Broadcag - americanradiohistory.com€¦ · BEYOND THE HEADLINES DOWNLOAD 12 Dual -polarization weather Prepare now for the upcoming change in meteorological technology. FCC UPDATE

Broadcag1A'WW. broadcastengineering.corn A PENTON MEDIA PUBLICATION

THE BATTLE FOR SPECTRUMIt's " on" for broadu ters

nu4K2K WORKFLOW3uild nova for higher resolution imagery ..

TAMING THE 2.4GHZ BANDEven unlicensed devices needfrequency ccordination

MANAGING LOUDNESSThere is no "one size fits all" solution

www.solidstatelogic.com

Big console power in a compact,simple and affordable package.

Integrated 'Production Assistants' like Dialogue Automix and 5.1 Upmix Renowned SSL reliability and support Premium audio quality, ready for 5.1 production Simple to install with flexible I/O options Easy to operate for users of all skills levels

Take the video tour at:

www,cni icistatetogic.com/Cio

Get in touch

East Coast -

Steve Zaretsky I T: 1 (212) 315-1111 ext. 15 I [email protected] Coast -

George Horton I T: 1 (213) 249-9229 ext. 15 I [email protected]

Broadcast Audio. This is SSL.Solid State LogicSOUND H VISION

Oxford +44 (0)1865 842300 New York i (212) 315-1111 Los Angeles 1 (213) 249-9229 Paris +33 (o)i 48 67 84 85 Milan +39 039 2328 094 Tokyo +81 (0)3 5474 1144

Make the Most of Your MediaYour media is your lifeblood. From it f ows the two most essential

e ements of your business: creativity and profit.

Whether you manage a multinational broadcast facility, run a local news

station, or serve as creative dirtor of a busy post production house, you

can rely on Avid to provide the most advancad, collaborative workgroup

capabilities in the media industrj today, including

Agile media management

Affordable shared storage

High impact, low cost news

ntegrated sports marketing

t more. Visit www.avid.comjmakethemost

c 2011 Avid Technology, Inc. All rights reserved. Product features, veciications. system requirements, and avafability are subject to crange without notice. Avid and the Avid logcare trademarks or registered trademarks of Avid Technology. Inc. in he US. and other countries. All other trademarks contained herein are the property of their respective owners.

TABLE OF CONTENTSVOLUME 53 I NUMBER 12 I DECEMBER 2011

BroadcastEngineering.

FEATURES40 The battle for spectrum

The spectrum debate is hotter than ever, buthow did we get to where we are today?

44 Taming the 2.4GHz bandPlug -and -play devices need coordinationto avoid interference in this band.

48 Intelligent optical networksThe technology can increase survivability andefficiency of video distribution networks.

54 Mobile video encodingEncoding services can streamlinemultiscreen video delivery.

BEYOND THE HEADLINESDOWNLOAD

12 Dual -polarization weatherPrepare now for the upcoming changein meteorological technology.

FCC UPDATE18 Public station files may move

The FCC has released a proposal tohost the files on its own website.

DIGITAL HANDBOOKTRANSITION TO DIGITAL

20 Facility A/V timingA/V sync remains a problem evenas awareness is at its highest.

COMPUTERS & NETWORKS24 JPEG 2000

Transport systems using the codec are ripe fordevelopment, but they must be interoperable.

PRODUCTION ROOM28 4K2K

The format may be a surprise to broadcasters,but it paves the way to Ultra High HD.

continued on page 6

4 broadcastengineering.com I December 2011

ON THE COVER:The battle f)r spectrum continues unabated, but howdid auctions become the fccal point, and are there anyalternatives to them?

Blackmagic

Welcome to the most exciting wayto create television programming... Live!

Introducing the world's most advanced live production switcher! ATEMswitchers include advanced technology and powerful features, all built into a

familiar M/E design that's fast and easy to use! With an advanced broadcast

SDI based design, ATEM also includes HDMI connections for connectingHDMI consumer cameras or computers! The new ATEM has been totallyredesigned with Blackmagic Design technology and quality. Live switchingmultiple cameras is the lowest cost and fastest video production possible!

Live Creative Power

Get the most creative solution for live switching, withcut, mix, wipe, dip, DVE, graphic wipe and stingertransitions! Load clips into the 2 built in mecia playersfor exciting custom animated stinger transiticns! ATEM

includes a built in DVE with 3D borders, light source and drop shadow!You can even use the DVE for transitions!

Incredible Features

1..". Only ATEM includes 4 upstream keyers, each with

WSindependent chroma, pattern, shaped and linear

keying, 2 downstream keyers, graphic wipes, stingertransitions, 2 built in media players, DVE transitions and

more! The built in multi view allows all cameras, preview and program to beviewed on a single SDI or HDMI monitor, so ATEM is perfect for portablelocation use! Now you can cover any live event, anywhere!

More Connections

ATEM includes loads of SDI and HDMI connections forprofessional SDI cameras or HDMI consumer cameras!All inputs feature re -sync so you can plug in anything!You get 6 program outputs in SDI/HD-SDI, HDMI, HD

component and USB 3.0, plus down converted SD -SDI and compositevideo. The multi view includes SDI and HDMI, plus you get 3 aux outputs.

Built to Perform

ATEM uses a familiar M/E style of operation so you getan instantly familiar workflow that's fast and easy to use.

ATEM includes a software based control panel for Macand Windows! If you need a hardware control panel then

simply acd the ATEM 1 M/E Broadcast Panel for a true broadcast grade

solution. ATEM even uses an FAA certified operating system for a high

reliability broadcast grade design.

ATEM 1 M/E Production Switcher=rt M her coass,s ifl.'woes Mac and W

ATEM 1 M/E Broadcast PanelTraditional M/E style broadcast dually hardware panel.

52,495

$4,995

Learn more today at www.blackmagic-design.com/atem

TABLE OF CONTENTS (CONTINUED)

VOLUME 53 1 NUMBER 12 1 DECEMBER 2011

SYSTEMS INTEGRATIONNEW MEDIA NETWORKS

31 Real loudness controlThere are no "one size fits all" systems, andengineers must tailor each system individually.

SHOWCASES34 WOWT:The foundation

for the Gray ModelThe bold design removes master control andcombines production, ingest and playout.

NEW PRODUCTS & REVIEWSFIELD REPORT

60 Avid's S5 -BP audio console

APPLIED TECHNOLOGIES61 TC Electronic's loudness meter

63 Digital Rapids'Transcode Manager 2.0

65 SRS Labs' Circle Surround

TECHNOLOGY IN TRANSITION66 Satellite services and systems, part 1

Satellites will likely enjoy an advantage for high -

quality broadcast distribution for some time.

NEW PRODUCTS68 TV One 1T -CT -633 and more ...

DEPARTMENTS8 EDITORIAL

70 CLASSIFIEDS73 ADVERTISERS INDEX74 EOM

JUST THE FACTS!Connected CE devices in the home will account for27 percent of all OTT video transactions in 2016, upfrom 6 percent last year, according to a new studyfrom IMS Research. The study finds that a key driverin this growth is the geographic expansion of OTTservices, such as those from Netflix and Amazon.IMS Research forecasts that by the end of 2016, morethan 133 million TV households worldwide will beaccessing OTT content via their pay -TV STBs.

Learn more at www.broadcastengineering.com


CONVERTERS FORPROFESSIONALS

VERSATILE AFFORDABLE RELIABLE

$495

0 motrox MC -100

Dual SDI to HDMI Mini Converter for 3G/3D/HD/SDMatrox MC -100 lets broadcast engineers anc NV professionals satisfy their diverse

needs when it comes to managing SDI signals within their environments - for

monitoring, distributing, switching, multiplexing, and processing 3D in real time. Until

now, you have been forced to purchase different devices to perform these tasks.The new Matrox MC -100 solves all these challenges in one inexpensive, easy -to -use

device. It is a dual SDu to HDMI mini converter that supports a wide range of displayresolutions through 3G, Dual Link, HD, and SD -SDI. This single portable unit can be

used as a HD -SDI switcher, a distribution amplifier, a multiplexer, and a 3D processing

unit, making it the most versatile mini converter on the market. It should be in every

video professional's toolbox.

