFS, CIFS and HDFS. Now social media are demanding new techniques

that need to be understood by broadcasters and media providers alike. Embrace the cloud too Don’t get frightened by trying to decide how cloud storage comes into play. Think of implementing a hybrid (public and private) cloud as just another tier in your workflow, integrated with local production on-premise storage as in Figure 1. This gives media organisations the flexibility and simplicity to expand beyond their current capacity and integrate their production pipeline into any cloud-based solution, without getting locked into a single-vendor situation with high egress fees. No doubt this sounds complex. This is exactly why IBC is the place to better understand the storage options that match your needs.

Ease into interactive information Sixty By Anne Morris TV experience company Sixty is showcasing the extended functionality now available for its Ease Live system. Ease Live is designed to integrate with any existing

20 IBC D4 2016 v2JRJMcK.indd 1

broadcast graphics system or workflow and allows broadcasters to send statistics, highlights and other compelling information from their graphics systems directly to end users. Enhancements to the system include integration with Vizrt’s Viz Engine, enabling broadcasters to use any graphics control system

to execute graphics and still have all events synced to the Ease Live server; time code synchronisation; integration with vision mixers; multiple language selection/ support; and user/viewer statistics tracking. Kjetil Horneland, CEO of Sixty, said the enhancements the company is showing in

Ease Live is designed to integrate with any existing broadcast graphics system or workﬂow

Amsterdam are all designed to make Ease Live even more capable and easy to use. “Merging internet with TV means you get a whole new

world of interactivity which makes this a truly compelling solution that can deliver real value to broadcasters,” said Horneland. 14.C20

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Multichannelto-multichannel upmixing

Small console makes big waves Calrec

By Mark Hallinger The smallest console in the Bluefin2 family, Brio is the most

powerful and compact digital broadcast audio console in its class, according to Calrec. At 892mm wide, the dual-layer, 36fader control surface provides

theibcdaily

more faders in a given footprint OUTLINED than any other audio broadcast console, claimed Calrec. This surface gives instant access to a large number of audio paths while a 15.6-inch HD touchscreen UI

Brio oďŹ&#x20AC;ers 36 faders across a surface less than 90cm wide

provides access to more in-depth controls. 8.C61

See us at IBC booth 10.A31

Halo Upmix has added a new set of algorithms for transforming audio

Nugen Audio By Mark Hallinger A significant upgrade of the Halo Upmix software for taking stereo up to surround audio is being showcased. Available in Avid AAX, VST and AU formats, Halo Upmix automates the creation of a stereo-to-surround, downmixcompatible upmix with centrechannel management and spatial density controls. Combining several technologies, including frequency and time-domain energy distribution and neural network artificial intelligence, Halo Upmix enables producers to target various upmix goals, including full stable surrounds, exact downmix matching, and/or full dialogue isolation, according to Nugen. The latest version of Halo Upmix also adds a brand-new set of algorithms for upmixing from multichannel audio to higher channel counts, including LCR to 5.1, 5.1 to 7.1, and 7.1 to 9.1. The 9.1 option allows the introduction of vertical positioning into the upmix, generating a 7.1.2 Dolby Atmos bed track-compatible upmix. This capability provides users with greater flexibility for highquality archival restoration, content repurposing, postproduction and sound design, said the company 8.D56

21 IBC D4 2016 v2JRJMcK.indd 1

CONTROL COMMUNICATE

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HDR – You take the High road! OUTLINED

David Wood – DVB Chair, Commercial Module - UHDTV To confuse a Scottish folk song; “You take the ‘High’ road, and you’ll be a commercial success before me!” High Dynamic Range – HDR – is seen by many as the key to success for UHD-1. It will improve the image quality as much again as the jump from HDTV to 2160p resolution, and will shine out at all screen-to-viewer distances. The specification for HDR should be out later this year, ready for UHD-1 broadcasts from 2017. But the path to get here has not been, as a Scots might say, a ‘walk in the Glen’. DVB has been working on the specification for UHD-1 broadcasting and broadband delivery for several years. The work done in the ITU five years ago brought forth a specification for the parameter values for UHDTV production – Rec. 2020. Just as the specification was leaving the door of the ITU in

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2012, came the cry that, in order to cope with the TV sets of the future with higher peak screen brightnesses, a better ‘transfer curve’ was also needed to take advantage of the higher peak brightness. This would mean images with more detail in the ‘blacks’ and in the ‘whites’ – giving images more ‘sparkle’. Many were the documents and meetings before agreement could finally be reached in the ITU. There was white smoke for ITU-R BT. 2100 in July 2016. It recommends not one but two HDR systems, termed HLG (Hybrid Log Gamma) and PQ (Perceptual Quantizer). This applies to programme production and exchange, but the DVB delivery standard needs to have a relationship to this. The DVB discussion on the requirements for broadcasting UHD-1 also took time, but

these were agreed in autumn 2015. Now the stage was set for the discussion about which parameter values would fulfil the requirements. UHD-1 delivery is relatively complex because different broadcasters and manufacturers have different constraints on the timescale for services, and the time to develop the consumer decoders depends on their complexity. DVB needed to find formulae that would allow the different service timescales and the decoder availability to tie up. A ‘Phased’ approach was necessary: a Phase 1 for those who needed to start in 2015, Phase 2 CPA (Conformance Point A) for those who wish to start in 2017, and Phase 2 CPB (Conformance Point B) for those who plan to start in 2019. With each new Phase, the option of new features would be available. Phase 1 was essentially just the

2160p system. Phase 2 CPA would also add HDR. Phase 2 CPB would add the option of High Frame Rate as well. For the moment, let’s focus on CPA. Phase 2 CPA would be used in two environments. In one, the broadcast would need to be receivable on TV sets without HDR capability as well as sets with it – the HDR system needs to be ‘backwards compatible’ (BC). In the other environment, the service would only be for sets with HDR – (Non BC or NBC). The spec wanted should include both BC and NBC options. This has precipitated five proposals for the HDR system.

One is the (directly BC) HLG system. The other four make use of the PQ curve, with variations on the way the signal is carried – allowing options of backwards compatibility. The task now for the DVB is to examine the proposals and decide which should be included in the DVB specification. This should be agreed later in the year. It is by no means an easy decision. Stand by, because IBC will be the forum for many a debate on HDR. The addition of HDR will be a vital step for UHD-1 – we just need that critical decision on the HDR system to be taken. The next few months will be exciting. Would a large Scotch help?

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X marks spot for new Arrow head Miller Fluid Heads By David Fox The ArrowX series is an update of Miller’s Arrow range of fluid heads, with the addition of a new sequential counterbalance design (CB Plus), which is claimed to result in ‘repeatable, accurate and rapid set-up’. CB Plus offers eight large counterbalance steps, so that users can get to their needed position quickly and efficiently, while the CB Plus

switch on the front of the head adds a half step to enable counterbalance refinement. This should make the ArrowX useful for applications where frequent and fast re-rigging is required. They also have a much wider payload range than their predecessors. Other new features include the ability to remove the clamp stud to easily mount the head on flat base surfaces such as sliders, as well as a 120mm sliding plate travel to help quickly re-balance changing camera payloads. A precision

ball bearing supports pan-tilt movements for smooth starts and soft stops, and a precise floating pan-tilt calliper locks for bounce free on-off locking. Where extra rigidity is required, a Mitchel Base adaptor can be fitted. The ArrowX 3 has a payload range of 1-19kg, 16 positions of counterbalance and 5+0 progressive pan and tilt drag positions. The ArrowX 5 can carry 2-21kg and has 7+0 pan and tilt drag positions, while the ArrowX 7 supports 6-25kg. 12.D30 Balancing act: ArrowX heads include a new sequential counterbalance design

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WiFi system on a chip OUTLINED

Celeno Communications By Adrian Pennington The CL1800 System on Chip (SoC) is an integrated silicon solution combining 802.11n baseband, radio and powerful CPU. These features make the CL1800 ideal for costsensitive, high-performance telco and home applications such as multi-room DVR and WiFi-networked set-top boxes and TVs, according to its developer Celeno. The CL1800 SoC is described as a point-

to-multipoint solution supporting up to eight different concurrent HD streams and advanced throughput for demanding home network applications. It boasts a speed of 450Mbps, and offers WiFi protected setup, an HTTP-based GUI management and software upgrades, and remote management based on SNMP or TR-069 standards. 15.MS2/3.B56

The CL1800 SoC supports up to eight diﬀerent concurrent HD streams

4K60p 4:2:2 10-bit

DEC HEV OD C ER

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Live OTT to have Hapi days for ‘profound impact’ audio interfaces OUTLINED

Net Insight

By Ian McMurray Sye, which is being demonstrated at IBC, is Net Insight’s ‘true live’ OTT solution. The company is showcasing what it claimed to be frame-accurate synchronisation and fixed low-delay to deliver live OTT video across multiple screens. It is also discussing the profound impact it believes this will have on social TV and

real-time social media interaction. True live OTT means harmonising the first and second screen, according to Net Insight. The company believes it opens the door to more interactivity in advertising, betting and voting. Net Insight believes Sye is a game changer for the live OTT market, providing unprecedented TV experiences – all of which it said have the potential for enhanced viewer engagement and the ability to monetise OTT content in new ways.

Sye delivers true live OTT video across multiple screens

Net Insight claimed that its true live OTT solution can bring business value to all entities in the media and entertainment ecosystem. It enables telcos to package linear TV or broadband with OTT services which in turn facilitates the opportunity to enter the advertising value chain. CDN operators, said Net Insight, will be able to further climb the value chain with a true live OTT offering to all content owners to create superior viewer experiences and increase TV viewer bases. The company further claimed that gaming companies can benefit from Net Insight’s solution by integrating betting in live events and sport on mobiles. The frame synchronisation achieved by Sye is said to mean a better live service and in-game betting, thus increasing revenues for gaming companies. 1.B40

Explaining t-commerce Beenius By Anne Morris Demand for television commerce (t-commerce) has been growing rapidly since 2015, but according to Beenius, this increased demand has been accompanied by a growing misunderstanding of what

this can do. The Slovenian developer is showing operators how they can exploit t-commerce features at IBC2016. Essentially, t-commerce enables operators to sell different content packages, service upgrades and subscriptions directly on TV screens. In this way, operators are able to structure

their commercial offer more effectively and at the same time enable their viewers to access additional content and services with a single click. It is also called TV commerce and self-care purchase module. But whatever term is used, the main goal is to instantly provide viewers with what they want. 14.C30

Merging Technologies By Mark Hallinger 3D panning is on show from Merging, aimed at post production for film and video. It aims to capitalise on the rise in immersive sound formats, and also the significant growth in live shows and installations with multiple, but unformatted, speaker arrays. Merging’s Hapi and Horus products are also being showcased. The company said that the majority of sales of these products have been with the Premium AD8DP and DA8P converters fitted, but the ADA8 AD and DA combination board

is also proving popular. There has been a doubling of the quantity of analogue I/O available on the units – 48 in/48 out on Horus in particular has seen it used as a stagebox for many applications. Although RAVENNA is the main focus of its AoIP developments, Merging said it fully recognises the importance of a common interoperability standard to embrace a rapidly increasing number of leading broadcast manufacturers. The company has been a frequent presence at AES67 plugfest and interoperability demonstrations over the past year. 8.E96

Merging reports a strong mix of users for its Hapi and Horus products

Motorised coaxial switch Delta Meccanica By Mark Hallinger Delta has improved its motorised coaxial switch family, introducing the smallest DPDT relay switch of its line, the P/N 1743. This device can manage a power rating up to 150W RMS CW and has four N female ports. The Italian mechanical engineering company said the unit

maintains the same ruggedness and affordability of its larger family. The bandwidth covers the broadcast range and is extended up to 1.5GHz. A simple connection via D-Sub 9 Pole provides contacts for interlocks, and an integrated multicolour LED status indicates active connections. 8.E39

Small: The new unit is the smallest DPDT relay switch in the company’s line

T-commerce provides the ability to buy diﬀerent content via your TV screen

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Thinking beyond fixed installations by providing new services and support that SIs and broadcasters need,” concluded Smeeton. “It may not be the most glamorous aspect of broadcast, but it’s

mission critical and Argosy’s new found agility will ensure that we remain a key player in that field as the broadcast industry evolves.” 10.C51

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Inverting the Doherty OUTLINED ABE Elettronica

By Mark Hallinger ABE Elettronica is showing a new broadband high-efficiency

UHF power amplifier that uses the company’s latest generation of Inverted Doherty technology. This operates in the 470-790MHz bandwidth and promises efficiencies greater than 40 per cent, claimed the company. 8.A25

Meet us at IBC Stand #10.D29

Smeeton: “We are modernising our activities by providing new services that SIs and broadcasters need”

Argosy By Heather McLean Aiming to support broadcast engineers dealing with pressing industry trends such as IP convergence, Argosy is showcasing a range of racks, mains distribution units, patch panels, KVM solutions, fibre and Ensemble Design video products. The company said it is focusing on ‘intelligent’ technology, in particular, intelligent mains distribution units (MDUs) and KVM switches which enable engineers to centrally monitor and control equipment. This, claimed the company, would make facilities more flexible and responsive, easier to maintain and, above all, more energy efficient. Argosy’s recent integration into the broadcast and communications division of IEWC has seen the company step beyond the provision of fixed installation video distribution products. Argosy is now active, not only across the broadcast market, but also within adjacent vertical markets such as pro AV. Chris Smeeton, business unit director at Argosy, said: “In order to offer a more comprehensive range, we’re adding more active devices and pre-tested product bundles by working with partners such as Blackmagic, Datavideo, Teradek and Panasonic.” “Overall, we are modernising our activities

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Intercom Without Boundaries

Eclipse HX: Adaptable Broadcast Intercom The world of broadcast production is changing. New workﬂows are breaking down traditional barriers. The ability to adapt quickly to new communication requirements is paramount to your production success. The Eclipse HX digital matrix intercom solution is highly-programmable and extensible, providing a range of secure and reliable communication options for taking your intercom anywhere. The Eclipse HX multi-channel IP V-Series key-panels, Agent-IC mobile app, LQ Series IP interfaces for universal connectivity and integrated FreeSpeak II wireless beltpacks enable you to access communications from virtually any position in your intercom network. Personalize your Comms solution with Eclipse HX. Reach us today for more powerful solutions. www.clearcom.com

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SMPTE, a 100-year retrospective OUTLINED