0 motrox Convert DVI Plus

HD -SDI Scan Converter with Genlock and Region -of -Interest SupportMatrox Convert DVI Plus lets broadcasters easily and economically take thecomputer -based consent that is quickly becoming a key part of the nightly news

to air. It's ideal for creating broadcast video from computer applications suchas Skype, YouTube, Google Earth, video games, weather radar, maps, and web

browsers, as well as citizen journalists' mobile phone videos.

www.matrox.com/video

$1495

matiox1.800.361.4903 (US and Canada), 514.822.6364 Digital Video Solutions

EDITORIALDEPARTMENT

Ignore the obviousThe report's executive summary begins, "Everyday, more and more Americans begin usingSmartphones, tablets and wireless modems toaccess new mobile applications and services ...

Some have argued that without a fundamental shift ofspectrum from broadcasters to commercial wireless op-erators, the nation will soon face a massive 'mobile trafficjam, and that auctioning broadcast spectrum will delivera revenue windfall to the U.S. Treasury?'

This report titled, "The Economic Value of BroadcastInnovation - Impact on the U.S. Treasury," was preparedfor the Sinclair Broadcast Group by Business Analytix.

It presents a plan that takes advantage of broadcaster'sefficient one -to -many distribution, but adds a new layer of'converged ... point-to-point (unicast) data/services pro-vided by other wireless operators?'

Under the proposal, OTA broadcast could work withwireless services to distribute video and IP-based content.Mark Aitken, Vice President of Advanced Technology forSinclair Broadcast Group, calls the solution a "WIN -WIN -WIN" for the U.S. Treasury, consumers and broadcasters.

The study suggests the best way to meet projectedgrowth for mobile IP is to allow broadcasters to deliverpoint-to-multipoint Broadcast Overlay technology thatwould create, in the report's words, "the most efficient pos-sible delivery of high bandwidth data to mobile users."

Certainly, the report states well the case for TV sta-tions being allowed to deliver IP services. No matter if onefocuses on total revenue generated to the treasury, num-bers of channels of data delivered or benefits to consumersand broadcasters, this solution seems attractive.

I admit to looking first at the needs of American viewerswhen it comes to video and suggest that broadcasters arebest qualified to meet them. Several key data points fromthe survey similarly conclude that Sinclair has a good idea.The following seem pertinent:

The FCC's National Broadband Plan targeted 120MHzof TV spectrum for reclamation and its predicted revenuegeneration. Yet, some experts say only 84MHz may be us-able because of interference and border issues. If so, theamount of net spectrum available for mobile broadbandmight only increase by about 15 percent.

The need to serve an ever-increasing audience ofnew mobile users with data and video will not go away.In mid -November, Amazon announced it will beginproviding Hulu Plus on its upcoming Kindle Fire tablet.Does anyone think other tablet manufacturers' vendorswon't do likewise?

The Pew Excellence in Journalism has a new reporttitled "The Tablet Revolution and the future of news."The report claims that 77 percent of tablet owners usethem daily. More than 53 percent use them to view newsdaily. And, they spend 95 minutes daily on those devices.While many of these viewers are connected to WiFi, oth-ers rely on 3G and higher services - the type of spec-trum FCC Chairman Julius Genachowski wants to takefrom broadcasters.

The Business Analytix report summarizes the dilemma,"... even if the total available spectrum is nearly doubled,and even if improvements in technology multiply the ca-pacity of that spectrum fourfold, the eightfold increasein supply over the next 15 years would be dwarfed by thegrowth in demand: consumer mobile data traffic alone isprojected to increase almost seventy -fold by 2026."

In layman's terms, the report is saying regulators canplay spectrum grab all day, and it still won't be enough tomeet the growing demand.

Chairman Genachowski's argument for reclaiming TVspectrum and selling it to the highest bidder reminds meof Netflix commercials. "What is two plus orange? Uh,twelve point three. Correct! What is the sixth Monday inDecember? Friday. Correct! How much money will UncleSam get from auctioning off television spectrum? A zilliondollars. Correct!"

EDITORIAL DIRECTORSend comments to: [email protected]

DE


Realize......the benefits with Dalet Media

Asset Management Solutions

Dalet solutions deliver business benefits

RadiosuiTE MediauFE

Enterprise EDITION

Sports FACTORY Dalet BRIO

NewssulTE

Manage more effectively

Add value to your assets

Maximize convergence

Streamline workflows

Improve productivity

Expand your business potential

DALET

14111 =I to to ra

cats xa cit iza C;11 callAIL3 tk:414.41c.10tiza7;?EaCitiglit31;41C31434c4 i21 14 Li ea taialia =I UsZICL,ILilUigicasau

"dr

c.2 cal rza IICIIINOXINIIIIIIiiiiiill=11611.11C11

IC3 1 r.11 LI samasmaa ,Liva talwit*

PX Ma LA La 1611 g;$ r.4. rLa GI 141=111111Cal

Image Courtesy of NBA D -LeagueOptional MC...aster 850 CS Hardware Conimil Surface

Learn more about TriCaster at:wwvEnewtek.corn

TAKE CONTROL

0C150 TriCaSte

NewTek TriCasterTM 850 EXTREME is like having an HD live truck hat fits in your rack or on yourdesk. In live produ ;ton, there's no time to second guess. We get it, that's why we buiki TriCaster.

Affordable 24 -channel, native HD system (up to 1080p) that broadcasts, streams, projects and records

Record up to eight channels of video, simultaneously, with NewTek IsoCorderrM technobg!

Go wireless with Apple® Airplay® to del ver video and audio from Pad®, IR:10, or Phone®

Eight external sources with the ability to mix and match formats

Eight virtual/mix ciennels for layered svvrcher effects

18 HD, live virtual sets provide a networc-style setting in a small space

Add the TriCaster 850 CS hardware contol surface and have illuminated butons, a premium Tharand three -axis joystick mapped directly ti the TriCaster 850 EXTREME workspace. Nay, youcan make split-second decisions with your eyes on the show and your hands at the controls.

It's time. Take control.

NewTekTriCaster

3513 EHCI eme

TrCasler is a traclernaacri NewTek Inc 0 2011 NewTek Inc All nghts reserved

DOWNLOADBEYONDTHE HEADLINES

Dual -polarizationweather radar

Is your station prepared?

n the decades since World WarII radar operators in search ofenemy aircraft inadvertentlydiscovered precipitation returns

on their scopes, weather radars haveused horizontal scanning techniquesto identify the location and inten-sity of rainfall in the atmosphere.Now, with meteorology's move intodual -polarization radar technol-ogy - which employs both horizon-tally and vertically polarized signalsto detect weather targets - thingsare changing.

Dual -polarization has been anemerging weather capability in thebroadcast industry for a few yearsnow, with several stations across theU.S. already employing advanced du-al-polarimetric radar systems. As theU.S. National Weather Service's entireNEXRAD radar fleet is upgraded todual-pol by the end of 2013, how-ever, this new technology is quicklybecoming a relevant matter to every

BY MICHAFL RICHARDSON

broadcaster in the country. So what'sdual-pol all about?

Radar meteorologyWhen it comes to conventional

weather detection, this much is uni-versal: Radars operate by transmitting

horizontally polarized RF energy puls-es, which are reflected back by pre-cipitation (anything from raindropsand hailstones to sleet and snow)suspended in the atmosphere. Thedrops and particles that make up pre-cipitation are known meteorologically

Reflectivity and velocitymeasurements only

FRAM E GRAB A look at the issues driving today's technology

Children's televisionAs many as three out of 10 kids age one or younger have aTV intheir rooms. By age five, the number is nearly half.

50 -C

o64;

40

'- C330

30%0 a) CU"

-0

c.)

CL 20

10

00 to 1 -

year -olds2- to 4 -

year -oldsAge groups

5- to 8 -year olds

Source: Common Sense Media http://www.commonsensemedia.org/sites/default/files/research/zerotoeightfina12011 pdf

Figure 1. With dual -polarization, radar isable to measure the direct size, shapeand moisture content of hydrometers.

as hydrometeors. Using the proper-ties of the returned signal as a basisfor calculation, conventional Dopplerradar systems produce two data prod-ucts of extreme value: reflectivity andvelocity, which depict the patternsand intensity of precipitation andwind, respectively.

In dual-polarimetric applications,the radar transmits simultaneouslyin two polarizations, horizontal andvertical, allowing the radar's signalprocessor to make direct measure-ments of the size, shape and moisturecontent of hydrometeors, as shownin Figure 1. (Frozen hydrometeorshave less water content than rain.)


CONVERTwww.aja.com

Convert with AJA.Mini -Converter and Rackmount products that make professional workflows work.

F52. One box that does it all.F32 Dual -channel Universal Video/Audio Frame Synchronizer and Format Converter

":1- support of all broadcast videoforrr ats, FS2 makes matching up disparate

vceo and audio systems simple. Featuringa fexible,"anything-in, anything -out"a-chrtecture, the dual -channel FS2 can be

used as two separate FrameSin( ronizers/Format Converters, cr the twocisnnels can be combined in manypowerful ways - for example 3D video orsde.par keying where both the video andbackground graphics can be upco werted and combined.

FS2 'eatures comprehensive analog and digital I/O, withhull input and output mapping allowing any I/O port tobea6signed to either processing clannel.

F5 :an also be expanded with Dolby E Encoder, Decoder

FiDO. Compact Fiber.4D1rOptical Fiber Converters

Wild- a compact

design ideal for racks, 4 .tr LC KS and crowdedfaicil ties, FiDO allows

the transport of SDI,f -D -SDI, and 3G SDI

over distances up to 10km using standard single-moc e Fiber optic cable with your choice of LC, Sor SC connectors. With 9 models to choose froF DO offers ur matched flexibility and cost e

a es el °a "

NEW

.Two independent channels with full I/O mapping

Dual Up/Down/Cross converters supporting 3G/HD/SD

General purpose video frame synchronization

Analog -to -Digital and Digital -to -Analog audio/video conversion

Mux or Demux two separate HD signals from one 3G SDI signal

Convert 3G/HD/SD video over fiber to/from SDI (BNC)

Use the built-in video processing amplifiers to adjust and/or color correct

Hi5-Fiber. Fiber HD/SD-SDI toHDMI Video and Audio Converter

Designed for driving HDMmonitors from a single cabconnection, Hi5-Fiberconverts -ID/SD-SDI audioand video over single -mode1310 nm Fiber optic cable(ST -style Fiber connector) toHDMI. Two channel RCA

audio outputs for separamonitoring are also ay

HDMI.

Wfr 'PrHolt u

AuIPISMN

, NON Sn

Find out about our latest Convert products at www.aja.com

Because it matters. AdtViVV)VIDEO SYSTEMS


A waveguide splitter (middle) is shownmounted with an adjoining waveguideon the left in the bottom image.

Since the radar processor can nowmeasure the shape of any hydrome-teors the signal has encountered, itcan calculate the type of precipita-tion your viewers may expect. In thisway, the guesswork needed for themeteorologist to accurately distin-guish between, for example, hail andheavy rain, or snow and freezing rain,

At top left, an image shows NEXRAD Level Ill Reflectivity. The above image on theright shows Hydrometeor Classification data from the same scan. Here, very highreflectivity levels (in red) have been revealed as hail instead of merely heavy rain.

is eliminated. Dual-polarimetric ra-dars can more accurately determineinstantaneous rainfall rates, too, soflooding can be more accurately fore-casted. And, there's lot more to comefrom dual-pol advances in the future.

Choosing dual -polarizationTelevision stations have two op-

tions when it comes to securing adual-polarimetric live radar of theirown: implement a new installa-tion, or upgrade legacy radar hard-ware with the new capability. Froma budgetary standpoint, maximizingcurrent hardware is always the pre-ferred method, but it's important tonote that due to increased signal pro-cessing demand and other require-ments, not every radar currently inuse will be up to the task of handlingdual-pol operations.

Peak transmitting power is an areaof serious consideration. To achievesimultaneous horizontal and verticaltransmission, a dual-pol radar's RFpulses are physically split between thetwo polarizations, effectively halvingtransmission strength per channel.

The risk in using lower poweredradars for dual-polarimetric appli-cations is attenuation, caused whenthe transmitted beam is scattered andabsorbed as it travels through stormcells. The weaker the signal as it reach-es a target, the lower the resolution ofthe returned measurements. It's really

this simple: Brute force equals betterpunching power and higher data res-olution, and that's important when itcomes to dual-pol radar.

In many instances, the most im-mediately visible modification to aradar is the addition of an RF pal-ette behind the antenna, mounted toone of the pedestal's swing arms. Thepalette contains a waveguide splitterthat divides the RF signal emanatingfrom the radar's klystron or coaxialmagnetron transmitter into sepa-rate channels. As the newly separatedpulses travel through the remainingwaveguide, one channel is physicallyconverted into a vertical polarity be-fore the signal is dispatched throughthe feed horn.

On the other side, the oppositeswing arm hosts, in this example, anantenna -mounted electronics mod-ule -a climate -controlled box hous-ing receiver components, as well aslow noise amplifiers (LNAs) that con-vert the received transmission into anelectrical signal the Doppler signalprocessor can decipher. This configu-ration also allows the radar to be moreeasily calibrated by directly injectinga test signal into an LNA without theattenuation or loss associated withdirectional couplers. The solid-stateclimate control system maintains aninterior module temperature of 20°Cto 30°C throughout the year to ensurereliability and signal stability.


Always the Best.Now Even Better.

I111111111111111111111111111111111111WIIMIIIIIIiiIIII

17:-'77 Utah Scientific 400 Se

11111111111111111111111111111111111111111111111111111111111

1iii11111ifillimIMIIIIMMOMMIIMIMIlini101--r7 Utah Sdenttfic 400 Ser

1111111111111111111111111111111111111111111111,111111111111

111111111111111111111111111111111111111111111111111 1111

1111111111111111111111111111111111111111111111111 1111

tW.77 Utah Scientific400 Se

111111111111111111111111111111111111111111/111111 1111

111111111111111111111111111111111111111111111111111 1111

111111111111111111111111111111111111111111111111 1111

111111111111111111111111111111111111111111111111,1111

111111111111111111111111111111111111111111111111,1111111111111111111111111111111111111111111111111111111 1111

111111111111111111111111111111111111111111111111'.111111

111111111111111111111111111111111111111111111111.111111

111111111111111111111111111111111111111111111111,111111

own Sdentific400

11111

.111111111111111111111111111111111111111111111111

11111

111111111111111111111111111111111111111111111111

111111

111111111111111111111111111111111111111111111111

111111

111111111111111111111111111111111111111111111111

11111111114r

111111111111111111111111111111111111111111111111

111111111111111

-6 r b r -r rt-E1+HH--ci

11111111111111111111111111111111111111111111111111 111111111111

1111111111111111111111 N111111111111111111111111111111111111111

111111111111111111111111111111111111111111111111111111111111111

111111111111111111111111111111111111111111111111111111111111111

11111111111111111111111611111111111111111111111111111111111111

111111111111111111111111111111111111111111111111111111111111111

111111111111111111111111111111111111111111111111111111111111111

111111111111111111111111111111111111111111111111111111111111111

111111111111111111111111111111111111111111111111111111111111111

11111111111111111111111111111111111111111111111111M11111111111

1111111111111111111111i1111111111111111111111111111111111111111

11111111111111111111111111111111111111111111111111111111111111

F Utah Sclera., fit 40)Serres1111111111111111111111 1111111111111111111111111111111111111111

1111111111111111111111 111111111111111111111111111111111111111

1111111111111111111111 111111111111111111111111111111111111111

1111111111111111111111 1111111111111111111111111111111111111111

1111111111111111111111 1111111111111111111111111111111111111111

1111111111111111111111 111111111111111111111111111411111111111

1111111111111111111111 1111111111111111111111111111111111111111

1111111111111111111111 111111111111111111111111111111111111111

1111111111111111111111 1111111111111111111111111111111111111111

1111111111111111111111 1111111111111111111111111111111111111111

1111111111111111111111 111111111111111111111111111M11111111111

1111111111111111111111 1111111111111111111111111111111111111111

The UTAH -400 Digital Router is Better than Ever.The UTAH -40o Digital Routing Switcher from Utah Scientific, the first 3G compatiblerouter, the first router to cover all sizes from 32X32 to io56xio56 with a single familyof models, and the first router to offer a full i.o56xi.o56 system in a single rack, haslong been established as the industry's best choice for any routing application.