Barbara H Lange, SMPTE executive director It began 100 years ago: the founding of an organisation to bring order to the nascent and growing motion picture industry. Today, SMPTE operates under three pillars: Standards, Membership and Education. Not one is more important than the other, and not one survives without the other. From 1916, when our mission was “the advancement in the theory and practice of motion picture engineering and the allied arts and sciences, the standardisation of the mechanisms and practices employed therein, and the maintenance of a high professional standing among its members”, to today, where SMPTE advances the art, science and craft of the image, sound and metadata ecosystem, globally, we fundamentally care about the quality of the motion image. We have evolved, first through the understanding of the motion picture film landscape to now being instrumental in the development of sound and colour and widescreen applications. We have laid the foundation for a growing television industry from standard black-and-white images to beautiful full colour, and from standard definition to high definition and now ultra-high definition. With a full-blown business model, the advent of the internet and ubiquitous mobile devices, the media and entertainment industry has exploded in ways our founders could never have imagined. Through it all, there have been workflow and production technology advancements that have been no less than awe-inspiring. From our founding, we were all about setting standards. On 24 July 1916, at the first meeting of the Society of Motion Picture Engineers,

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SMPTE’s executive director honours the society’s Founders’ Day at Nasdaq MarketSite in Times Square, New York Photo Credit: Photography by Christopher Galluzzo / Nasdaq, Inc

Secretary of the US National Bureau of Standards, Henry Hubbard, spoke. Of course, being a standards guy, he was somewhat biased. Still, it is amazing to read his words, a century later, to hear how true they ring today. “Interchangeability of parts is an important principle of standardisation, but more important is this implication that a true standardisation is the consensus of the best as far as that is practically attainable. To bring things to a dead level of uniformity at an arbitrarily fixed value is not standardisation at all. Standardisation means and implies an ideal to be realised. Ideal standards, therefore, involve searching investigations so that they may be based upon scientific principles rather than on empirical judgment. In many cases, even yet, tentative standards alone are possible. Standardisation is at its best only when each magnitude

of property or dimension is found by theory and tested to be the most fit for its use. Such standardisation is a continuous development, not a thing to begin with but to arrive at. Like the bark of a tree, standardisation may bound progress but must not limit growth. Inflexible standards are liable to retard progress so that we must keep before us the ideal that at any time the standards must be the consensus of the best, scientifically formulated. Motion picture engineering presents a splendid field for standardisation. The need is obvious, for your machines and films travel to all parts of the world, and the demands of human safety, human vision and comfort are common to all men in all lands. An ideal picture presentation for one is an ideal for others, since human nature is much the same the world over, and since

mother nature standardised the human eye ages ago. Cooperation is implied in the fact that you are organised. Stable standardisation is that in which all concerned are represented, and their interests regarded: engineer, maker and user. To overlook any factor is to vitiate the standardisation, as time will show. It is the business of the engineer to bridge the gap between the maker and user. The user, however, is the final dictator in standardisation, and his satisfaction is a practical test of quality. It is wise to recognise this fact at the outset and secure the continued co-operation of the engineer, maker, and user.” Our history demonstrates the tremendous ingenuity behind the rapid evolution of the motion-imaging field, and it suggests that our second century will be quite different from our first. As the media industry evolves, new entrants

are challenging every aspect of the media workflow, from technology tools to business models. Every step along the media chain is changing, and SMPTE is taking advantage of its centennial year to ensure that it continues to provide the valuable leadership and guidance – and standards that are fundamental to ongoing interoperability – that enables the industry to grow and thrive. As we celebrate our centennial this year, we invite IBC2016 guests to join in the revelry and share a piece of birthday cake with us at the SMPTE stand. We have accomplished a great deal in the past 100 years, and the past year has been remarkable for advancing SMPTE’s standards, education and membership. We look forward to showcasing these achievements, and our hopes and goals for the future of the motion-imaging field.

23/08/2016 15:16

HELO: Stream, Record and Deliver Open Up a New World of H.264 Streaming Workflows HELO is AJA’s new H.264 streaming and recording stand-alone appliance bringing both SDI and HDMI I/O into a single device. Simultaneously stream out to a content delivery network (CDN) as well as encode and record high quality H.264 files to SD cards, USB drives or network based storage. HELO offers a range of professional workflow options with both 3G-SDI and HDMI inputs and outputs, and the power to handle up to 1080p 60 recording formats. Small and portable, HELO offers dedicated record and stream buttons, and a web-based user interface for easy configuration.

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

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Ang Lee to discuss Billy Lynn OUTLINED

IBC’s Oscar-winning Big Screen Keynote today offers an exclusive insight into his next project Auditorium 12 Sept, 10:00-12:00 By Chris Forrester For two decades, Ang Lee has mesmerised cinema audiences thanks to ground-breaking, beautiful examples of cinematic

art. From his extraordinary fantasy of Crouching Tiger, Hidden Dragon to the drama of Brokeback Mountain, and history-telling visual beauty of Life of Pi, Ang Lee has shown the world what a talent he is. Later this year will see the release of Lee’s next work, Billy

Lynn’s Long Halftime Walk, which has used a revolutionary new cinematographic technique that not only unlocks a new level of emotional connection with the on-screen characters but offers greater control when it comes to preserving artistic integrity over the increasing range of delivery

formats both within cinema and to the wider electronic entertainment market. Lee will explain why he has used 120 frames/second, the highest-ever used for a ‘conventional’ movie for Billy Lynn. The film is due for release this coming November. Already it is generating a massive degree of interest – and there’s plenty of positive Oscar talk associated with the movie, not least because the shoot was in 3D and it uses ground-breaking ultra-high frame rates.

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IBC’s delegates – and entry to the session is free – will no doubt hear about the challenges, both in terms of production headaches as well as the complexities during post production on what is already a significant talking point among movie-fans. Following on from Ang Lee’s Keynote he will join moderator Julian Pinn in a panel discussion (11:00-12:00) with Ben Gervais (technical supervisor on the Billy Lynn movie) and Tim Squyres, the film’s editor.

Safe storage for sensitive data Fischer Connectors By David Fox The USB 3.0 version of the Fischer Rugged Flash Drive is faster, smaller and easier to use than its predecessor, which was launched in 2011. The durable (IP68 rated), lightweight memory stick allows users to download

and securely transfer confidential video, audio and data from devices used in extreme environmental conditions or in hard-to-reach areas. According to Fischer, it is now five times faster (up to 100MBps read speed) than the earlier versions, thanks to USB 3.0, and comes with standard memory sizes of 32GB, 64GB

or 128GB, plus a new activity LED. The body is shorter and, in order to guarantee secure access, it is now available not only with the Fischer UltiMate Series (07) interface, but also with the Fischer MiniMax Series (08) interface. The proprietary Fischer Connectors’ circular connector interface, combined with

Making a splash: The new USB 3.0 version of Fischer’s Rugged Flash Drive

a durable encapsulation technique, should help to guarantee data security in case of loss or theft. It should resist corrosion, vibration, shock

and extreme temperatures (-40°C to +85°C), and is waterproof down to 120m, claimed the company. 12.F34

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Booth 8D50 9-13 September

The new Sennheiser EK 6042

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EK 6042 – Two channel camera receiver Our new EK 6042 two-channel slot-in receiver can connect to virtually every Sennheiser wireless system – be it analog or digital (including G3, 2000 series, 3000/5000 series and digital 9000). With the built-in web server, setup is easily managed using any browser including imports and exports of the entire configuration. The EK 6042 is SuperSlot™-compatible and works seamlessly with your existing equipment. Same goes for ARRI®, Panasonic® and Sony®. And, yes, the EK 6042 works stand-alone as well. When we say, “One receiver fits all”, we mean it.

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theibcdaily OPINION OUTLINED

Making remote production a reality Existing production workflows need to be re-engineered to deliver multiple live feeds to a central location, explains John Smith, managing director, Media Links EMEA Remote production over IP has, until recently, been prevented by the lack of lastmile bandwidth to venues. However, in recent years, carriers have made significant in-roads to improving connectivity and fibre now connects most of our towns and cities, including our stadiums. In addition, many broadcast systems have now been developed to work in an IP domain, suddenly making the prospect of remote production over IP a reality. While some organisations are still struggling to demonstrate ‘proof of concept’, Media Links has been supplying a range of standards-based products that allow telecoms networks to transport live and pre-recorded signals efficiently and reliably for any type of broadcast

application for 20 years. In fact our staff participate and lead the teams responsible for the various standards required by carriers to move content successfully over wide area networks with 100 per cent QoS using our true IP-based products and hitless switching technology. In 2014, Media Links was honoured with a Technical & Engineering Emmy Award for Standardisation and Productisation of JPEG2000 (J2K) Interoperability. We enable remote production over IP with our MD8000 solution which allows high-quality video audio and data to be transported either compressed or uncompressed using JPEG2000 into an MPEG-2 Transport stream. Based on the customer’s available bandwidth we are

able to use a variety of bit rates on each of the required streams – with an end-to-end latency under 100ms to move content from the venue to the production studios and back to the venue. The encoding process enables lower bit rates while also maintaining image quality and reducing the amount of bandwidth consumed across the network. Hitless switching is ensured through two identical output streams routed over separate paths to a single destination, where any errors on one stream are avoided by immediately switching to the other, preventing packet loss during event and production. This workflow can enable significant costs to be saved on shipping technology and staff to numerous venues.

Real-world sport on stand Broadcast Manufactur By Mark Hallinger This year is filled with big sporting events, and at the Broadcast Manufactur (BroaMan) stand the company is discussing how Portuguese broadcast audio specialist CLS

Audiovisuais used BroaMan’s Mux22 at Wimbledon. CLS had installed the 1RU multi-format transmission device in one of its full HD camera and control OBs. The Mux22 offers every signal needed in 1RU, combining 3G/HD/SD-SDI I/O with Optocore and SANE digital

audio networks. It can transport video, as well as audio and data, on a single duplex fibre. In the Wimbledon example, CLS constructed a point-to-point system with 12-in/4-out at one end and 4-in/12-out at the other. Configured with a master control room and two galleries

However, this illustrates that current production workflows will need to be re-engineered and content producers and technical staff can now decide on the most efficient way to manage resources which are located remote from the venue. Yet, with the infrastructure in place, a telecoms network can be used to deliver multiple live camera and audio feeds to a central location for mixing and editing, enabling one crew to cover several subsequent live events from different locations in one day, further maximising expensive resources. With prime-time ratings declining, live sporting events

continue to attract significant audience figures. Remote production over IP offers the potential to reduce costs and cover more niche live sporting events, appealing to new audiences and attracting new advertisers, which is an exciting prospect for broadcasters. 4K remote production has also become a reality again supplying the new generation of consumers content for their 4KTV. For information about how our technology enables remote production over IP and for real-life examples come and see us at IBC. 1.C31

for beIN Sports (MENA) in a distance of 250 metres from France, CLS’ OB truck included the transmission centre. Mux22 a studio, two commentary enabled the company to take positions for each, plus many HD signals and transmit reporters and ENG crews. The them down a single fibre. Mux22 enabled them to uplink 8.C60 the signal, simply and economically, to the studios in Paris, said Broaman. During Wimbledon, the OB van received 14 signal feeds from host High ﬁbre: The CLS Wimbledon drive rack broadcaster BBC over

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Ka-band antenna doubles up

First shout for ACE General Dynamics Mediaware By Ian McMurray Designed for satellite, terrestrial, cable and IP television operators,

the Audio Control Engine (ACE) multi-channel audio loudness processor is being shown for the first time at IBC2016. ACE combines Mediaware’s transport stream video and audio processing software with algorithms from Linear Acoustic to provide operators with an

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alternative technology choice for managing loudness compliance. OUTLINED Linear Acoustic APTO.stream is designed to control loudness of audio content within userspecified parameters, while providing the best listening experience within a wide range of playback environments.

By offering loudness control at the transport stream layer, Mediaware says it will now enable broadcasters to confidently meet their region-specific audio loudness obligations while improving the viewer’s listening experience when channel surfing. 5.A26

Please visit us: Hall 7 C 28 Westphal: “The miniCaster Duo is fully redundant – every single part of the system is available twice”

A brand of artec technologies

TV1 By Ian McMurray Receiving a world premiere at IBC is the miniCaster Duo Ka-band antenna, with its new dual antenna system which is said to make live production in H.265 possible from anywhere. According to TV1, this has enabled it to achieve a new bandwidth record on NewsSpotter Ka-band. The dual antenna system enables bonding with two Sat-IP modems simultaneously to achieve a doubling in performance, claimed the company. Michael Westphal, cofounder and CEO, TV1, said: “Where NewsSpotter systems have a limitation of 10Mbits/ second up- or down-speed, users of the miniCaster Duo reached 20Mbits/second. This is important for high-end productions using H.265/ HEVC where bandwidths up to 20Mbits/second are crucial. “There is also an additional positive side effect,” added Westphal. “Where Ka-band systems lack redundancy, the miniCaster Duo is fully redundant; every single part of the system is available twice. In the event of one system going down, the second system will stay online and keep the signal uninterrupted.” According to Westphal, this has been achievable using intelligent bonding systems such as those from LiveU, in which two Sat-IP bandwidths are combined into a single stream. 1.A76

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theibcdaily BLAM ‘defies MAM expectations’ OUTLINED

Blue Lucy Media By Carolyn Giardina Blue Lucy is demonstrating how its BLAM (Blue Lucy Asset Manager) Core product meets a range of business and operational requirements for media production and delivery. More than 30 related plug-ins enable operators to build a customised platform, and some are also on show at IBC. Julian Wright, CEO, Blue Lucy Media, said: “Implementing a media asset management system is still considered by many to be an expensive and difficult task. At IBC2016 we’re demonstrating how BLAM defies all MAM expectations by providing an affordable, easy to implement system for asset management, workflow orchestration and advanced video processing for a wide range of applications.” BLAM Core features include Advanced Search, Storage

Manager (centralised storage management of on-premise and cloud systems) and Workflow Manager. Featured plug-ins at IBC include the Adobe Premiere plug-in, which enables access to all the core asset and workflow management features of BLAM from within Premiere, and supports a hi-res/ low-res workflow. Blue Lucy is also showing the AWS Cloud Connector plug-in, which enables Amazon S3 or Glacier storage to be managed by the BLAM Storage Manager, and the Media Importer plug-in, which is designed primarily as a solid state media card import tool. The later provides a clip preview player and allows direct import to BLAM. When used in conjunction with the BLAM Tailor plug-in, it allows users to join clips which span different folders or cards and provides rough cut editing. 7.G07