Now, this amazingly flexible family offers a wide range of exciting new capabilitiesincluding MADI routing, embedded audio processing, integrated multi -viewer options,

and H.264 monitoring.

Coupled with the amazingly powerful Utah Scientific control system which combinesease of use with comprehensive management and monitoring features, including

SNMP, the UTAH -40o is even more clearly the best choice for your router requirements.

Utah Scientific is the worldwide Leader in routing and master control systems.Contact us today for full details on how the UTAH -40o can solve your routing problems.

The Best in the Businessikii=7 Utah Scientific

iV vv VV u i d ii S l e iu l 1 i l l. l U til


Inside the radar shelter on theground, additional modifications aremade to the radar equipment cabinet;for example, any new transmittingequipment would be installed duringthe upgrade. To support the increasedprocessing requirements, a higher-

spec Doppler processor will typicallybe retrofitted to the legacy hardwarestack. The processor contains a suiteof components, including built-intest equipment (BITE).

The BITE is a multi -purpose andessential modification. In additionto performing continuous systemchecks, it allows radar technicians to,with a station's permission, remotelydial into the radar system. Trouble-shooting, calibration and other sys-tem checks can then be performedwithout waiting for the vendor to ar-rive on -site, or taking the radar sys-tem offline.

The NEXRAD factorDual -polarization is not func-

tionality limited to privately ownedradars. In fact, the NEXRAD radarnetwork for the National WeatherService will soon be upgraded as well.As the upgrade program moves intonationwide deployment, NEXRADwill become even more relevant toyour station as dual-polarimetricdata products become available. Tofind out when your local NEXRADsite will receive the dual-pol upgrade,log on to http://www.roc.noaa.gov/WSR88D/DualPol/Default.aspx,and click the "Deploy Schedule" link.

ConclusionThe future of broadcast weather ra-

dar is in dual -polarization, but as withany transition, there are sure to be chal-lenges. One of these is preparing thebroadcast meteorology community

for the influx of new data it willsoon have, whether through a lo-cal NEXRAD upgrade, or a privatelyowned weather radar. Knowledge ispower, so encourage your station'sweather team to attend seminars onthe topic. Both the National WeatherService and at least one vendor havebegun their own education efforts,ensuring broadcast meteorologistshave the tools to understand dual-polarimetric data products, andhow the data can be used to theirstations' advantage.

By anticipating the role dual-polarimetric radar will soon play inyour market, your station can pro-vide even better local radar informa-tion, and harness the potential of thisnew technology.

Michael Richardson is marketingcommunications manager, BaronServices.

BE

HYDRA2, FROM CALREC.

INTELLIGENTLY NETWORKED.

calrec.com

1

CIA R IEICill 1

1

Putting Sound in the Picture

Hydra2 forms the routing backbone for both the Apolloand Artemis consoles.

These desks are just one type of client capable interfacingwith Hydra2, which provides an enormous 81922synchronous router at its core. A range of I/O boxes canbe connected via high density 512 bi-directional copperor fiber connections, while mini-GBIC connectors keepsconnections simple and installation easy.

Highly scalable, Hydra2's router is a TDM-type router,capable of 'one -to -many' routing and truly point-to-point.This allows for enormous networks with highly flexibletopologies involving multiple routers, inputs/outputs,control rooms and studios. And with adaptive, intelligentsoftware which automatically recognizes changes to thenetwork and updates all its clients, it's also a very socialnetwork.

Hydra2. Minimizing installation overheads and maximizingaudio routing flexibility.

HYDRA2


Switch!Broadcast solutionsfor conqueringall your challenges.Our solutions take you into the digital age

in a flash - reliably, anywhere and on time.

Prime -choice broadcasting solutions:

i Low cost of ownership

All power classes

Future -oriented investment

Suitable T&M equipment

On -site support

All digital standards

Always a step ahead with solutions

from Rohde &Schwarz.

www.rohde-schwarz.com/ad/switch/be

111111110°

"Ieva"")li17' 111111100

FCC UPDATEBEYONDTHE HEADLINES

Station files may moveThe FCC proposes to host public files on its website.

nder a proposal releasedin October, the FCCplans to host on its web -

site all television stationpublic files.

The proposed planLicensees would have to compile

most of the same materials current-ly required to be maintained in thepublic file. But for the first time, thepublic file would include sponsor-ship identification information forfurnished programming, in additionto agreements about shared servicesamong licensees. All such materialswould have to be scanned and sub-mitted to the commission, whichwould then post them on the FCC'sown website.

The online public file would notinclude correspondence from thepublic; that would have to be main-tained in a correspondence file at thestation, available for public review.All political advertising informationwould have to be submitted to theFCC, however.

DatelineOn or before Feb. 1, 2012, non-

commercial TV and Class A stationsin Kansas, Nebraska and Oklahomamust file their biennial ownershipreports.

Television stations in Washing-ton, D.C.; Maryland; Virginia; andWest Virginia must begin their re-newal pre -filing announcements onApril 1, 2012.

By Feb. 1, 2012, TV and Class ATV stations in the following loca-tions must place their 2012 EEO re-ports in their public files and postthem on their websites: Arkan-sas, Delaware, Kansas, Louisiana,Mississippi, Nebraska, Oklahoma,New Jersey and New York.

BY HARRY C MARTIN

Despite the volume of such infor-mation and the practical difficulty ofkeeping up with the flow of politicalbuys in the midst of an election sea-son, the FCC proposes that all po-litical files be uploaded "immediatelyabsent unusual circumstances?'

The commission is proposing toeliminate the need for TV licens-ees to include a copy of their con-tour maps in their public files, but

This initiative [FCCForm 355] was

broadly opposedby the television

industry.

they would have to include expressidentification of their main studiolocations. The FCC also proposes torequire TV stations to air announce-ments of the existence, location andaccessibility of their online publicfiles at least three times per week aspart of their station identifications.

FCC Form 355In 2007, the FCC proposed that

TV licensees be subject to "enhanceddisclosure" of their public service pro-gramming efforts using a new FCCForm 355. The form, which neverwent into effect, sought detailed in-formation about a wide range of pro-gram categories, e.g., national news,local news, local civic affairs, localelectoral affairs, local programming,paid and unpaid PSAs, underservedcommunities programming, religiousprogramming, and independentlyproduced programming. This initia-tive was broadly opposed by the tele-vision industry.

The proposed changes to the public

file rule vacate the 2007 order creatingForm 355. But the commission indi-cates that it is seriously considering analternate reporting requirement thatsubstantially streamlines and revisesForm 355. According to the FCC, theindustry can expect to see a notice ofinquiry seeking comments on that al-ternate approach.

Formatting and uploadingAs the commission envisions the

transition to an FCC -maintainedonline public file, each licenseewould be required to upload into itsonline FCC file location all materialsalready in its public file. The com-mission has delegated to the MediaBureau the task of determining how,when and in what format the con-tents of several thousand public filesare to be uploaded.

Public comments invitedThis public file initiative is merely a

collection of proposals. The commis-sion takes pains to solicit commentson the wide variety of questions thatthese proposals raise. A separate sec-tion of the notice of rulemaking so-licits cost/benefit analyses relative tothe various proposals. Television li-censees should review the proposalscarefully with an eye toward provid-ing the commission as much detailedinformation as possible, particularlywith respect to any burdens the pro-posed system is likely to impose. Itis clear from the text of the proposalthat this item was drafted with thepreconceived notion that any suchburdens would be minimal andeasily absorbed. BE

Harry C. Martin is a member of Fletcher,Heald and Hildreth, PLC.

ElSend questions and comments to:[email protected]


PRODUCTION PREPARATION PACKAGING DISTRIBUTION DELIVERY

More video. Morecapacity. Lower cost.Omneon MeciaGrid.

To satisfy the rapidly growing consumerdemand for content, you need to produceand distribute more video assets. Thelatest generation Omneon MediaGridoffers the performance and scalabilityto directly support intensive medic

applications, while reducing the costof storage management and optimizingyour video production workflows.

0 0 0 Learn more at harmonicinc.com/video-economy

harmonic,ENABLING THE VIDEO ECONOMY

TRANSITION TO DIGITALDIGITAL HANDBOOK

Facility A/V timinManaging AN sync remains challenging for broadcasters.