Compact multi-purpose Cinema EOS camera Canon Europe By David Fox The ME200S-SH is the latest addition to Canon’s Cinema EOS range. The compact multi-purpose camera is small enough for use remotely in a sports stadium, on a drone or inside vehicles, while its low-light abilities would make it useful for wildlife or documentary use, claimed the company. The 1.1kg HD (50/60p) camera has an 8.29-megapixel Super 35mm CMOS sensor, familiar from other Cinema EOS cameras, and supports Canon Log, which offers up to 12-stops dynamic range. It also features Wide DR, enabling video to be used directly from the camera with little or no

grading. It is compatible with Canon EF, EF-S and cine-servo lenses, such as the compact new CN-E18-80mm T4.4 L IS KAS S cine-servo lens. The ISO range of 320204,800 makes it useful in low light, while the built-in infrared cut filter (part of the ND filter stack) can be retracted for infrared shooting. Features include HDMI and 3G/HD-SDI outputs, Genlock input and 3.5mm stereo minijack audio. In addition it

offers fast dual pixel CMOS autofocus, and a custom picture setting, allowing users to pre-set and store preferred settings. Additional features are remote manual control of focus, iris, auto exposure and ND filters via optional RC-V100 controller. 12.D60

Canon’s small ME200S-SH with new CN-E18-80mm T4.4 L lens

Implementing Media Technology

MEET US STAND 8.BAT 51

IP-Infrastructure · Work-flow management Storage solutions · OTT platforms Production systems · Playout solutions Asset management · Traffic & scheduling

32 IBC D4 2016 v2JRJMcK.indd 1

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ket sn

ow ava i

lab

Celebrating the success stories in the production, management, and delivery of media content

SPONSORSHIP OPPORTUNITIES Peter McCarthy, Sales Manager +44 (0)20 7354 6000 Email: pmccarthy@nbmedia.com

Richard Carr, Account Manager +44 (0)20 7354 6000 Email: rcarr@nbmedia.com

TICKET SALES James Reay, Delegate Sales +44 (0)207 354 6010 Email: jreay@nbmedia.com

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the SDK gives Perseus wings Guiding user experience OUTLINED

V-Nova

Wiztivi

By Ian McMurray The Perseus compression technology is now being distributed as a software development kit for integration into third-party encoders and video players. The release allows operators, service providers, system integrators and online video platform providers to integrate and deploy Perseus technology on existing ecosystems for the delivery of full HD video over bandwidthconstrained networks. Perseus software is available in the form of an encoder plug-in and a decoder plug-in for integration and deployment within an operator’s existing ecosystem. Perseus plug-ins are supported on a number of different platforms including Intel x86-based encoders,

By Anne Morris Interactive user interface (UI) specialist Wiztivi is presenting TimelessUI. According to the company, it’s an advanced UI product that offers a simple way to manage and maintain the user experience. TimelessUI offers an HTML5 user interface

Meardi: “TV service providers and platform operators can deploy on any equipment in their ecosys-tem”

iOS and Android consumer devices. They are also available in pre-integrated encoding/ decoding combinations through industry partners to improve cost-effectiveness and drive rapid time-to-market for the deployment of Perseus OTT services. Guido Meardi, CEO and cofounder, V-Nova, said: “This product release is the result of

the work we have done in the past year with customers and industry partners to address real-life customer projects. We have now packaged the software to make it more readily scalable and available for TV service providers and platform operators to deploy on any equipment or media player in their ecosystem.” Hall 1 Balcony/14.K17

designed to bring modularity and maintainability to multiscreen video services, said the company. It provides multiscreen IPTV and OTT services, catering for media and operators. The solution, designed by the Wiztivi creative studio, is a navigation solution for multiple platforms, from TVs and settop boxes through to mobile companion devices. 14.L01

TimelessUI oﬀers users a way to navigate multiple platforms

High-performance 4K KVM meets VDI • KVM & HD Video Switching and Extension over IP • Instantaneous 4K Switching @ 60Hz • Virtual Desktop Extension

Want to meet too? Visit us at IBC 2016 to experience our latest Live and Post Production solutions. IBC 2016 • RAI Amsterdam • Booth 8.E32 Free admission: black-box.eu/IBC2016

Adv InBroadcast - IBC 2016-resized.indd 1

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Exhibitor list and floor plan theibcdaily

OUTLINED 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

Acquisition & Accessories

Media Asset Management

Broadcast Solutions

Audio & Radio Displays

Playout Automation & Server Applications

Cable & Satellite

Content Production

Post Production & New Media

Home Systems & Broadband

Studio Systems

System Integration & Consultancy

iTV

Telecine & Film

Transmitters

iPTV

VFX

Mobile Systems

Workflow Solutions

Service & Broadcasters Transmitters & Set Top Boxes

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Great Britain

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

Quantum

Rohde & Schwarz

OUTLINED OUTLINED

IBC Technology In Action Theatre

ASPERA, an IBM company

Avid

Blackmagic Design

Adobe

China

Great Britain

China

ARRIS Global Limited Grass Valley, a Belden Brand

KAONMEDIA China

Humax Co. Ltd Evertz Harmonic Inc

Samsung

The Israel Export & International Cooperation Institute

China

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

Dolby Laboratories

Huawei Technologies Co. Ltd.

Eutelsat SA

5 Skyworth Digital

SES Intel

France Ericsson Appear TV arqiva

Canada

Elemental Technologies and Amazon Web Services

Nevion

Cisco Intelsat Corporation

13 ent)

Grand Cafe (Ground Floor) First Floor Restaurant (First Floor)

OMNI REMOTES founded by Philips

ATEME

NAGRA

4.AO1

IBC Organisersâ&#x20AC;&#x2122; Office (First Floor)

Amtrium Restaurant (1st Floor)

8 - 12 9 - 13

IBC Content Everywhere Hub Sales Office

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OUTLINED OUTLINED

TMD ad for IBC Kiosk_2016@26JULY2016_final.pdf 1 26/07/2016 11:30:30

Powerful media workflow solutions that scale www.tmd.tv

Use as a standalone, combined, or configured approach to media management

Aperture for ingest

Paragon+ for content management

The reference for lossless correction of MXF

OnPoint for post production

CMY

Chameleon for DAM Paragon for archive Cloud native

Cost effective

Flexible

Stand 2.B59

Scalable Hall 2 Booth #A36 - French Pavilion

MXF analysis and correction tool to achieve interoperability for MPEG, DV, JPEG 2000 and DNxHD codec bitstreams

Meet us at IBC

Booth 5.C41 www.cube-tec.com

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

IBC.org/futurereality

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n Part of IBC Content Everywhere Europe O Outside Exhibit (OE Area)

24i Media...................................................14.F27 OUTLINED 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

35-46 IBC D4 2016 Centre Section v6.indd 4

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

For the latest show news and updates follow

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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Hall 7

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IBC Technology In Action Theatre

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.

35-46 IBC D4 2016 Centre Section v6.indd 5

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farmerswife .............................................11.C32 FAST LTA AG.............................................. 8.A01 FASTCOM Technology SA........................5.C35 Federico Cueva ..........................................0.C03 OUTLINED 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 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 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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The IBC Wrap-Up Forum 12 Sept, 11:30-13:00 By Chris Forrester IBC is a busy place: meetings, presentations, conference sessions, trends, opinions and a huge amount of new kit. Walking the RAI halls can be a challenge in itself, but IBC has the perfect solution: attend

the IBC Wrap-Up session and achieve an immediate shortcut to understanding what IBC2016 has discussed, and establish what the hot topics were and how the industry is preparing for 2017. Chairman John Ive (technologist and MD at Ive Tech Media) is perfectly able to bring out the best from his fellow expert panelists,

most of whom are absolute IBC regulars. Elisabetta Romano is VP/head of TV and media at Ericsson. She is responsible for the TV and media solution area, covering strategy, portfolio, sales and business growth as the industry emerges into the internet era of television. Simon Fell is another hugely skilled guest: an ex-ITV R&D staffer, and since 2006 director of technology and innovation at the EBU.

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Tom Griffiths is director of broadcast and distribution OUTLINED technology at ITV, and leads ITV’s in-house team looking after their broadcast, transmission and content distribution services, as well as the technology developments delivered by ITV’s Broadcast managed service providers. This includes air time sales, rights management, linear and non-linear content scheduling and IP streaming and VoD content delivery.

Californian Tony Emerson (Worldwide MD/Media & Cable at Microsoft) completes the line-up. A veteran of Microsoft since 2000, he was appointed Industry Solutions manager for Media & Cable in 2011 and succeeded to the MD role in 2013. He has a broad background in media/broadcasting having previously worked at KCSM-TV in California and as a founding employee of the Stanford University Television network.

Content Everywhere today Today is another busy day in the IBC Content Everywhere Hub, the free theatre in Hall 14 which offers a programme of presentations and debates. Today’s topics range from video analytics to OTT. The lunchtime debate, at 13:00, asks an absolutely

core question: are consumers really deserting linear television? David Lowen of the Royal Television Society moderates the discussion. The second debate, at 15:30, looks at the roadmap for new technology and how that will shape the content

everywhere experience. Around those two events there is a full programme of concise, 20 minute presentations. Today these start at 9:30 with a session from TV Player. Others contributing today include Bitmovin, Sixty and Anvato.

The programme ends at 17:00 with networking drinks, and an opportunity for IBC Content Everywhere exhibitors to talk about their plans when we all return to Amsterdam in September 2017. Find out more at IBCCE.org/hub

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47 IBC D4 2016 v3JRJMcK.indd 1

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theibcdaily OPINION OUTLINED

The future is on demand From any direction, the requirement is for an enterprise view of SVoD, says Mark Evans, managing director, MSA Focus The big trend today is being driven by consumers who want one thing above all others. They want to choose when, where and how they watch programmes. Live events – particularly sport – apart, the idea of watching what a scheduler wants to give us at any time is dying fast. Subscription video on demand – SVoD – is seen as the commercially viable way to meet this demand. Video on demand is a very different thing to broadcasting. It uses a completely different underlying delivery platform, and so it is immediately attractive to businesses keen to set up in competition with broadcasters. Netflix and Apple iTunes are obvious examples of disruptive businesses who have come into the content delivery market and made a real impact.

But video on demand services need not be dominated by global mega-companies. Others can enter the market, at a scale which suits them. Production companies can monetise their output directly, rather than through broadcast middlemen. Sports federations can take back ownership of their media rights. Niche information companies can create content and distribute it online. Although the delivery platform may be different, there are some underlying commercial drivers and constraints which remain the same. There will be rights windows, both for time and for geographies. To build and retain a solid customer base there will need to be marketing incentives and tailored pricing plans.

VoD has popularised a new way to view: the ‘binge watch’. Blockbuster series are no longer released at an episode a week: if commercial considerations say they should all be available at the same instant, the platform has to be able to do that. In summary, then, we have content available either from traditional broadcasters, whose resources and skilled staff are already overstretched managing their core business, or from new entrants to the industry who have none of the resources and skilled staff, but do have the blank sheet of paper for a completely fresh approach. From either direction, the requirement is for an enterprise view of SVoD. A serviceoriented architecture, in which the technical aspects of content

are driven by metadata and the availability and publishing aspects are under the direct control of the marketers and controllers. Everything else should be automated, driven by intelligent logic. For almost 30 years, MSA Focus has been developing planning and scheduling tools for broadcasters worldwide. Drawing on that background, we have extended our proven broadcast management system ForeTV to add all the functionality required for VoD and particularly SVoD: ForeTV Pulse.

It includes the rights-based logic which auto-populates the availability catalogues, based on your defined programming windows and content availability. It provides a simple platform to create engaging ondemand packages and offers to suit particular audience groups, platforms, seasons and any other programming drivers a business develops. Solutions like this provide the underlying management of a revolution in service delivery. For there is no doubt that, for most people and for most content, the future is on demand. 9.LP11

iPad app eases set-up Dan Dugan Sound Design By Mark Hallinger Version 2.0 of the Dugan Control Panel for iPad is being demonstrated at IBC. This new app, free from the Apple iTunes store, provides the same control

48 IBC D4 2016 v2JRJMcK.indd 1

functions as the Dugan Control Panel for Java, which is supplied with networkable Dugan automixers. The Dugan Control Panel for iPad works on any size of iPad and controls any combination of the Dugan Models E, E-1, E-1A, E-2, E-3, M, N, Dugan-VN16 and Dugan-MY16.

It can be paired with the Model K Control Surface. As with the supplied Dugan Control Panel for Java, the iPad app allows users to set up channels, name units and channels, assign groups, set weights, mute channels, and manually override the automix. 8.D96

The Version 2.0 control panel is free from the iTunes store

23/08/2016 15:35

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Video is the essential media Simple, intuitive and ergonomic solutions to produce live video are key, says Stan Walbert, CEO, Multicam Systems Video content is the current trend, considered as the essential and the most effective media to communicate with. For example, out of all the people who browse on the internet, 80 per cent of them will watch video content while 20 per cent only will read text. Furthermore, one third of all online activities are watching videos. When a professional wants to communicate via video, he or she must have specific knowledge and skills in video creation and editing. Those prerequisites often force a company to hire a subcontractor, creating additional

costs and limiting production volume. For all those reasons, we have been developing and offering for years an ‘easy-touse’ video solution that can be used without any video technical knowledge, either editing or post production. In the current market environment, there are many key opportunities for our customers: we offer simple, intuitive and ergonomic solutions to produce live video, with a minimal mobilisation of human resources; only one person is needed. We offer a large panel of automated solutions to give more freedom to the user.

In a traditional radio context, for example, there is the host/ journalist and the sound director. To overcome today’s lack of resources, we offer the Multicam Radio, a fully automatic solution. Our automated solutions are applied for the education market (Multicam Tracking) and conferences (Multicam Conf). Customers can create content in a cost-effective and efficient manner, allowing them to produce video content without any limitations. We attended IBC as visitors for many years before coming as exhibitors. We consider IBC

to be a complete show that gathers all the video chain’s needs: capture, live streaming and podcasting. I believe that augmented reality technology is the new trend that will keep growing year after year.

New Thunderbolt 3 offerings Sonnet Technologies By Carolyn Giardina

A new Fusion Thunderbolt 3 PCIe flash drive is among the highlights at the Sonnet Technologies stand.

COMPLEX RIGHTS RULE THE CONTENT LIFECYCLE

This pocket-sized SSD storage device is capable of transferring data at speeds of more than 2,100MBps, and is equipped with 512GB of flash storage, the company reported. It connects to a Windows computer with a Thunderbolt 3 port via a userreplaceable captive 0.5m Thunderbolt 3 (40Gbps) cable. Measuring at 2.8-inches wide by 4.1-inches deep by 1.25-inches tall, it features a fanless aluminium enclosure. The device is bus-powered and requires no power adapter.

Our company will work on that and do our best to match the increasing need. In two or three years, we could be offering live 360-degree solutions without any post production. 12.E56

Also on display is the first product in the Sonnet SF3 Series of Thunderbolt 3 pro media readers. The SF3 Series — CFast 2.0 card reader features a 40Gbps Thunderbolt 3 interface and dual CFast 2.0 card slots. According to the company, these features enable the reader to ingest from both cards simultaneously at concurrent data transfer speeds up to 1,100MBps. It’s bus-powered with no power adapter required. The Echo 15+ Thunderbolt 2 Dock, a docking station for computers with Thunderbolt ports, is also on the stand. The Echo 15+ enables users to connect multiple devices to a central hub, and then connect to all of them with a single cable. 7.G02

Let’s not leave money on the table Stand 3.C59 – Hall 3

Book a demo or appointment at mediagenix.tv/IBC2016

SCHEDULING THE FUTURE TOGETHER The new drive is bus-powered and features a fanless aluminium enclosure

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Delivering ‘storycentric’ workflows

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OUTLINED

Viz Story has a number of versatile new features

Vizrt

By Carolyn Giardina Tools for commercial playout, on-screen display and social content control as well as the latest in IPconnected workflows, are on show at the Vizrt stand. They include Viz Story, which is designed to allow media companies to quickly create video stories with real-time 3D graphics, and distribute them online and to social media channels. It has new features that allow users to begin content editing during ingest. It also has a browser-based interface so that it can be accessed by journalists from anywhere. Vizrt is also showing how preset operations for onscreen control system Viz Multiplay can be controlled by a video switcher, giving production teams more flexibility over how to control content. Vizrt is highlighting its social media integration at IBC. Its Social TV Solution is now integrated with Signal, a tool used with Facebook and Instagram that lets journalists source, gather and embed newsworthy content directly into broadcast programming. The demonstration also shows how the Social TV system lets companies add relevant content in real time to their broadcasts. Also for IBC, Vizrt has on show the latest version of Viz Engine, designed to help broadcasters meet the challenges of the SDI to IP transition. Featuring support for multiple IP encapsulation formats such as SMPTE 2022-6, ASPEN, VSF TR-04 and VSF TR-03, the latest version of Viz Engine uses the new Matrox X.mio3 IP board. 7.A20

51 IBC D4 2016 v2JRJMcK.indd 1

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

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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Have a natural dialogue with your TV Voice search along with organic haptic feedback is part of the future of television, forecasts Ferdinand Maier, CEO, ruwido Austria In the early days when using voice, results weren’t always as expected. Early systems had trouble understanding different accents and reports of general misunderstandings were high. But in the two decades since it was first introduced, voice search has come a long way. For example, the launch of voice integrated remote controls has infinitely enhanced the television experience. Voice search addresses some of the issues we face when watching TV – like when we want to look up a word and don’t know how to spell it. Indeed, this technology provided by leading experts in the domain even has

the potential to remove some of the barriers faced by people with disabilities, such as the visually impaired. Voice technology also enables us to have a dialogue with our TV in a more direct and immediate way. That’s why ruwido is not only guaranteeing high-quality voice transmission across its remote controls, but also a team that’s ready to support its customers implement voice search with all the expertise gained from years of scientific research. Our company is leading an advanced research programme on how people establish a dialogue when talking to the

TV, and is using these insights to enhance the user interface and, ultimately, the user experience. At IBC2016, ruwido will demonstrate how natural language understanding can increase the adoption of voice search for TV content. As with all the best technology, voice search has now advanced to the extent that it gets more accurate with increased usage. This is an impressive technology and, with growing R&D investment, more features are coming soon. We see voice search as a major opportunity in the future of television. It offers

an additional way to search for specific content and supplements high-quality button-based input along with organic haptic feedback mechanisms that are predestined for navigation.

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Voice will not replace these interaction mechanisms, but as the technology becomes faster and more accurate, it looks set to become a core part of the TV watching experience. 1.D69

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23/08/2016 15:43

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Check out our line up of suitcase-sized mobile switchers! Up to 12 channels, intercom & tally interfaces, CG interfaces and more!

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Massive Stands for lighting OUTLINED

CaSu By David Fox A new line of lighting stands called Massive Stands has been launched by CaSu. Made in Italy they are claimed to offer an appealing and rigid design – one

that is completely customisable. Off the shelf production is industry standard in lighting stand manufacturing, but Florian Granderath, CaSu’s sales manager, claimed Massive Stands will allow users to ‘brand their stand’ as the customer can customise the size, length,

colour and logo of their stands. Granderath said he believes this will prove interesting for rental houses, TV stations, schools and other facilities as they often know exactly what they want but have to compromise when buying. 12.C77

Partnership makes light work of live web streaming Ensemble Designs By Mark Hallinger Ensemble is demonstrating live web streaming at IBC in partnership with Wowza’s Media Server and Online Streaming Service. With the addition of RTMP to the NXT 450 and 445 products, users can now stream directly to both the Wowza enterprise and cloud systems, said Ensemble. Once the Wowza authentication credentials are entered, a connection is established and live streaming commences. The NXT continuously monitors the health of the connection

through the messaging mechanism in RTMP and displays status in the UI. The Wowza enterprise solution, Media Server, provides automatic rate and resolution management for each viewer connected locally. The Wowza cloud-based Online Streaming Service provides that same service with global reach to all viewers. These NXT Encoders combine SD/HD SDI inputs

with high performance H.264 (MPEG-4) encoding. Clean Switches provide mix/cut transitions between sources into the encoder and from there directly to the web. Hardware-based format conversion makes it easy to deliver the most suitable resolution format and frame rate for the streaming application, claimed the company. 8.B91

By Ian McMurray New from ACTIA at IBC is the FlyAwaySat, a transportable satellite terminal which it claimed could provide high data rate communications in, X, Ku, and Ka-band. According to the company, the FlyAwaySat

DNF Controls By Mark Hallinger Showgoers may notice that various models of DNF’s configurable Universal Switch Panel (USP) are integrated within the stands of Barnfind Technologies, Christie Digital, and IHSE among others, with USP3-16 being used for full KVM control at the Black Box stand. The flexible USP’s programmer-free interface creates working environments with user control over only those

can be deployed in 30 minutes with two people. It is powered either from mains or via a power generator. Electronic equipment is integrated into air-conditioned boxes that ACTIA said were appropriate for the most severe operational constraints and transport conditions on road, rail, air, and sea.

The antenna tripod is designed to be equipped with two amplifiers installed close to the feed without constraining azimuth or elevation motion. This design is claimed to allow dual band simultaneous X-Ka configuration or 1+1 redundancy configuration when high availability is required. 5.B10

functions necessary to streamline operations and reduce errors. “Our flexible, easy-toconfigure device controllers and interface products optimise workflows and enhance connectivity, signalling and monitoring, enabling users to operate with greater efficiency,” said Dan Fogel, chief technical officer of DNF Controls. “We are delighted to bring these solutions to IBC and play an integral role in the success of our IBC technology partners.” 8.E32 (Black Box)

DNF’s USP3-16 is getting a real-world trial at the Black Box stand

Compact, collapsible camera cart By David Fox

FlyAwaySat is the focus ACTIA Telecom

KVM control for IBC displays

Inovativ

Ensemble Designs NXT encoders can now stream with Wowza

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The Scout Evo is Inovativ’s compact, easily collapsible, lightweight equipment cart, which can carry up to 182kg to 273kg (depending on the model). The new Evo has improved wheel and tube design but weighs less than the previous Scout. Designed to carry cameras, monitors, Steadicam systems, or other kit, it packs down into a slim, self-contained case (the outsides of which act as the top and bottom of the cart), and is claimed to be 30 per cent lighter than rival carts.

It uses a patented Self-Locking Adjustable Shelving system, which enables the user to assemble and collapse the cart quickly without tools. The system also incorporates a locking top shelf that is height adjustable up to 25cm in 5cm increments. The easyfit wheels are about half the weight of a standard stamped steel caster, and can be transformed from fixed to swivel with just one bolt. It comes in three sizes (Scout 31 Evo, 37 Evo and 42 Evo), weighing from 23kg to 34kg, costing from $2,880 to $3,280 for the standard systems. 12.D52

The FlyAwaySat can be deployed in 30 minutes with two people

Inovativ’s new Scout Evo can be assembled quickly without tools

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

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What ‘software defined’ really means for broadcasters The software-defined age is upon us but what does that actually mean in practice? George Boath, director of channel marketing, Vantage and Lightspeed products, Telestream, explains At the recent TVBEurope 2020 conference in London, we discussed what the true meaning of the ‘software-defined age’ is for broadcasters. The softwaredefined age has been with us for several years, but general computing and networking technology has been (until recently) unable to process live HD video signals in real time, so the concept of SDA was limited to non real-time to file-based workflows. Telestream’s Vantage media processing platform allows standard servers to be transcoders, file movers, audio

processors, standards convertors, QC systems – changing dynamically according to user needs. Now, with increased processing power and network bandwidth, we can distribute live video over IP networks and process it in real time. Entire systems can now be built using software-defined principles, replacing many specialist live appliances with multi-function servers running video processing services. A typical broadcast facility has a natural diversity of uses, with different services and processes peaking in their demand at

different times of the day or week. In a conventional SDI system, some expensive equipment is idle most of the time. A good example of this might be standards convertors; specialised devices which are often used only for a few hours each week. In software-defined architectures, the servers which run standards conversion services can host other services for the rest of the time, thus reducing the overall equipment requirement and the associated power consumption. We can also take advantage of cloud computing services

(either private or public) to enable swift dynamic scaling of resources to match business demands, though a softwaredefined architecture does not depend on cloud computing. System design and capacity planning for a software-defined system is more complex than for conventional systems. It requires detailed knowledge of work patterns, peak loads, concurrency of events etc, and then a business decision is required to define the overhead capacity to be designed into the system.

Unlike SDI, software defined systems cannot yet be considered as ‘plug and play’, even though various standardisation efforts have made great progress towards this goal. Therefore it is critical that any user conducts thorough tests of equipment contained within their planned workflows with their own signal and files, before putting any new software into production. A ‘sandpit’ test environment should be planned for in any new facility. The IT industry brings massive economies of scale, but equipment life cycles are much shorter than for conventional broadcast products, and users must plan for replacement cycles of three years, rather than the usual five years (or more) that they may be used to. They should also budget adequately for software maintenance contracts, and must have a plan for software version testing and control. As with all technology changes, the move to softwaredefined architectures offers many benefits in cost and flexibility,

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and presents some new challenges which broadcasters can best overcome through collaboration and discussion with their supply side partners. 7.G30

Second generation CAS system Xcrypt By Ian McMurray CQRCAS is Xcrypt’s second generation conditional access system for digital pay-TV and content delivery. Described as complete and compact, it is said to include all necessary core functions as well as numerous advanced conditional access features, enhanced security and enforced headend utilities. Support for DVB-S/S2, C, T/T2, IPTV and VoD are provided, and Xcrypt claimed CQRCAS to be scalable from small headends to millions of subscribers. Xcrypt’s CAMCAS is designed for smaller operators and is based on CAS on scrambling. It is DVB CI compliant. According to the company, CAMCAS enables cost-effective yet secure distribution of valuable content through local independent operators in B2B operations. It is also adapted to the needs of hospitality and multi-unit dwelling headends where these require encryption. Xcrypt says it is also appropriate for content delivery networks. 5.B11A

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Scene referred HDR OUTLINED

TrueDR By Adrian Pennington If the current trend of HDR, as espoused by the UHD Alliance, can be considered a ‘first wave’ of HDR products, head to the Future Zone for a glimpse of the second wave. TrueDR and project partners SIM2 from

Italy and Vicomtech from Spain are demonstrating the next generation of HDR and a key step in the development of ‘a complete, professional, futureproof UHDTV pipeline’. Alan Chalmers, professor of visualisation, International Digital Laboratory, WMG, University of Warwick, said: “The current HDR pipeline is ‘display referred’,

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constrained by the peak luminance that consumer HDR displays are capable of showing, typically 1,000nits. “One positive outcome of this first wave is far wider user recognition of the term HDR,” added Chalmers, also the spokesperson for TrueDR. “Although HDR TVs will be sold in increasing numbers, especially as more HDR content becomes available, at some point viewers will no longer want to watch HDR in a dark room; this will

Playout control boost Rascular By Ian McMurray

The integration of Rascular’s Helm control technology with Elemental Live is being

Mediant-AM adds automation to the media management process

showcased in Hall 1, providing what the company says is precision manual control of the software-based playout technology. Elemental Live provides real-time video and audio encoding for linear pay-TV broadcast and live streaming to new media platforms. IBC also sees the European debut of a new version of Rascular’s Mediant media management tool to provide improved secondary media handling for both broadcast and streaming playout. This includes the development of Mediant-AM (Automation Module), activated by a separate licence purchase.

give rise to a ‘second wave’ of HDR technology.” Chalmers describes the second wave as ‘scene referred’, with the HDR pipeline no longer constrained by what a display is capable of showing. “Rather, the full range of lighting captured in a scene will be transmitted along the pipeline and the best image possible delivered for a given display, the ambient lighting conditions, and any creative intent,” he said. 8.F27

According to the company, Mediant-AM adds a sophisticated level of automation to the media management process, automatically syncing secondary event media – including branding – on the playout device with the requirements of the automation playlist. In common with Mediant, it also provides conversion of assets into the correct format. Mediant can populate the ImageStore range of branding devices and Harmonic’s CiAB solution ChannelPort. It’s compatible with Imagine’s ADC 100 and ADC 1000 automation technologies with more integration to follow. 1.F33

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Liquid-cooled, multistandard transmitter Plisch By Mark Hallinger The Series 5000 Transmitter is newly available from Plisch, with Doherty technology, IP seamless switching and an integrated pump unit. The company claimed the liquid-cooled transmitter offers a unique, compact design with the highest power density per square metre. Key features include a multi-standard exciter for DVB-T/-T2/Lite, DAB/DMB, ISDB-T/TB and ATSC, and 1500W digital power per liquid cooled power amplifier, with redundant power supplies. Up to six transmitters with 3kW COFDM can be stored in one 19-inch rack. It also offers a GUI with 12-inch touchpad, single or dual drive configuration, an active reserve with 3dB release, and customer-specified reserve systems available on request. 8.D32 Flexible: Plisch claimed the Series 5000 to be the most eﬃcient transmitter in its class