A'though content distribu-tors have recently gottenthe message on audio op-erations - in the form

of federally mandated requirementson commercial and program loud-ness - the issue of well -managedA/V sync remains unresolved. De-spite awareness by program distribu-tors, this problem has persisted, withdigital technology both exacerbatingit and providing solutions for it.

Causes andsolutions known

The causes of poor A/V sync areby now well known, as are the limitsof acceptable performance. An un-derstanding of the perceptibility ofsync errors goes back to various stud-ies and recommendations, includingthose of ITU, the film industry andATSC. ITU found that errors couldbe detected at +45ms and -125msfor timing of sound relative to vision.The asymmetry is a property of hu-man perception, naturally acclimatedto the slower transit speed of sound.

BY Al DO CUGNINI

They also described an acceptabil-ity range of +90ms to -185ms. ATSCtightened the numbers for acceptabil-ity with a recommendation of +15msto -45ms (as shown in Figure 1), andthe film industry has come to adopt atolerance for what it calls "lip flap" of±22ms, i.e. ±1/2 frame at 24fps.

Managing A/V sync consists offour basic elements: specification anddesign of equipment and systems,synchronization measurement, cor-rection, and operational diligence.

Specification requires a mind -set toplan and manage the issue in new andexisting infrastructures. Equipment isavailable that can measure A/V sync,either out -of -service (using flash -

and -beep or similar technologies),or in-service, using watermarkingor fingerprinting.

Watermarking is a technology thatinserts a digital signature into thevideo and audio programs. Althoughit is a goal that such a process mustnot perceptibly affect the program

Detectahi lily threshold

-45ms 5ms+1

Accept ability threshold

ound delayed Sound advancedwith regard

11with regard

to vision to v sion11111111111 1111 11111111 i1

ATSC

IIIII-200 180 -160 -140 -120 -100 -80 60 -40 -20 0 20 40 60 80 100

-185ms -125ms Delay time (ms) 45ms 90ms

Figure 1. ATSC tightened the numbers for acceptability with a recommendation of+15ms to -45ms.

FRAME GRAB A look at tomorrow's technology

Sharing the news through LMAsDenver LMA participants KDVR and KWGN use the same scripts,graphics, and even anchors, on many of the stories they air.

'C44.)

o_

80

70

60

50

40

30

20

10

0

39%

Anchor Reporter

62%

Script

Shared resources

Source: Local TV News & Service Agreements: A Critical Look

67%

Il.

Video/graphic

www.udel.edu

content, programmers in generalhave not accepted that on face value,and the technology has thus met withsome resistance as a universal solu-tion. Fingerprinting appears to be amore acceptable solution, whereinthe video and audio are sampled, typ-ically frame -by -frame, and a uniquenon-invasive identification signaturefor each frame is produced. (See Fig-ure 2 on page 22.) Audio -video fin-gerprint pairs, generated at a point ofknown A/V sync, can thus be relayedin their own, out -of -band stream, andused to check A/V sync at other partsof the program chain.

Once the signal has been finger-printed, improper A/V sync can becorrected at other points by re -mea-suring the audio -video pair, generating


Innovation in theMulti -Screen World

EVADiscover Channel in a Boxisitegratea viayout (341utions rrom Snell

snellgroup.com/ciab

Built on the industry leading Morpheus au=omationsoftware and the Integrated Content Engile, ICE,Snell's Channel in a Box solutions enable you to:

Dramatically lower yoJr cost per channel Pack multiple functior s into a small footprint Start small and grow with ease Enjoy IT efficiency without losing broadcast resilience

Routing

Modular InfrastructureConversion & Restormion

Live Production

Automation & Media ManagementControl & Monitoring


a new fingerprint and comparing withthe reference. Correction involvesdelaying the audio or video a com-mensurate amount. This usually re-quires a static (manual) correction,

desirable and could be designed intoa system or component, conservativeengineering practice advocates stay-ing away from such a solution, whichcould be susceptible to instability.

Video Video Video

Signal A/V sync

Audio chain Audio corrector Audio

A/V syncsignaturegenerator

A/V syncsignature

Relaypath

Figure 2. Fingerprinting allows correction of A/V sync error.

(i.e., a one-time, infrequent correc-tion), assuming changes in equip-ment or equipment behavior mayhave occurred. So that the system canoperate continuously, this correla-tion function needs to operate overa moving window; studies suggest a10 -second buffer with a lock time ofabout 30 seconds.

Although in principle a dynamic(automatic) correction might be

This is especially true for systemswith wandering A/V sync: it is betterto find the cause of the problem andrectify it, than to slap a bandage onan ongoing unidentified issue.

Current fingerprinting technol-ogy can provide an accuracy of bet-ter than 1 ms, with a high degree ofcontent -identification confidence. Agrowing number of audio and videoprocessors are now incorporating

fingerprint generators and detectors,making system planning and controlmuch more attractive. Current equip-ment can provide manual audio de-lay, line equalization and automaticfrequency response control usingOTA training. GPS synchronizationcan also provide another point of ref-erence for geographically distributedsystems. Many of these modules arealready part of the signal path, andwith a separate fingerprint stream re-layed over an SNMP/Ethernet signal -

management network, content can bemonitored and corrected as a part ofnormal system operations. The VANCand MPEG streams can carry syncinformation, too, but such use maybe precluded by incompatible equip-ment, or even by content agreements.

Importance ofstandardization

AES, SMPTE and IEEE have allformed study groups and committeesto investigate various standards forlip -sync error -detection and evalu-ation systems. Of these, the SMPTE22TV Lip Sync Ad Hoc Group (AHG)has been working to develop anopen standard for in-service audio -video timing error measurement.The group is considering a numberof requirements for such a system,

mash electronicsCall 8.66.251,6274

The Complete Source for Obstruction lighting Components!

Flash Tubes1- Light Bulbs1- Circuit Boards- Capacitors & Resistors

L- Transformers1-- Relays% Switches% Chokes

it you don't see it, CALL US!Wholesale Pricing Available !

We ship daily!

°'sc "I" MI VISA U

Visit our online catalog by visiting our website

www.nashelectronics.com

9-iiiights,IT'S IMPRESSIVE, WHAT WE DO

HILIGHTS,P.O. BOX 492LECANTO, FLORIDA 34460

.AIP Installation and service on allObstruction Lighting Systems

Licensed, Insured. Guaranteed

Providingservices to the broadcast' tower industry since 1997

\ 1-877-445-4487Proud member of National

Association of Tower ErectorstE

WWW.HILIGHTSINC.COM [email protected]



including a specification for fingerprinting that has lowcomplexity and operational robustness. Overall, the AHGaims to specify a system that enables automatic detectionand measurement of A/V sync errors, works through com-plex distribution systems, is resilient to signal processingincluding up- and downconversion, and enables detectionof errors at multiple points in the chain and over multipledistribution paths. Systems and technologies have beenpresented to the group by Mirandah and Zeitera, demon-strating the feasibility of a universal method for generat-ing fingerprints and handling them in the plant.

The SMPTE work is aimed at ensuring that such a sys-tem be interoperable across multiple vendors of finger-print generators and detectors. The group also is exam-ining the requirements for the data paths and protocolsneeded to relay fingerprint data, including content de-livery and transmission. At this point in time, a candi-date technology has been identified, and initial draftingof the core documents is underway. A prototype of thesystem has been realized in both the hardware and soft-ware domains, and is undergoing end -user field testingto characterize its behavior and identify opportunitiesfor optimization.

As a result of recent SMPTE committee restructuring, thiswork is now proceeding in the 24TB-01 Ad -Hoc Group -Lip Sync. The chairmanship has transitioned from GrahamJones (who has retired) to Paul Briscoe. The committee wel-comes additional participation, as work is now reaching amature stage; interested parties should contact the chair [email protected].

What else can be done?Because the causes of poor A/V sync extend over the

entire signal chain, solutions need to be implemented ina wide -reaching campaign. All parts of the contributionside need scrutiny, including trucks and other sources. Itshould become standard practice to conduct an out -of -service flash and beep of all signal -handling components.Content distributors should acquire reference decoders,and sample CE devices on an ongoing basis through ap-propriate test arrangements.