True 4K/UHD Waveform Analysis from Omnitek

12-bit waveform solution for content creatives, colourists & post-production editors

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

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Hard Disk or SSD for digital media? The merits or otherwise of SSD and HDD should be treated in a clear and balanced way, says Rainer Kaese, senior manager business development, Toshiba Electronics Europe, Storage Products Division There has been a significant amount of discussion around the relative merits of traditional Hard Disk Drives (HDD) and Solid State Drives (SSD) recently. The media contains many predictions as to which technology will prevail and how the future of storage will shape up. As a storage supplier who owns design as well as development and manufactures both of these storage technologies, Toshiba is in a good position to offer a comprehensive and balanced view on this subject. NAND Flash storage is available in many packaging formats including SD cards, USB sticks, embedded Flash, SSDs and more. The mechanical robustness, complete lack of audible noise and wide temperature range

create a winning formula that is behind the rapid growth of this new technology. With all of these benefits, lightweight NAND is clearly the best choice for mobile applications. As technology continues to advance, the market is undergoing a fundamental shift in post production and editing applications for video and other content. Where once HDD arrays with multiple parallel spindles were necessary to provide the required performance, the latest high capacity enterprise SSDs can now address this growing application with faster performance, lower noise, lower power consumption and a lower cost point. The latest SSDs offering direct PCIExpress connectivity to the CPU via the NVM-e protocol

will continue to accelerate this trend. SSD technology is also taking the lead in digital content delivery and streaming. A new class of large capacity SSD can now match 3.5-inch HDD capacity yet still offer excellent read performance and low-cost-per-Terabyte due to the low write workload. This new class of SSD is ideal for streaming applications where content is uploaded infrequently and then delivered continuously via multiple streams. Magnetic mechanical storage still remains the lowest cost approach to bulk storage. Continuous development of HDD manufacturing processes means that, despite advancements driving down the cost of NAND Flash, it is not likely that SSDs will decrease to the cost point of HDDs in

Anova Pro is brighter, lighter and less expensive Rotolight By David Fox The Anova Pro LED studio/ location light is 42 per cent brighter than the Anova V2, but 25 per cent less expensive. It also benefits from revised electronics, a ten per cent weight reduction and revised yoke design. Rod Aaron Gammons, MD, Rotolight, said: “We’ve added high speed flash sync, which isn’t only interesting for photographers, as it can be used to wirelessly trigger CineSFX, such as lightning effects. You can have up to 200 fixtures on set and can trigger effects in real time, wirelessly.” CineSFX offers customisable lighting effects, such as strobe, fire, cycle, throb, police, TV, spin, weld, spark, film, neon and gunshot, and includes wired

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remote triggering or wireless model - which is available with control (WiFi models only), plus a Standard 50º beam angle rolling shutter compensation. or softer 110º Ultrawide. WiFi It also has True Aperture control will be available soon on Dimming, which calculates Anova Pro Air models. and displays the correct 12.G77 aperture (F-stop) for your subject at a given distance, eliminating the need for metering; and a Designer Fade mode for custom fades. There is also a new accessories kit, including barn doors and IP67rated flight case, as well as a Hollywood effects kit of ten filters, including diffusion and filters to enhance CineSFX. Prices start at £999 for the (brighter) single colour (5600K – 86 TLCI) 51W unit, or Colour changing: Gammons demonstrates £1,049 for the bithe improved new bi-colour Anova Pro colour (3150K-6300K)

the near future. So, for the significant volume requirement for bulk digital media storage, HDDs will continue to increase their capacity in the 3.5-inch form-factor and remain the most cost-effective storage medium well into the next decade; especially for applications such as video archives, surveillance data and libraries. It can be expected, that the vast majority of digital media data will still be stored on HDD – this particularly applies to centralised data in datacentres or cloud-based storage.

Overall, both SSDs and HDDs will coexist in digital media and the selection of the storage type will largely be determined by the application. As more and more user-owned or operated equipment will require the use of SSDs it appears that HDDs may phase out slowly over time. However, the huge amounts of data that is expected to be created in the future can and will only be stored in large centralised/ cloud-based pools of Capacity Hard Disk Drives. 6.C23

Tata has high hopes for Irish connection Tata Communications By Adrian Pennington Irish TV, Ireland’s international TV channel, has global ambitions. It wants to reach the 40 million-strong Irish diaspora in North America. This is just the first step, after which it wants to reach out to audiences around the globe. To meet these objectives, Tata Communications has implemented a solution that comprises content

management, VoD package creation and distribution, channel streaming and distribution, and deployment of an OTT platform. These services are provided to Irish TV as a cloud-based managed service, without, it is claimed by Tata, any capital investment in equipment or major technology risk. The solution was one of three shortlisted nominations for an IBC2016 Innovation Award for Content Delivery. 15.MS23

Irish TV expands with cloud-based managed services

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• DO EXTRAORDINARY THINGS Director of Photography, Serge Teulon, on the Canon EOS C300 Mark II. “Shooting Munich’s City Surfers on the Eisbach river presented many challenges, especially in terms of equipment. The fact that it’s in the city meant you can see buildings and cars going around in the back of the frame, which you didn’t necessarily want. Luckily, with our custom built rigs, we were able to put the camera almost at water level in front of the surfer and I think that really gave us that sense of being on the wave. The EOS C300 Mark II was absolutely perfect for the job. It handled even the toughest of challenges, one of which was lighting. Its 15 stops of dynamic range allowed us to shoot in low light and get absolutely great results. The new Canon Log 2 is also a great gamma setting which meant we could record an image and then manipulate it. More importantly, creatively, it gave us a really defining look, which we think really adds to the film. We really wanted to push the limits of this camera. It exceeded our expectations at every turn and it really brought this vision of Munich’s City Surfers to life.”

KEY FEATURES • 8.85MP Super 35mm CMOS sensor • Shoot 4K at up to 410Mbps/10-bit • 15 stops of dynamic range with Canon Log 2 • Dual Pixel CMOS AF, Face Detection AF and Auto White Balance • High-sensitivity, low-noise images up to ISO 102,400 • 4 channel 16/24-bit audio

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Codec holds promise for UHD sound IP-based master camera control OUTLINED

Swissaudec

By Adrian Pennington While the world is moving to UHD TV what is happening on the audio side? Most broadcasters, it is feared, will be content to compromise new UHD services with 5.1 surround, an HD standard. “Broadcasters seem to have made their choice,” said Clemens Par, CEO, Swissaudec. “Their UHD is 4K, together with HD 5.1 surround. It’s too big a risk to renew already costly infrastructure and further stretch the know-how of daily workflows. UHD audio seems likely to remain a cinema domain.” Swissaudec, however, has devised an answer.

Its ECMA-407 codec broadcasts UHD audio up to the NHK 22.2 surround format, and is backwards compatible with HD. “Three UHD audio standards are capable of transmitting NHK 22.2,” explained Par. “MPEG-H, ATSC 3.0, and the Ecma S5 standards family, in particular ECMA-407. Only ECMA-407 is capable of achieving sufficient compression at lowest bitrates to transmit NHK 22.2. MPEG-H by contrast is restricted to 9.1.” The Swiss-Austrian mathematician claimed ECMA-407 will decode in real time, reduces spatial bitrate by 99 per cent, has a payload of just 2kbps and represents no additional cost for HD broadcasters. “All of

this is most important for smartphones and tablet use,” he added. ECMA-407 uses inverse coding in the time domain, which is Par’s invention, and shows the lowest spatial bitrates ever achieved. For example, several minutes of NHK 22.2 can be represented by an encapsulated data package of 100 bytes. ECMA-407 was first implemented by Swissaudec in 2014 in co-operation with a research group at École Polytechnique Fédérale de Lausanne and was tuned by Swissaudec and researchers at McGill University, Montreal. Other project partners include Ateme, SES Astra, France Télévisions and Merging Technologies. 8.G18

End-to-end workflows in the cloud Amagi By Will Strauss Adopting the Cloudport cloudbased playout platform will allow broadcasters to virtualise an end-to-end workflow and launch OTT channels ‘on the go’, its developers have claimed. Amagi’s Cloudport 3.0 multichannel system supports the entire broadcast workflow – from ingest to playout – and allows it to be managed remotely through a web browser. Previously requiring proprietary hardware, Cloudport now works with an Intel server, is hosted on Amazon Web Services and is offered as a platform-

as-a-service. It is IP-enabled, supports live broadcast and is 4K UHD compatible. K.A. Srinivasan, co-founder of Amagi, said: “Given its flexibility to be hosted on the cloud, Cloudport 3.0 can be used to create broadcast-quality OTT feeds. It can also double up as a cost-effective option to meet disaster recovery needs of TV networks. There is no longer a need for broadcasters to stay invested in expensive, traditional delivery models.” For making money from live and linear OTT feeds, Amagi offers its Thunderstorm OTT ad insertion

platform. This dynamically inserts ad content on the server side, simplifying the delivery of personalised and targeted commercials, said the company The latest version of Thunderstorm includes support for pre-roll ad insertion, personalised ads for VoD, and compatibility with any input trigger, including the Amagi watermark, SCTE-35, DTMF cue tones and Packet 31. 2.B19

Ikegami Electronics (Europe) By David Fox

Ikegami’s MCP-300 is a newly designed network master control panel for use not only with Ikegami’s conventional ICCP control and Arcnet-

based control, but also under Ethernet-based control. It allows simultaneous master control of up to ten cameras. Up to 100 source cameras can be selected (ten cameras in ten groups). The MCP-300 also supports Power over Ethernet, so a separate power supply is not necessary. 12.A31

Loudness tool goes solo RTW By Mark Hallinger Version 4.0 is available for RTW’s Loudness Tools and Mastering Tools software, adding support for Mac OS X 10.11 El Capitan and addressing user requests. New features include a selectable twelfth octave RTA, cinema loudness (TASA and SAWA), and free scalable instrument size. With this version, the Loudness Tools and Mastering Tools software can also be operated as a standalone version. In addition, RTW is exhibiting new version 1.5

software for TM3-Primus and USB Connect. Version 1.5 also adds support for Mac OS X 10.11, and adheres to the recently released standard changes in the EBU Loudness Recommendation (EBU R128). Users can now select to read the Smax and Mmax values. Momentary or a maximum short-term loudness measurement is a parameter to characterise and control the loudness of commercials, and RTW offers both functions as a freely selectable feature. Users may turn both measurements on or off, depending on what their work entails. 8.D89

Cloudport 3.0 is IP-enabled, supports live broadcast and is UHD compatible

The new version allows the loudness tools to operate as a standalone utility

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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VR ped Smart TVs showcased and head EKT

By Ian McMurray

Two new TV sets are being showcased by Eagle Kingdom

Technologies (EKT) at IBC. The first is the HD resolution TV7025, featuring a 43-inch, 300cd/m2 Samsung/LG panel with a refresh rate of 200Hz.

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With two DVB-C/T/T2/S2 configured by software or OUTLINED two ISDB-T tuners, a dual ARM Cortex A9 processor, it is furnished with three HDMI 1.4a ports and two USB2.0 ports and built-in 802.11 a/b/g/n WiFi.

Bluetooth 4.1 and an inbuilt hard disk drive are optional. Audio is provided by two 8W speakers. The TV7025 supports a range of codecs including MPEG-1/2/4, H.264, VP8, VC-1, MP2/3, AAC and Dolby Digital. 5.B30

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A new reality: Shotoku’s TP-200VR ped and 300 VR head

Shotoku Broadcast Systems By David Fox The combination of Shotoku’s lightweight two-stage pneumatic TP-200VR pedestal and high-resolution SX-300 VR head is claimed to offer a new virtual reality tracking system ‘without compromise in accuracy or ease of operation’. The combination offers light-touch control and robust stability, together with highly accurate pan, tilt, zoom, focus, X, Y and height data output that should keep the VR graphics system precisely synchronised to the camera’s floor position, orientation and height. It uses fast, simple referencing using an origin sheet on the studio floor, with unlimited X-Y tracking area, RS422 serial data output and industry-standard data protocols. “Shotoku has many years of experience in the design, development and support of high-performance VR tracking systems,” said James Eddershaw, sales director, Shotoku. “As a result, we have a deep understanding of the unique demands of VR production. Tracking systems must be precise, but also highly reliable, simple to use, and with full broadcast-quality operation at all times. The TP200/300VR system meets all these challenging demands.” 12.E42

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Latest CatDV springs into action OUTLINED

Square Box Systems By Carolyn Giardina CatDV 12, the latest version of Square Box Systems’ flagship MAM system, is featured at IBC with new features including native support for Square Box’s recently introduced Server 7. In addition, CatDV 12 offers enhanced support for audio files, including an advanced waveform display, as well as

VU meters, and the ability to handle more audio tracks. The system’s logging and ingest capabilities have been updated, and CatDV 12 is now able to operate independently of specialised video players. It features a 64-bit architecture and a playback engine that natively supports many broadcast and camera formats. Also for IBC, Square Box has introduced Worker 7 for Linux, the latest version

of the company’s workflow automation system for CatDV MAM deployments. Worker 7 for Linux features a new media engine and new workflow automation functions. The Square Box stand includes the Pegasus Server with enhanced security plus audit capabilities; the CatDV Enterprise Server 7 with webbased system administration and a REST administration API; and CatDV Archive to Cloud

BaaS offers new process BMC UK By Ian McMurray Broadcast-centric computing applications and services in the cloud are the IBC focus for Broadcast Media Communications (BMC), in partnership with MXF Server.

BMC said it can offer media companies global access and workflow orchestration through its latest offering, Broadcast as a Service (BaaS). BaaS is described by the company as its ‘next generation media platform providing off-premise linear and non-linear media processing functions to broadcasters and

Horsﬁeld: “BaaS has the ability to scale out and integrate seamlessly”

CatDV 12’s playback engine natively supports many broadcast and camera formats

for archiving media assets and associated metadata to Amazon’s Simple Storage

Service (S3), the online file storage web service. 7.J15

media companies in a pay-asyou-go or fully managed service package’. Tim Horsfield, co-founder and CEO of BMC, explained: “By leveraging BaaS, we can now combine traditional broadcast functions with vScaler, our secure private cloud environment to offer scalability and cost advantages, coupled with unrivalled access without the large investments

normally associated with more traditional options.” In conjunction with MXF Server, BMC is demonstrating remote video editing in the cloud. MXF Server is a softwareonly solution for film, broadcast and post production that the company said could provide editors with the freedom to open projects in different editing systems simultaneously. 5.C45

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

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The global resource portal for media technology content

White papers, webinars, opinions, blogs, case studies, tutorials and more. NewBay Connect now oﬀers even wider content for its registered users, is easier to navigate and provides users with dedicated weekly newsletters oﬀering a digest of the latest content and carefully selected content from its themes of the month. NewBayConnect-MediaInfo-PDF.indd 1

Why join NewBay Connect? Free and easy to use: stay informed with the latest industry white papers, opinion pieces, web seminars and case studies that aﬀect your business and your career.

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• Categorised content All material is organised into clearly referenced, specialist areas. • Customised search You can quickly locate the information relevant to your business or area of interest. • Tailored email alerts Notiﬁcations sent to you whenever there is an update within your chosen areas. • Dedicated weekly newsletters Visit www.newbayconnect.com to register, browse and download content for free today.

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theibcdaily Massive live video IP comes of age OUTLINED

Lawo By Mark Hallinger Between the Rio Olympics, the recent UEFA European football championships held in France, and other high-profile events, the use of technology to capture sport more economically and with more passion is a hot topic at several Hall 8 stands. At UEFA’s Euro 2016, almost 400 Lawo V__link4 and V__ remote4 video IP interfaces were in use, testing the flexibility and scalability of IP technology in a live environment with no room for failure. For enabling failure-free and high-quality production of

this multi-venue sporting event, Eurovision and its partners used a solution called VandA, which provided video and audio contribution from all ten stadiums to the IBC. To furnish the fully IP-based solution for contributing 16 uncompressed live signals (including the multilateral, unilateral and 4K feeds), EBU/ Eurovision utilised Lawo’s V__remote4 and VSM control technology. The VandA installation included 73 Lawo V__remote4s at the IBC plus up to 20 V__remote4s in each stadium, resulting in a total of 264 units. 8.B50

Live IP: The 10 city system used Lawo’s V__remote4 and VSM control technology

Boost for Flow and XStream EditShare By Carolyn Giardina New capabilities for EditShare Flow, the company’s flagship media asset management system; and new options for the XStream EFX distributed shared storage product line, are featured at the EditShare stand. The company is also demonstrating new integration with Aspera file transfer, Interra Systems’ Baton and Vidcheck quality control and Audio Network stock music. Martin Bennett, director of marketing, EditShare, said: “EditShare innovation is offering customers immense versatility in the face of challenging technology and market changes.” Bennett added that EditShare technology, “allows clients to leverage

See a demo of the Flow Story remote editor in Hall 7

the best the cloud has to offer along with traditional ‘on-premise’ systems, easing the complex transition into 4K multi-location, multiteam production workflows that are affecting media facilities of all sizes around the world today. And beyond our own technology, we are committed to an open platform, supporting key third-party systems to help our customers maximise their specific workflows along with expanding their business opportunities.”

EditShare is offering demos of its Flow Story remote editor for fast turnaround and AirFlow private cloud workflow system, as well as discussing UHD storage infrastructure migration options available with the EditShare XStream EF. Shown for the first time at IBC, the new XStream EFS SSD comes in 8TB, 16TB and 24TB chassis configurations, scaling from single servers to multi-node clusters capable of providing many PBs of capacity. 7.G37

NEW RF field spectrum analyser reduces time installing and maintaining your network See what you have been missing in your network when trying to: − Locate interference sources − Identify cable loss and distance to faults − Verify antenna faults − Classify signals − Record and playback signals

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Native live IP processing on show

Eutelsat OUTLINED

Aperi

By Ian McMurray

By Will Strauss A native IP infrastructure for live production that is both software and data centre-based and doesn’t require gateway hardware or hybrid fixes is being shown at IBC. Aperi’s Live IP Media Function Virtualization (MFV) is built on an FPGA-based computing platform and uses open, standards-based software to replace traditional hardware functions with a virtual version of the live production environment. When deployed in a studio or OB van it can allow function

or workflow changes and updates to be made quickly by spinning up apps. It is also said to reduce the need for complex cabling and system configurations. Chief executive Joop Janssen said: “Whether you need to spin up or down a channel or change to the latest media format, Aperi offers instant deployment by starting and stopping software applications using lightweight virtual machines. There’s no need to adapt or change the underlying common off-the-shelf compute and switch platform.” Available apps include audio and video compression codecs,

Aperi’s native processing removes gateways and reduces cabling and conﬁguration complexity

multi-viewers, glueware, routing and test and measurement functions. Also at IBC, Aperi is showing 4K capabilities within remote production. 2.C27

Replay server aims for 4K slomo.tv By Mark Hallinger

can operate with up to 48 channels (20 recording, 20 search and eight playback) in 3G or HD modes. Due to its four graphical ports Red Arrow allows four operators to work on one machine at the same time. The system interface has a built-in multiviewer that provides monitoring of input and output signals and search

Small monitor, big resolution By Heather McLean The compact 50-inch EYELCD-5000-QHD4K/Ultra-HD LCD monitor is being showcased by Eyevis. The visualisation systems specialist now supplies six models with quad full HD resolution of 3840x2160 pixels, with screen diagonals ranging up to

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98-inches. High contrast even in very bright ambient light, strong colour rendering, a large viewing angle and sharp images make these displays useful for many application areas in production as well as in the studio, claimed the company. Joachim Vollmer, product manager for displays, Eyevis, said: “Our professional displays

Mobile-centric satellite service launched

SmartBeam is a new service developed by Eutelsat to deliver native IP content to mobile devices. True to the inherent quality of satellites, the service can provide universal and immediate coverage over wide regions with consistent quality of service, the company claimed. Eutelsat said it will enable broadcasters and platforms to extend their relationship with users by delivering live and push VoD, free-to-air and DRM protected content to public venues and in the home, with no dependency on terrestrial infrastructure. Consumers can be targeted with content and formats that are specifically tailored for smartphones

and tablets in terms of resolution and duration. Based on standard technologies and protocols (DVB-S2, IP, HTTP Live Streaming and others), SmartBeam is said to be compatible with all common portable devices as well as Smart TVs. It uses a small, low-cost satellite receiver that acts as a local Content Delivery Network (CDN) receiving high-quality TV channels and VoD content via satellite, and serving it locally to mobile phones and tablets over a WiFi network. It is also claimed to be flexible enough to support advanced video services such as encryption with DRM (Digital Rights Management) and non-linear TV like catch up TV and push VoD. 1.D59

using one standard 1920x1080 computer monitor. The SSDbased Red Arrow provides storage of 266 hours 100Mb HD video. The built-in DMR SATA slots can accommodate nine 3.5-inch SATA drives that can record 18 channels in ProRes 422 and 18 Proxy SD channels, or 24 channels of DVCPRO HD with SD proxy. 8.B40

In a single 2RU enclosure, the Red Arrow from slomo. tv offers, simultaneously, four channels of recording, four channels of search and two channels playback with six 4K physical video ports – all in 4K 50/60p. It can also be used for a 6-channel 4K recording for nonlinear editing. For 4K video interchange it uses Apple ProRes 422. slomo.tv said Red Arrow has 24 reversible 3G/HD SDI video ports and The Red Arrow server oﬀers many channels of record, playback and search in 4K 50/60p

Eyevis

of the HiRes LCD series with extremely high resolution represent the state of the art. Due to their excellent image quality, they are ideally suited for the assessment of UHD signals within a production. The latest 50-inch monitor now supplements the product range with a smaller display with a reduced pixel pitch, as was often requested.” 11.B40

SmartBeam is designed to deliver native IP content to mobile devices

Flexible future-proofed antenna Radio Frequency Systems By Mark Hallinger The PEP-Lite broadband low wind load antenna has dual inputs and is capable of horizontal, vertical, circular or elliptical polarisation. RFS said it is designed for broadcasters who require maximum flexibility; the antennas are also suited to MIMO and MISO operation. Intended for use by a single broadcaster, or multiple broadcasters as a shared antenna, PEP-Lite antennas use RFS’ patented Variable Polarization Technology (VPT). Different broadcasters sharing the same antenna can have station-specific polarisation

ratios, which can be changed post-installation by varying the output phase of the combiner. The RFS PEP-Lite antenna’s design offers frequency agility for broadcasters to change channels as needed with no impact on the antenna array, said the company. 8.B45

PEP-y: The PEP-Lite is capable of horizontal, vertical, circular or elliptical polarisation

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SAM gets smart with sound control HDR features for ClearView OUTLINED

Genelec By Mark Hallinger Smart Active Monitor (SAM) technology offers the user a number of benefits, claims Genelec, as it showcases the SAM range at IBC2016. SAM products offer calibration of several parameters. These include frequency response and phase between monitor and subwoofer. The level parameter

ensures that all speakers will have the same level at listening position regardless of distance, while time of flight calibration means the arrival time of sound from each monitor will be the same regardless of distance. In addition to the automatic calibration feature it is also possible to adjust the filters manually through the software for individual preferences. Smart Active Monitors are DSP-based and controlled

by Genelec’s proprietary software called GLM, Genelec Loudspeaker Manager. GLM can control a single speaker through to 5.1 systems and up to 25 monitors and five subwoofers in more complex immersive audio designs. SAM products have proven themselves in difficult acoustic conditions like untreated rooms and in OB vans, claimed Genelec 8.D61

Benefits: SAM products offer calibration of multiple parameters

Video Clarity By Will Strauss To assist the broadcast industry’s anticipated adoption of high dynamic range (HDR), new colour transfer functions have been added to the ClearView line of video quality analysers. Video Clarity’s ClearView can apply Rec. 2020 appropriately to the different colour formats and colour conversion techniques being considered for HDR content. This allows content providers, broadcasters and encoder manufacturers to compare the quality of HDR source content against its downstream encoded version, regardless of which colour space or conversion technique is applied. For ICtCp, the potential replacement for the

YCbCr colour space, ClearView can ingest video, record it in either YCbCr or ICtCp, and compare it to encoded versions in either YCbCr or ICtCp for any significant changes in quality. Also at the show Video Clarity is demonstrating MultiPlayer, an optional application for the ClearView 4K system that can automatically and interactively select sequences for side-byside playback in multiple video formats on up to eight screens at once. Making its European debut at the show is ClearView WFM, a software option for the ClearView Video Quality Analyzer and ClearView Player systems. 2.C57

The RTM 4K is a 4K-capable real-time audio and video monitoring device

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

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Developments in IP-based KVM Adder Technology By Carolyn Giardina KVM (keyboard, video, mouse) developer Adder Technology

is demoing IP-based KVM including a number of recent product releases specifically developed for broadcast, from studio and galley control,

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to post production and outside broadcast. OUTLINED This includes the AdderLink XDIP extender, an AV extender that offers USB and audio over a single CatX cable and enables remote access. Another featured product is the

Adder C-USB LAN network extender, which could be integrated into the AdderLink Infinity Manager or used as standalone; it delivers highspeed USB2.0 extension at 480MB per second. 7.C30

IBC Content Everywhere Europe RAI, Amsterdam 8 – 13 September 2016 Block tackled: BlockBattery’s new 400Whr HC400 caters for large lighting loads

BlockBattery By David Fox The new High Current HC400 power block handles electrical loads of up to 25A. Its lightweight design provides 400 Watt hours (Whr), making it useful for high power lighting systems. For 28v or 30v, lighting systems, like KinoFlo’s new Select 30 or Creamsource Doppio, the HC400 can power those lights directly. For 48v lighting systems, like the new Arri SkyPanel S60, multiple HC400 units can be coupled with BlockBattery’s new R48-500 adaptor, which converts the HC400 power to provide 48v regulated output. It scales battery system capacity up to 1600Whr with up to four HC400 blocks. This could run a SkyPanel S60 for three to four hours at the light’s maximum output. For even higher power lighting systems that need portable AC for field use, multiple HC400 units can be coupled with BlockBattery’s new 1500-INV power inverter. This converts the HC400 power to provide up to 1500W of 120v AC in a scalable capacity from 400 to 1600Whr. Greg Prentiss, director of sales and marketing, BlockBattery, said: “The new HC400 block battery along with the new R48-500 and 1500-INV fill a significant void in field power of high current lighting systems.” 12.B36

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IBC Content Everywhere Europe 2016 Visit IBC Content Everywhere Europe to quickly and efﬁciently expand your knowledge of the latest trends, strategies and developments in online TV and video. ♦ Dedicated hall in the IBC Exhibition ♦ IBC Content Everywhere Hub featuring: ♦ Exhibitor demonstrations ♦ Independent panel discussions

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UHD and IP cameras for live production OUTLINED

Grass Valley

New Ultra HD and HD IP production, have been cameras, plus an IP camera introduced by Grass Valley. IBC_big-screen_2016_v2_IBC Big-Screen 2016 08/08/2016 1 LDX 86N Series UHD By David Fox interface to enable live 16:27 Page The (Xensium)Hawk-eyed: Grass Valley’s new LDX 86N UHD camera

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

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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camera uses new 2/3inch XensiumHawk CMOS sensors with native 3840x2160 resolution, and works with large broadcast lenses without cropping or zooming effects. The sensors use DPMUltra dynamic pixel management to also provide native 1920x1080 HD acquisition (by combining two horizontal and two vertical adjacent pixels inside the imager) without the intrinsic downsides of UHD acquisition, such as rolling shutter and decreased sensitivity. The camera range starts with HD-only models (up to 6x slow motion), but all are upgradeable via the GV-eLicense programme to UHD – the high-end LDX 86N Universe offers UHD and up to 6x HD. The cameras work with the XCU XF fibre base stations and XF Transmission adapters. Also new is the Focus 75 Live entry-level 720p/1080i switchable HD system camera, using three Xensium-FT CMOS global shutter imagers. For live IP production, users of XF-Transmission on the LDX 80, LDX 86 and LDX 86N Series cameras can add a new direct IP interface from the camera via a GVeLicense software upgrade. By connecting LDX Series cameras through the XCU Universe XF or XCU HD/4K XF IP base station to a 10GigE IP network, cameras can be mixed and matched to any XCU, offering maximum flexibility between cameras, XCUs and the production team. The system is already in use at NEP The Netherlands for centralised cloud production. 1.D11

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Four new Silk soft lights Socialising around media OUTLINED

Rosco Laboratories By David Fox

The Silk line of LED soft lights is being expanded significantly with a variety of new sizes being previewed at IBC. “The Silk family has been designed to be just that – a family,” said David Amphlett, product development manager for Rosco’s broadcast division. “These LED fixtures are designed to work seamlessly together, providing the same high-quality, tuneable [2800K-6500K] soft light in a variety of

form factors, for ease of lighting in any situation.” The first Silk was the 120W 210, an LED fixture designed for use on location or in studio. It is now being joined by four new Silk variants in a variety of sizes (the 110, 205, 220 and 305). Silk lights should be appropriate for a wide range of uses due to their high TLCI (96-98 depending on colour temperature), CRI and R9 ratings. The modular design of the Silk family allows for each Silk variant to be used on its own or in conjunction with any of the other Silk fixtures. 12.G21

All ﬁve members of Rosco’s new Silk family of soft lights

Editing in the cloud Vimond Media Solutions By Anne Morris

The company has also introduced the Vimond Rights Manager (VRM) at the show, which integrates with its existing control centre to allow comprehensive management of all aspects of video rights criteria in content lifecycles. The VRM allows OTT broadcasters and video publishers to manage complete content lifecycles, from acquisition to enforcing the rights associated with content encryption DRM, licences and enforceable licensing windows, number of streams, geoblocking and download rights. 14.F19

Norway-based media solutions company Vimond has launched an enhanced version of its cloud-based editing solution at IBC2016. The company said Vimond IO is designed to enable creative people to produce new online video segments from live streams in addition to VoD sources, from any browser, on any computer, from any location and in realtime collaboration with others. The improved Vimond IO combines the capabilities and features of its two previously standalone digital video production tools: Vimond IO, a cloud-based, online video storytelling The Vimond platform provides a suite solution; and Vimond of software application engines for the management of online video services Highlights.