Encoder and signal -processing equipment manufac-turers have a competitive interest in testing their prod-uct technology both in development as well as in and outof service. If there is a design problem in the equipment,new products can be developed, and users must con-sider replacement or upgrades if possible. A standardunder development makes a strong case for FPGAs, offeringa faster design -to -market cycle when a known specificationis finally released.

On the consumer side, many TV receivers and set -top box-es still do not manage A/V sync properly. Lab experimentsshow that decoders can have differing amounts of A/V syncerror on startup, and can drift, too. Unfortunately, equip-ment replacement may be the only solution there, which is

a slow function of time. And with content increasingly beingmastered in 5.1 channels, consumers will be expecting a bet-ter viewing and listening experience.

The interest of content distributors in solving this prob-lem is hard to gauge; lacking a clear financial incentive, andreluctant to deploy a technology that may not interoper-ate with other systems, they may be adopting a wait -and -see attitude for the SMPTE standardization process. Fin-gerprinting technology shows great promise for A/V syncmanagement, but the work of industry committees musthave a quick and profitable path to market, as uncertaintycan delay implementation. BE

Aldo Cugnini is a consultant in the digital television industry.

ElSend questions and comments to: [email protected]

Digital VideoEllq1110ErIllg

Foodainentel SPECIALIZED TFAINING: eBook

Digital Videcr Fundamentalshttp ,Aroadcastengineering.cor-Pspecia.dzed-training/

Let Broadcast Engineering keep you up-to-date onthe latest industry news, technology developments,new products and services...and more.

Apply for your free subscription today. Log on toBroadcastEngineering.com and click on "subscribe."

And...you can also sign up for any of the industry'sleading E -newsletters from Broadcast Engineering.

BroadcastEngineering.corr BroalcastEngineeting

December 2011 I broadcastengineering.com 23

COMPUTERS & NETWORKSDIGITAL HANDBOOK

JPEG 2000It has benefits over IP networks, but some issues exist.

jPEG 2000 has caught the at-tention of the professionalmedia world for good rea-son. First, it closely matches

some workflows, where the produc-tion process operates on each frameof a video stream as a discrete unit.This is different from MPEG-2 andMPEG-4 AVC, where, during thereconstruction process, algorithmsreference frames before and after theframe being reconstructed. The abil-ity to compress each frame as a free-standing unit has made it popular inthe digital intermediate space in Hol-lywood. JPEG 2000 is also of interestto those who want lossless compres-sion. It can provide a bit -perfect re-construction of the original com-pressed image, although at a cost interms of bandwidth. Also, the waveletcompression used in JPEG 2000 pro-vides some unique opportunities thatare not available in other compres-sion methods.

The wavelet transform separatesthe image into four sub -bands. Thefirst sub -band is a lowpass horizon-tal and lowpass vertical (LL). Imagesthat have gone through this separa-tion are basically lower -resolutionimages of the original. The othersub -bands are as follows: lowpasshorizontal and highpass vertical(LH); highpass horizontal and low-pass vertical (HL); and highpasshorizontal and highpass vertical(HH). Using wavelet transforms andsome clever thinking, implementerscan do some interesting things. Forexample, they can send only the LLimage, if they know that they arefeeding a low -resolution display. Orthey can send the LL sub -band in ahighly -protected stream, in orderto ensure the original image arrivesintact. That said, they can then sendthe higher -resolution sub -bands

BY BRAD GILMFR

unprotected since a momentary lossof these sub -bands is not likely tobe noticed.

Given JPEG 2000's popularity, it isnot surprising there have been somedevelopments that make it particu-larly interesting for professional ap-plications. First, the ITU has createdan amendment' that outlines specific

implementing JPEG 2000 in profes-sional applications. This is importantbecause, until the amendment was re-leased, there were so many variables inthe compression tool set that interop-erability was unlikely. The second im-portant development, Amendment 5to the MPEG 2 standard2, provides amapping of the JPEG 2000 Program

JPEG 2000's ability to compress eachframe as a free-standing unit has made

it popular in the Digital Intermediatespace in Hollywood and to thosewho want lossless compression.

configurations for broadcast con-tribution applications. These con-figurations are intended to establishinteroperability points for those

JPEG 2000 broadcastcontribution profiles

Elementary Stream (PES) onto theMPEG-2 Transport Stream (TS).

Finally, some time ago, the Pro-MPEG Forum started to develop

VideoSOW CO

1

JPEG 2000compression

JPEG 2000 PES toMPEG-2 TS mapping

Audiosource

MPEG-2encapsulator

MPEG-2 transport stream(MPEG-02 TS)

SMPTE 2022-2RTP/UDP/IP

transport

IP packets

Figure 1. JPEG 2000 over IP relies on three critical developments: broadcastcontribution profiles, JPEG 2000 PES to MPEG-2 mapping, and SMPTE 2022-2 forMPEG-2 transport over IP networks.

24 broadcastengineering.corn I December 2011

INTELSAT VIDEO NEIGHBORHOODS

Reach more viewers everywhere and join some of themost recognized and respected names in broadcasting.

When it comes to being seen by more viewers around the world, there's no better partnerthan Intelsat. From sports and entertainment to news and education, our exclusive VideoNeighborhoods place your channels on the dedicated media satellites that are most indemand among top international programmers worldwide. You'll increase your visibilityamong cable systems and DTH platforms and reach the c reatest number of homesaround the globe.

Visit www.intelsat.com or contact us at sales.eme ctintelsat.com for details.

INTELSATCloser, by far

COMPUTERS & NETWORKSDIGITAL HANDBOOK

a standardized way to transportMPEG-2 TS over IP networks. TheVideo Services Forum picked up onthis work and continued to developit, finally submitting a draft for stan-dardization within the SMPTE. Thisstandard, SMPTE 2022-23, describes amethod for mapping MPEG-2 Trans-port Streams onto IP networks usingRTP and UDP. The document was ap-proved in 2007 and is the most com-mon standard deployed today for pro-fessional video transport applications.

So these three developments -development of broadcast profiles;a mapping of JPEG 2000 Program

specifications because, from theoutside, it looks just like a normalMPEG-2 transport stream. As such,the output of the MPEG-2 encapsula-tor can be fed into a SMPTE 2022-2compliant video transport device.This device encapsulates the MPEG-2TS in standard RTP and UDP packets,and then those packets are wrappedin IP packets. These IP packets cannow be fed into an IP network.

You might wonder why we takea relatively new compression algo-rithm such as JPEG 2000 and en-capsulate it in MPEG-2. There areseveral reasons for this. First and

Recent analysis suggests, without furtherdefinition, implementations based

upon broadcast contribution profiles inAmendment 3 will not be interoperable

in the JPEG 2000 PES space.

Elementary Streams to MPEG 2Transport Streams; and wide avail-ability of MPEG-2 TS over IP trans-port equipment - mean now itis possible to transport JPEG 2000over IP networks. Figure 1 on page24 shows how these developmentswork together.

Starting with a video source, theimage is compressed using a compres-sion engine. This engine is configuredto one of the Broadcast Contribu-tion profiles in ITU-T Amendment3. The compression engine producesa JPEG 2000 PES. This stream is thenfed to an MPEG-2 encapsulator. Theencapsulator uses the mapping rulesestablished in the MPEG-2 specifica-tion, Amendment 5, to map the PESonto an MPEG-2 TS. This MPEG-2TS is fully compliant with MPEG-2

foremost, there are already a numberof specifications for how to encap-sulate a number of different audioformats into MPEG-2 transportstreams. Remember: JPEG 2000 saysnothing about audio. Using MPEG-2TS allows us to transport and presentthe audio alongside the JPEG 2000compressed video using well-knownaudio standards. Also, this approachallows us to leverage the existingSMPTE 2022-2 MPEG-2 TS over IPstandard. Finally, there are no tech-nical issues in MPEG-2 TS that needto be fixed in this application space,so re -use of transport streams ratherthan inventing something entirelynew seems like a good solution.

So, the good news is that the timeis ripe for development of an in-teroperable, open solution for the

transport of JPEG 2000 video and au-dio over IP networks. The standardsexist, and there is a clear path for-ward. But, there are a few issues thatneed addressed.

JPEG 2000 has been around forquite some time. As such, some pro-prietary JPEG 2000 over IP transportsolutions have already been created.Of course, these were developed inresponse to customer demand, soexisting implementations may needto be changed. Another issue is thatwhile the broadcast contributionprofiles in Amendment 3 go a longway toward interoperability in theJPEG 2000 PES space, recent analysissuggests, without further definition,implementations based upon theseprofiles will not be interoperable. Fi-nally, until the industry actually triesto connect devices from differentmanufacturers together, interoper-ability cannot be assured.

Fortunately, the industry is becom-ing aware of these issues, and steps arebeing taken to begin work in earneston interoperable, open transport ofprofessional JPEG 2000 images overIP networks. I would expect to seesome developments around this inthe first half of the coming year. BE

Brad Gilmer is executive director of theVideo Services Forum, executivedirector of the Advanced Media WorkflowAssociation and president of Gilmer& Associates.

111Send questions and comments to:brad.gilmer©penton.com

SPEOAUZED TRAINING: eBook

Ithilding11)

woe_

http./throadcastengineering.comIspecialized-training/

Footnotes:1. "Profiles for Broadcast Applications" ISO/IEC 15444-1:2004 Amd.3-2010 (ISO/IEC, Geneva, Switzerland: 2010) IRec.ITU-T T.800 Amd.3 (06/2010) (ITU, Geneva, Switzerland:2010)2. Amendment 5: Transport of JPEG 2000 Part 1 (ITU-T Rec T.800 I ISO/IEC 15444-1) video over ITU-T Rec H.222.0IISO/IEC 13818-13. SMPTE ST20 22-2:2007 "Unidirectional Transport of Constant Bit Rate MPEG-2 Transport Streams on IP Net-works


RAI Amsterdam

Conference 6-11 September : Exhibition 7-11 September

Catch theIndustry'sImaginationEnter the IBC Innovation Awards and shareyour applications of innovation.This is your opportunity to be part of one of the most prestigious award ceremonies in theelectronic media, entertainment and technology industry. If your organisation has applied anoriginal solution to a real -world challenge to move the industry forward, then IBC want to hearabout it.

The IBC Innovation Awards are unique in the sense that they recognise how manufacturers,vendors and end users work together to achieve a real benefit, be it technical, creative orcommercial. The Awards celebrate the visionary application of technology and the innovationthat was achieved through collaboration.

The awards are presented in three categories - most innovative projects in:

content creation

content management

content delivery

In addition to the Innovation Awards, the IBC Awards ceremony also honours those in theindustry who have made an exceptonal and outstanding contribution to broadcasting, includingthe International Honour for Excellence, Judges' Prize, Best Conference Paper and theExhibition Design Awards.

To find out more information about the IBCInnovation Awards and how to submit your entryby Friday 10 February 2012, visit:www.ibc.org/awardsentry

Previous Winners Include:Apple, Atlantic Productions, BBC, BSkyB, CNBC, CNN, DNA,Dreamworks Animation SKG, ESPN, FIFA, Freeview, HBS,Manolo Romero (IHFE), NHK (Japan Broadcasting Corporation),Red Bull Air Race, Sir David Attenborough (IHFE), Sony, Walt Disney Pictures

pi

2 012

IBC Fifth Floor International Press Centre 76 Shoe Lane London EC4A 3JB UK

T +44 (0) 20 7832 4100 F +44 (0) 20 7832 4130 E [email protected] www.ibc.org

PRODUCTION ROOMDIGITAL HANDBOOK

41(2KThe format offers an intermediate step

on the way to Ultra High HD.

If you are in London during the2012 Olympics without a ticket,there is an alternate way for youto "be present" at certain events.

The BBC plans to broadcast part ofthe games in Ultra High HD (UHD) inselect locations. UHD, which has beenunder development by NHK for years,delivers an "8K4K" (7680 x 4320) pixelimage. With a planned commercial in-troduction in five years, an intermedi-ate production step is necessary. Thisstep, to be generally introduced at CES2012, is "4K2K."

For many in the broadcast indus-try, 4K2K will be a surprise - likelyan unwanted surprise. For those in

For many in thebroadcast industry,

4K2K will be asurprise - likely anunwanted surprise.

For those in thefilm world, 4K2Kis not new at all.

the film world, 4K2K is not new at all.Film is routinely telecined to 4K2Kfiles for digital intermediate (DI) pro-cessing, and features are shot with4K2K cameras.

In this first of a two-part series,we will begin our exploration of4K2K by examining several current4K2K cameras. Doing so will intro-duce the many challenges involvedin this technology.

Beyond pixel countAmazingly, unlike a decade ago

when 2-megapixel CCDs were exotic,most camcorders now employ CMOS

BY STFVF MULLFN

sensors, and 8-megapixel sensors areso common that many smartphonesfeature them.

Issues beyond pixel count are pres-ent with both full HD and 4K2Kvideo cameras. First, how is informa-tion read from a CMOS sensor? Thegreater the number of photosites, thehigher the frame rate and the largerthe frame size, the more demand-ing the read-out process. Unlessimplemented well, a sensor's clockrate will be so high that the power itconsumes will create more heat thancan be dissipated, leading to limitedshooting durations, especially in highambient temperatures.

Second, many full HD, and most4K2K cameras, have only a single sen-sor and thus use a Bayer RGB filter.To obtain an RGB image, sensor datamust be de-Bayered. Camera engi-neers have a choice: Design a camerathat delivers equal, or less, RGB reso-lution than does a three -chip camera.

Third, is the camera targeted to acinema or video shooter? If the for-mer, then the sensor will be large,Super 35 (23.60mm x 13.25mm),APS-C (23.6mm x 15.7mm),or Micro Four Thirds (M43)(21.6mm x 17.3mm) size, to supportobtaining a shallow depth of field(DOF). A videographer may, how-ever, require only the high resolutionof 4K2K, thus allowing the use of asmall 1/2in (6.4mm x 4.8mm) chip or1/2.3in (6.16mm x 4.92mm) chip.

Consumer 4K2K cameras - yes,there will be consumer 4K2K cameras- will likely have small chips. Pro-sumer 4K2K cameras may use smallM43, APS-C, or Super 35 chips. Theuse of M43 and APS sensors is natu-ral because DSLR development is theparent of many of today's single -sen-sor full HD cameras and camcorders.

This technology transfer will contin-ue for 4K2K.

Red Digital Cinema'sRED ONE

The Red Digital Cinema REDONE is the 4K2K camera that mostin the broadcast industry are famil-iar with. Equipped with the newerMYSTERIUM-X sensor, the ONE hasa 5120 x 2700 photosite, Super 35, 14-megapixel CMOS chip. The sensorcan be "windowed" during read-outto provide four 4K2K frame -sizes.

o ,

RED Digital Cinema RED ONE

The largest 4K2K frame size, called"4K 16:9," has a 4096 x 2304 -pixelframe. The second frame size, called"4K 2:1" and "4K anamorphic 2:1," hasa 4096 x 2048 frame. The third framesize, called "4K HD," has 3840 x 2160pixels and can be used when shoot-ing HD and 4K2K video productions.(I expect professional, prosumer andconsumer 4K2K cameras will use a3840 x 2160 frame. Projectors andmonitors will likely support both3840 x 2160 and 4096 x 2160.)

The RED ONE can shoot a rangeof frame rates. However, a trade-offmust be made between frame rateand frame size. To shoot at high rates,read-out line width can be set to "3K"or "2K" pixels.

Once a RED ONE captures a frame,it is read out as sequential RGB. The

28 broadcastengineering.com December 2011


sRGB data then take two differentpaths. RAW sensor data are waveletcompressed (12 -bit REDCODE RAWcodec) and output for recording. Dataare also sent through the second pathto an on -location monitor. Whilewatching the image, a DP can adjustit to create a desired look. Settings,however, do not alter data that arerecorded. Rather, the settings becomemetadata that are recorded with im-age data. During post, a colorist canuse the on -location settings as well asmake their own adjustments.

To obtain an RGB image, after de-compressing REDCODE data, theyare de-Bayered within RED appli-cations. Until this point, frames aredefined only in terms of photositecount. Camera resolution cannot bemeasured. Because there are manyde-Bayering algorithms, the processis a critical aspect of single -sensorcameras. See the "Understanding de-Bayering" sidebar.