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TIE Kinetix By Adrian Pennington SAM, Socialising Around Media, offers an integrated multimedia platform to create rich, enhanced multiscreen experiences. The project, led by TIE Kinetix, entails content discovery, delivery and distribution opportunities. Its production platform, or SAM Marketplace, is used for data management, metadata enhancement, advanced linking, customisation and analytics. It includes different components, such as an asset browser for search and discovery of related content, a style editor for customised multiscreen display, linking and synchronisation tools and analytics for automated user feedback The SAM platform was developed under the EU’s FP7, which ends shortly after IBC. Further enhancements are being made to the platform, such as improved usability and efficiency for the second screen production tool, based

SAM is intended to engage users in interactive multiscreen experiences

on feedback from broadcast editors, and on metadata aggregation requested by archive users. The next steps focus on exploitation and customisation and exploring opportunities of actual deployment. Adding in particular audio mining technologies – and perhaps even video recognition – would greatly enhance the effectiveness of automating the synchronisation, said the developer. Project partners include German broadcaster Deutsche Welle and British metadata aggregator BDS West10. Technology partners include Ascora (Germany) which focuses

on technology and architecture integration; Talkamatic (Sweden) handling voice control of smart TV applications; the University of Alicante (Spain) which deals with semantic characterisation/ exploitation of data and opinion mining from user comments; and NTUA (Greece) in charge of advanced linking. In addition, the University of Reading (UK) handles community building and user interactivity through social media and end-user evaluation analysis. TPVision (Belgium) develops smart TV applications, interfacing and multi-device dashboards for SAM. 8.F26

Slingshot adds new dimension to time lapse Syrp By David Fox A new cablecam system specifically designed for motion control time-lapse video has been introduced at IBC by Syrp. The Slingshot is used in conjunction with Syrp’s Genie motion control unit, and allows users to set up timelapse shoots of up to 100m in length. The lightweight accessory system comes in its own backpack, ready to take on location. The cable should be quickly set up using the Syrp ratchets, while the carriage folds for portability. To make the most of Slingshot, the Syrp Genie App has also been updated to add a greater range of motion control. When partnered with a Genie Mini, this new update not only allows for remote control of the new Slingshot

Strung up: Syrp’s new Slingshot cablecam with Genie motion control

but two- and three-axis motion control with the addition of the Syrp Pan Tilt Bracket, which was launched earlier in the year. Syrp has also expanded its Variable ND Filter line, introducing a Super Dark version providing light control for 6-10 stops, complementing the existing 1-8.5 stop Variable

ND Filter. Both are available in small (67mm) and large (82mm) with included step-up rings to fit onto other size lenses. Also new are two additional sizes of Syrp’s portable Magic Carpet slider line, at 60cm and 100cm, to add to the existing 160cm length. 12.E73

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Social sharing VR OUTLINED

LiveLike By Adrian Pennington

“On the right or left of the couch is an avatar of a person – which in the early stages of this development will be a representation of a person. It will be just head and shoulders, and eventually hands, but it’s not intended to be hyper-real.” What will enhance the feeling of being there with friends is localised audio. “If you’re watching a game and your friends are talking to you [via a head mounted device mic] it will sound as if they are a couple of feet away on your

right,” Lorenceau explained. “If you turn, you will see them and they will sound like they are in front of you. The sound of someone talking next to you changes according to where you are looking and this makes an extremely powerful feeling of being present with someone.” One issue is to synchronise the live video stream of the game with the audio component of ‘friends’ speaking. “We are fixing these problems,” Lorenceau added. 8.G03f

Streaming sports to virtual reality headgear claims to offer the next best experience to being present at the event, but what’s so good about not being able to chat with fans and friends next to you? The live social experience is what VR producers and tech developers are trying to crack. New York-headquartered firm LiveLike said it put social into its blueprint from the get-go and is introducing live sharing capabilities this year. “When you put on a headset and launch our app then immediately around you is the CG VIP suite,” explained Andre Lorenceau, LiveLike said it is introducing live sharing capabilities for VR this year IBC_Supporters_2016_half_v2_IBC Supporters Half 2016 05/08/2016 10:41 Page 1 founder and CEO.

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Meeting new content challenges Verizon Digital Media Services By Anne Morris OTT streaming and cloudbased delivery of content has become an industry norm, but it comes with its own set of challenges for content providers. Verizon Digital Media Services said it has recognised these trends in the industry and has set itself the challenge of enabling content creators, publishers, broadcasters and enterprises to securely and profitably deliver their content to audiences anytime, anywhere and on any device. The quality demands of this content has forced industry

leaders to re-evaluate their traditional TV and content delivery practices, especially when it comes to live event streaming. The company’s platform is designed to eliminate the involvement of multiple vendors by taking out the complexity and high costs of encoding content for the internet, apps and OTT offerings, by providing a simple platform that does it all. At IBC, Verizon is showcasing significant enhancements to its platform and discussing the impact of its acquisition of Volicon, a provider of video capture, archival, compliance monitoring and clip creation workflow for broadcasters. 14.C17

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IBC Supporters IBC thanks our supporters for providing the technology that powers the IBC experience.

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What Caught My Eye: IP all the way By Chris Forrester Thomas Edwards, VP engineering and development, Fox Networks engineering and operations, told delegates to IBC’s ‘What Caught My Eye’ session that few might realise that major sports events, such as this year’s Super Bowl, were already wholly dependent on Ethernet. “Today’s challenge is that it is pretty much

single vendor solutions. This session shows how much IP is changing, thanks to the now 54 members of AIMS (the Alliance for IP Media Solutions). By 2020, I want to walk into my facility and just see a complete data centre that’s wholly working with IP.” Edwards, and moderator Tom Marshall, had identified eight exhibitors at IBC who were leading the IP-based

A study from the Pay-TV Innovation Forum, released today at IBC, says that the industry has entered a period of change. “This is creating challenges, and opportunities, for pay-TV operators,” says the report, adding that 83 per cent of executives recognise that competition will get fiercer as pay-TV players compete with telcos and OTT providers. The survey, conducted by Nagra along with MTM, says that these pressures mean that innovation is more important, and urgent, for the sector. As

well as being one of their top three strategic priorities, 78 per cent of respondents believe that service providers will have to innovate strongly over the next five years. Pay-TV platforms will have to go beyond traditional services by focusing on multiscreen/TV everywhere (76 per cent), new types of content (74 per cent), and new content pricing and packaging strategies (73 per cent). Just over half of executives also see opportunities in advance advertising and data (54 per cent), as well as standalone OTT services (53 per cent). North American providers

By Ian McMurray The broadcast world is awash with data. The problems associated with that, according to Mike Kleiman, COO of Verimatrix, are two-fold. “There’s a huge amount data out there that operators could leverage with significant benefit,” he said. “However, that data is very often in silos. So, for example, marketing has access to some part of the data, and operations has access to another part, but neither can

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see what the other can see. The second is that much of that data is subject to stringent data privacy laws, limiting what can be done with it. “That situation isn’t made easier by the fact that different countries have different laws on the subject of data privacy, and that’s a real challenge for us,” he continued. “But,” he smiled, “we love conquering complexity.” At IBC, Verimatrix is announcing the availability of a quick-start evaluation program for Verspective Operator Analytics. This new

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OUTLINED

Embrionix IP Routing, Hall 8.B92

Arista

Fox Networks’ Thomas Edwards, planning for an all-IP world

IP Plumbing, Hall 8.A11

Panasonic

Evertz

IP Zone

HD transmission, Hall 11.C45

AWS Overture, Hall 1.D31/F29

Joint taskforce, Hall 8.G01

Suitcase TV

Imagine

IP Zone

IPhrame, Hall 2.C10/C15

IP Transition, Hall 4.A01

Live IP, Hall 8.G01

saw significant commercial opportunity in new forms of content that appealed to millennials and generation Z such as digital-first short-form content, on-boarding of thirdparty OTT services, virtual reality, and gaming. Some European and Asia Pacific pay-TV service providers also see value in providing OTT or gaming services on their pay-TV platforms, particularly through partnerships. Only a smaller number of large scale operators currently address business adjacencies such as advanced advertising and Internet of Things (IoT).

Awash with data

Verimatrix

change from SDI and between them delivering a significantly more agile infrastructure for broadcasters. The highlighted exhibitors were:

Innovation a priority for pay-TV By Chris Forrester

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program will, said Kleiman, help operators better understand how to securely and rapidly collate data from various sources in video services and demonstrate the benefits of actionable analytics across multiple departments in their organisation. For Kleiman, Verimatrix is in a strong position to help customers rise to the challenge of maximising the value of their data, given the company’s presence, experience and expertise. “That’s something they trust us with,” he said. 5.A59

The fastest workflows yet By George Jarrett The EBU has been working with several of its members on the development of technologies for the provision of personalised broadcast experiences. The stand demo is around a system that creates a playlist for each profile. “Each profile, or person, can watch the content off a personalised playlist. The user authentication, the way to associate the media devices with online identities, was one of the challenges, but we have a threelevel ETSI standard to tackle this issue,” said Michael Barroco, senior project manager, software engineering at the EBU. “The other thing is the recommendation situation, the ability to process all that data.

Barroco (left): automation brings speed

This is the full pipeline, the data collection, to processing the data, and then finally retrieving the recommendation to each user,” continued Barroco. “We have a full DVB multiplex behind the wall, which takes the live feed from the BBC IP studio, and then we generate the breaking news. We take some elements from the BBC studio, transform it into HLS to then be available on mobile devices.”

Taking filming to new levels Polecam By Heather McLean Autopod is a hot new powered telescopic elevation unit from Polecam, displayed at IBC. With an elevation range from 55cm to 125cm and taking payloads of up to 70kg, Autopod is opening up a new level of freedom and convenience for filmographers, according to head of business development at Polecam, Stephen Rutherford. He commented: “This is a very exciting product; there’s nothing else on the market like it. It packs down into a

custom-made case and as Autopod is modular, you can double, triple or quadruple stack them together to get the overall size you need. It also has programmable positioning for three levels with a soft start/ stop, so you can vary your shots as you please using the foot pedal or hand controller. Polecam is also showcasing its .7 wide angle adapter, which has been designed specifically for the Fujinon UHD TF4XA-1 (4mm lens). This screw-on lens converts the 4mm Prime to a 2.8mm focal length, increasing the horizontal FOV from 71 degrees to 95 degrees. 10.C49

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Females in the Broadcast Industry: How Eutelsat is changing the conversation OUTLINED

By Ann-Marie Corvin Saturday’s Females in the Broadcast Industry ‘Changing the Conversation’ event saw women gather to discus measures they were taking to encourage diversity in the industry. Guest speaker Claudia Vaccarone, Eutelsat’s head of market research and customer experience, said that after

experiencing “general uneasiness” within the satellite sector (in which women comprise just 30 per cent of the workforce) she and her female colleagues formed an official network, funded by Eutelsat. “The aim has always been to turn the conversation into something more actionable,” she said. “We didn’t want it to be polemic or political but we did want to provoke change, raise

awareness and inspire women to achieve more, and introduce them to other women working in the wider ecosystem of the aerospace and broadcast industries. Vaccerone added that initiatives have included inviting consultants to speak on issues from career development to public speaking. Vaccarone added that Eutelsat participates in a mentoring programme, matching female

New partner for Poland Lawo

“After thorough research and careful consideration, I’m delighted to confirm our partnership with L P Systems for Poland’s increasingly sophisticated IP technology markets.” “We are confident that IPbased products will define the

future landscape of broadcast technology investment,” By Mark Hallinger said L P Systems director Jarek Kierkowski. The company has announced “And with Lawo’s leading the appointment of L P position, particularly with its Systems to sell Lawo’s audio recent success in French and production, radio and IPBrazilian big sports events, based AV products in Poland. along with L P Systems’ “The selection depth of and appointment technical and of an appropriate operational partner for Lawo’s expertise, rapidly expanding we relish this IP portfolio is opportunity a strategically to work critical process,” closely commented alongside Charles Rowden, a leading Lawo’s European brand.” Jarek Kierkowski, director, L P Systems; Agnieszka Pyrich, L P Systems owner; and Charles Rowden, sales director Europe, Lawo sales director. 8.B50

First uncompressed video over IP audio monitor TSL Products By Heather McLean The new PAM-IP range from TSL Products is being showcased at IBC. It is designed to smooth the transition to an IP-based workflow. The PAM-IP range can monitor video, audio and its associated metadata from either a traditional 3G-SDI connection or a SMPTE 2022-6 IP stream. It is designed to work in a hybrid environment where an SDI-, AES- and analogue-based infrastructure can be monitored alongside an IP-based infrastructure. Pieter Schillebeeckx, product director at TSL Products, said: “PAM-IP is part of our strategy for monitoring in a hybrid world. At TSL, we recognise that the transition to an all-IP environment will not be immediate.

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“PAM-IP is part of our strategy for monitoring in a hybrid world,” said Pieter Schillebeeckx

For the foreseeable future at least, infrastructures will be hybrids where existing standards and technologies co-exist and interoperate with the new. “With the new PAM-IP range, our customers are able to utilise their existing equipment alongside their IP infrastructure, safe in the knowledge that the PAM-IP is capable of evolving with new video and audio over IP standards and protocols as

they mature,” he said. On the protocols, he added: “2022-6 is wonderful, but there’s no control element to it; you need something that manages all these connections and SMPTE 2110 should allow that.” Work began on 2110 in January this year, to develop a set of standards specifying the carriage, synchronisation and description of separate elementary essence streams over IP for live production. It should include NMOS, according to Schillebeeckx, which will enable broadcasters to identify compatible devices to make connections anywhere on the network. Customers can now monitor uncompressed video and audio over IP without superfluous format conversion hardware transition to an all-IP workflow. 10.B41

employees with mentors from businesses all over Europe. HBS’s office director Cosimi Lise revealed that the company is actively targeting and encouraging women to sign up to its live video production training, launched with EVS in April. FBI chair Sadie Groom also put out a call for more industry associations to join in the support for women working in the industry, and spoke of her desire

Claudia Vaccarone: Eutelsat’s all-female network aims to raise the visibility of women working in satellite broadcasting

tto launch an awards event to raise the visibility of women working in the industry.

KVM-over-IP comes to IBC2016 Argosy By Heather McLean Argosy, a distributor and manufacturer of HD active and passive studio infrastructure products for the broadcast industry, has partnered with Aten, specialist in connectivity and management solutions for keyboard, video and mouse solutions (KVM) over IP for the AV market. “In adding Aten’s KVMover-IP to our portfolio, we are responding to the increased use in software-controlled systems where broadcast desks are being overloaded with multiple computer terminals,” explained Chris Smeeton, business unit director at Argosy. “We’re trying to move ourselves up the food chain with customers, adding more products and services. We have been purely broadcast-

Smeeton: removing clutter from broadcast desks

focused, and now we will be broadcast and AV; AV is a huge market. Broadcasters’ central operations rooms are starting to look very much like data centres because it’s all about file-based technology now,” he said. Aten transmitters attach to PC systems located in a broadcast facility’s rack room or data centre, with receiver boxes connected to monitors in workstations across a facility, allowing shared access via IP from any workstation. 10.C51

An OB truly ready for Tomorrowland DB Video/Riedel Communications By David Fox DB Video’s new OB truck, Unit 10, has been designed to allow it do multiple remote productions. Based around Riedel’s MediorNet system, it uses MicroN and MetroN frames, plus Compact Pro stageboxes, “which means we can be in four or five locations, with several cameras in each, with one OB van,” explained Dimitri Beyaert, CEO. One of the OB’s first productions was Tomorrowland, the world’s biggest electronic music festival, with several stages a

considerable distance apart. The OB is mainly being used for Belgian broadcasters VRT and RTBF, and its first use was to cover all the Belgium games in Euro 2016. 0.B02

Beyaert has used distributed routing to handle multiple remote productions

11/09/2016 16:01

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HDR format debate re-opened OUTLINED

Dolby Laboratories Arri/Codex By David Fox

of 14 different formats. This is an unprecedented variety of what you can do, but we have so many clients and everyone wants a different format,” said Stephan Schenk, Arri’s MD.

Shipments of the new Arri Alexa SXT (Super Xtended Technology) started on Thursday, with three models: the standard SXT EV (for electronic viewfinder); the SXT Plus, with integrated wireless; and the SXT Studio, which adds mirror shutter and optical viewfinder. They use the boards from the Alexa 65, offering more power than the previous Alexa, to support twice as many codecs. Super Xtended: Schenk with the new Arri Alexa SXT “We now have a total

One is all you need Eutelsat By Ian McMurray The performance of what the company says is a unique onesatellite geolocation solution that is being deployed across its global monitoring network has been validated, Eutelsat Communications has announced. The SIECAMS ILS ONE service developed by Siemens Convergence Creators is said to assist in the localisation of interference signals without the need for an adjacent satellite, thereby increasing Eutelsat’s

ability to intervene in the event of accidental or deliberate interference to customer signals. Existing satellite geolocation systems call for at least two geostationary satellites in close proximity to obtain sufficient crosstalk for reliable geolocation signal processing, Eutelsat notes. Crosstalk on an adjacent satellite needs to be within the same frequency range and polarisation as the interference signal on the affected satellite. Even for multi-satellite operators, some satellites are isolated in terms of uplink frequency ranges, polarisation and footprint.

There are also four independent monitor outputs, which means a director, cinematographer or DIT can each configure it for the information they need. Codex worked with Arri to develop the recording and workflow system for the SXT, which incorporate a new revised Codex recording engine, similar to the system that was built into the Alexa 65. It supports the latest SXR Capture Drives with a data rate of 20GBps. The SXT has a new media bay, developed by Codex, with adaptors for XR and SXR Capture Drives, SxS cards and CFast 2.0 cards. 12.F21

This, says Eutelsat, is especially true for Ka-band satellites where crosstalk is either not applicable or too small to be measurable. “Having validated proof of concept, we are confidently deploying the one-satellite interference detection system,” said Mark Rawlins, Eutelsat’s director of the communications system control centre. 1.D59

Eutelsat has validated its one-satellite geolocation solution

Cloud-based asset management service launched TMD By Will Strauss A subscription-based service that provides asset management apps in the cloud has been launched by TMD and its distribution partner ERA. On show for the first time, Coeus will be hosted in ERA’s data centre in the UK and will offer a range of asset management applications that run on TMD’s Mediaflex-UMS platform.

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Cloud archiving – in the form of a fully managed digital content library – will be the first service to be made available, giving users the ability to manage, archive and restore their media content via a web client. Tony Taylor, chairman and founder of TMD, said: “Because this is targeted at media and production companies who want to be able to access their content, we have built the costs around moving and restoring large files cost

effectively. Whereas downloads can be a significant cost with established cloud providers, we have been able to build a pricing structure which is very attractive. This is likely to be extremely practical for media companies who need content storage near at hand with easy access, but don’t want the trouble of maintaining a data infrastructure.” Coeus is the result of a joint venture established by the two companies. 2.B59

By Will Strauss A side-by-side demo of Hybrid Log-Gamma (HLG) and Dolby Vision on the Dolby stand at IBC could re-open the debate about which version of high dynamic range (HDR) is best suited to live television. Using test footage shot separately by Sky Sports, BT Sport, and the BBC, the Californian manufacturer is attempting to show that, despite suggestions to the contrary, Dolby Vision is as applicable to live television as it is to recorded content such as movies. In July, the ITU announced an industry-wide HDR standard that included both the HLG specification, developed by the BBC and NHK, and the PQ (Perceptual Quantisation) specification on which Dolby

Vision is based. It has been suggested that HLG is more appropriate for a live broadcast environment, an idea refuted by Dolby. Roland Vlaicu, vice president of consumer imaging, Dolby Labs, told The IBC Daily: “We heard that HLG is the format of choice for live broadcast. Our point is, it doesn’t have to be. You can do everything with Dolby Vision and we’re showing that here. The underlying signal representation for Dolby Vision, which is the international PQ standard ratified by SMPTE and ITU-R, is perfectly capable of delivering a superior HDR experience for live in a way that optimises the production effort.” Vlaicu added that the PQ HDR camera output can also be rendered for standard dynamic range (SDR) using a specially developed Dolby algorithm. 2.A11

InfinityLink introduced Artel Video Systems By Heather McLean An integrated and scalable media transport solution designed for broadcast-quality applications, InfinityLink, has been launched by Artel Video Systems to fill a hole in its portfolio. InfinityLink, which sits between the company’s high-end media transport platform, DigiLink, and portable fibre optic transmission product, FiberLink, allows endusers to design and manage video, audio and data transport systems from studio to studio or from remote site to network operations centre. It is aimed at broadcasters, as well as sports, higher education and government applications, that do not require the level of support that telecommunications companies require and get from DigiLink. Paul Seiden, director of international and channel sales at Artel, commented: “We really had a gap between DigiLink and FiberLink. With InfinityLink we’re meeting a lot of broadcaster

requirements, so you can mix transport technologies IP and fibre as needed, access hot swappable cards, use remote monitoring, the satellite demodulator, plus it’s low power and affordable.” Artel has introduced the first members of the InfinityLink product line, including the IL6000, a space-saving 1RU chassis featuring 20x20 3G routing and Ethernet switching capabilities. The IL6000 includes on-board chassis management, enabling broadcasters and AV professionals to monitor, configure, and upgrade chassis and function module firmware with ease. 10.B20

Paul Seiden, director of international and channel sales at Artel, loves his InﬁnityLink

11/09/2016 13:50

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Flexible kicks on Route66 IBM Cloud Video scores OUTLINED

BroaMan By Mark Hallinger BroaMan has launched three new versions of its established Route66 router at IBC2016. The new 2RU design is a result of customer feedback and the multiple projects already delivered, said the company. Going forward, the Route66 platform will provide single channel, non-blocking 40x40 router ports in three versions — all with directly accessible fibre SFP (Small Form Factor Pluggable) or SDI. Additionally, each new Route66 features fibre ports which can be used to access built-in CWDM or DWDM multiplexers. The first version of

Route66 will offer fibre only, with 40 hot-swappable bidirectional SFPs; version two will have 32 SFPs and 16 SDI, 8-in and 8-out; version three will have 24 SFPs and 32 SDI, 16-in and 16-out. Route66 provides protocolindependent routing and transport, supporting all professional standards such as 3G, SDI, HD, 3G-SDI, ASI and MADI. The built-in redundant power supplies offer low power consumption of 10-40W. The new models are designed with a very efficient passive cooling system, which replaces noisy fans. BroaMan MD Tine Helmle cites the different combinations of SDI, SFP and CWDM multiplexers as a real advantage: “In addition, every

SFP port is bidirectional, both input and output, for maximum channel count – unlike many competitive models, which have switchable I/O, thereby losing valuable ports.” 8.C60

Helpful: BroaMan MD Tine Helmle and technical director Marc Brunke with the Route66 router

Wider Premium 4K zoom for HDR sports Canon Europe By David Fox A new wider angle zoom lens designed for live production in Ultra HD and beyond has been launched by Canon. The UJ27x6.5B IESD is a 2/3-inch lens for broadcasters needing high resolution and contrast for UHD high dynamic range workflows. The 27x zoom lens has a 6.5-180mm focal length, with a built-in 2x extender to double its reach, and boasts resolving power beyond 4K. It joins the existing UJ86x9.3B to expand Canon’s 4K Premium lens range, and is designed to bridge the optical zoom gap of current ENG, studio and field box 4K HDR lenses, offering easy handling

Sporting choice: Canon’s new 4K Premium lens, the UJ27×6.5B IESD

By Mark Hallinger Germany-based secure storage specialist FAST LTA has announced the Silent Brick Drive and have it on the stand at IBC2016. The 1U

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Aspera By David Wood IBM has announced new customers for the company’s Aspera hybrid cloud-based content sharing service. Dubai-based producer/ distributor Beelink Productions has been using Aspera to distribute drama content to its customers, while German action film producer Action Concept has been using the file-sharing service to transfer large volumes of video material between its German facility and a business partner in South Korea. UK-based VFX outfit Outpost VFX is now using Aspera to transport its portfolio of feature film, broadcast and advertising, music promos and virtual reality content. IBM Aspera Files is a software-as-a-service (SaaS) platform that enables the sharing and transfer of large files and directories directly from its native storage environment whether on

The use of fluorite and UD glass, plus Canon’s lens coating and anti-reflection technologies, control ghosting and flare, making it suitable for outdoor sport. It also boasts reduced focus breathing thanks to CAFS technology. 12.D60

drive features two slots for the movable, secure Silent Brick storage containers, offering up to 2x24TB raw capacity. Each Brick can be configured separately with its own shares and user rights and can be exchanged with all Silent Bricks storage systems.

A Brick contains 12 drives (disks or SSDs), keeping the set with up to four spare drives together for transport. Moving clips from archive to OB or between production locations becomes an easy, secure task, said the company. 8.A01

premises or in the cloud. The service is offered as an all-inclusive platform hosted on the IBM Cloud with built-in Aspera transfer service and IBM Cloud object storage. There is also a new payas-you-go option enabling a wider range of customers to use Aspera. IBM has also revealed that its live cloud video service Ustream has been used to live stream musical instrument company Roland Corporation’s 24-hour international music festival, which took place this week. The showcase event spanned major cities such as Tokyo, London, Los Angeles, and Paris, and featured live musical performances and more than 30 product launches. Created in January 2016, IBM Cloud Video, which includes Aspera and Ustream, supports media companies including HBO, A+E Networks, BBC America, Scripps Networks Interactive and Verizon. 7.G20

Organising by content Netgem

and a stylish new design. High contrast and high resolution should be maintained from the image centre to the edges and is claimed to be consistent in all wavelength regions of the B, G, and R channels as well as in the wide frequency bands from HDTV to 4K, and even beyond.

Easy and secure drive-based clips transfer FAST LTA

new customers

By Ian McMurray How best to design and configure the consumer interface is a challenge for many IBC exhibitors. For Netgem, the appropriate approach is to arrange it according to content. The company has now unveiled Gaming Avenue, a curated category that enables consumers to access some of the biggest franchises in gaming on their TV, via the cloud. Netgem is launching the GameFly Streaming service within Gaming Avenue, providing what it describes as a unique and high-quality gaming experience to customers without the need for a video game console system. Extending the #TelcoTV offering

from connected TV to connected entertainment and an integral component of Netgem’s range of content services, the company said that Gaming Avenue represents the first step towards Netgem’s connected home ambition, through its expansion into a full suite of content-driven entertainment services for consumers. Netgem’s managing director for Europe, Sylvain Thevenot, also sees an opportunity created by the increasing affordability of sound bars, making the TV a viable music delivery device. Accordingly, Netgem is now including ‘music’ as a content category, giving users simultaneous, single screen access not only to external sources, but also to their own music libraries. 5.B33

11/09/2016 13:50

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