RED ONE, with the original4520 x 2540 MYSTERIUM sensor,has a horizontal resolution measuredat almost 3100 TVL (1550 line pairs),which means de -Bayer "efficiency" isabout 78 percent. The goal of obtain-ing 4000 TVL resolution is broughtcloser by the RED EPIC, which hasa 5K (5120 x 2700) sensor that, afterde-Bayering, should provide about3874 TVL (1937 line pairs).

Sony's F65At the opposite end of the price

range, Sony offers its F65. The F65 hasa CMOS sensor that Sony markets asdelivering "true" 4K.

Sony F65 "true" 4K CMOS sensor

Understanding de-BayeringA Bayer -filtered sensor has only half thenumber of green samples per row and halfthe number of green samples per column as

it has rows and columns. (See Figure A.) Figure A: 16 -pixel Bayer filter

For example, a 1000 x 1000 sensor can provide only 500 x 500 green samples.One of the functions of the de -Bayer process is to re-create as much miss-ing green information as possible. The amount that can be recovered can becalled de -Bayer "efficiency." Published values vary widely, but range from70 percent to 80 percent per axis.

A software de -Bayer can be adjusted so it recovers more fine detail at theexpense of artifacts or deliver a smooth, very clean image. Likewise, a cam-era designer can choose the desired value. A working value for a high -qualityprocess is 78 percent.

Our example sensor should have at least 1282 x 1282 pixels, 1.64 megapixels,to enable de-Bayering to recover 1000 x 1000 green pixels (1/0.78 x 1000).The increase in pixels is 1.64 times. Therefore, a single -sensor full HD cam-era should have a 3.4-megapixel sensor, while a 4K2K camera should have a13.6-megapixel sensor. (Both sensors have a 16:9 aspect ratio.)

Sequential RGB (sRGB) data are de-Bayered tocreate an RGB image that inherently has 4:2:2color sampling. The de -Bayer process can benearest neighbor, linear, cubic, cubic spline, etc.What follows is a simplified description of near-est neighbor de-Bayering.

Figure B shows an interpolated green valuewhere there is only a red sample. Depending onthe higher correlation, adjacent vertical or adja-cent horizontal pairs of green samples are used.

Figure C shows an interpolated green valuewhere there is only a blue sample. Depending onthe higher correlation, adjacent vertical or adja-cent horizontal pairs of green samples are used.

Missing red values are obtained by interpolatingthem from nearest neighbor red samples that arehorizontally adjacent to a green pixel that has nored sample. (See Figure D.)

Missing red values are also obtained by interpo-lating them from nearest neighbor red samplesthat are diagonally adjacent to a blue pixel thathas no red sample. (See Figure E.)

Missing blue values are obtained by interpolat-ing them from nearest neighbor blue samples thatare vertically adjacent to a green pixel that hasno blue sample. (See Figure F.)

Missing blue values are also obtained by interpo-lating them from nearest neighbor blue samplesthat are diagonally adjacent to a red pixel thathas no blue sample. (See Figure G.)

After de-Bayering a frame of sRGB data, the result is an equal size RGB frame.

Figure B: Interpolatedgreen value where thereis only a red sample

Figure C: Interpolatedgreen value where thereis only a blue sample

Figure D: Interpolated redvalue where there is onlya green sample

Figure E: Interpolated redvalue where there is onlya blue sample

Figure F: Interpolatedblue value where there isonly a green sample

Figure G: Interpolatedblue value where there isonly a red sample



Sony's first 250,000 -pixel CCD camera

The 20 -million photosite sensor,which has a diagonally oriented Bayerpattern, provides a green sample forevery pixel in a 4K2K RGB image.Sony claims the chip's unique designprovides full horizontal, vertical andeven diagonal resolution on the greenchannel, plus full horizontal and ver-tical resolution on the blue and redchannels. (This chip would have beenunbelievable in 1985, when I boughtSony's first 250,000 -pixel 2/3inCCD camera.)

Although different in price, the Sonyand RED cameras both have a single

Super 35 -size CMOS sensor that canbe read out fully for each capture.

Canon's EOS C300The announced Canon EOS C300

also has a Super 35 -sized sensor. It hasa 3840 x 2160-photosite Bayer -pat-tern sensor. However, the sensor op-erates in unusual manner: Two rowsare read out simultaneously. Thus, an"upper" and "lower" photosite pairare available at the same time. Wheneach photosite pair from two rows iscombined with another pair, delayedby one pixel -time, from the previouscolumn, signals from four photositesare available. Each 2 x 2 photositegroup (RGBG) is combined into asingle RGB pixel. This process yieldsa 1920 x 1080 -pixel frame that has,by definition, 4:4:4 color sampling.Each full HD frame of 8 -bit data isthen compressed using 50Mb/s, 4:2:2long -GOP MPEG-2.

Canon EOS C300

Canon has already announced thatit is developing a full -frame DSLRthat will have a 3840 x 2160-photositesensor that will record 4K2K. BE

Steve Mullen is the owner of Digital VideoConsulting.

SPECI,LIZED TRAINING: eBook

iiroatiostur s quite/ '" camera and lens

UDC] 'Irmlninfhttp://broadcastenginecring.conVspecialized-training/

How do you follow up the best little switcherin the world? Make it a little bigger.

Introducing the FOR -A HVS-350HS.................

Dual MultiviewersDual P -in -P

2 Keyers & 4 DSKsVideo Wall Support

3D Support

Continuous Innovation

FOR. 0

INNOVATIONS IN VIDEOand AUDIO TECHNOLOGY

- 3 RU man uni , 1.5 Mix/Effect switche- performance- Operate with large operation unit, corn pact rack size unit,

or GUI softwap, control via LAN

- HD/SD-S)I 8 input/8 output standard, Max 24 input/12 output- Frame Sync arid Proc Amp on each input- 4 Up-sca er available (expandable with optional input card)- Variety of I/O options such as HD/SD-SDI inputs, DVI-D, VGA,

HD/SD ar alog :omponent and analog composite- Dual 16 -split n ultiviewer, supporting 4 10 or 16 -split view

with tally and tile display- 2 Up -stream Keyer (with Chroma Key) End 4 DSK

both with 2D DJE- Dual Picture -in Picture function

- Sequence function and event memory- 4 still stores- Various 2D and 3D DVE transitions- Over 100 wipe patterns

www.for-a.com Head Office (Japan) USA Western (CA) USA Eastern & Midwest (NJ; USA Southern (FL) Latin America & Caribbean (FL) 'Canada (Toronto)

Tel: +81 (0)3-3446-3936Tel: +1 714-894-3311Tel: +1 201-944-1120Tel: +1 305-931-1700Tel: +1 305-931-1700Tel: +1 416-977-0343


NEW MEDIA NETWORKSSYSTEMS INTEGRATION

Real loudness controlDoes a real answer exist amid theories and frustration?

BY RANDY CONROD AND STFPHANF GAUTHIER

Loudness, if you will, increas-ingly has been making noisein the broadcast industry.Standards organizations have

been working long and hard to publishrecommendations, best practices andspecifications to guide the industry andensure consistent measurements.

Governments are introducing leg-islation to promote and enforce betterregulation. Equipment vendors arewriting articles to discuss the situa-tion. Experts have penned books onthe subject. Yet, despite all the avail-able information, there remains agreat deal of uncertainty as to how tobest deal with the issue.

The loudness paradox lies at the heartof the matter. On one side, there is a de-sire to maintain the artistic integrity ofthe original program (translation: don'tmodify audio). On the other, there is aneed to minimize viewer frustrationwith regard to loudness inconsistenciesacross different content and channels.(See Figure 1.) This often requires somelevel of audio processing.

The paradox is this: How can loud-ness be kept consistent if the audio isnot modified?

Before we discuss possible solu-tions, it's important to define a fewbasic terms: Artistic integrity. Original dynamicrange + original spectral density. Long-term loudness: Loudness of theclip averaged over a relatively long pe-riod of time (usually the duration ofthe entire clip). Short-term loudness: Loudness of theclip measured over a very short periodof time (measured in milliseconds orseconds). Dialnorm: Metadata value used toindicate the long-term loudness ofa clip.

Loudness control on ingestCareful audio management on

ingest will go a long way toward pro-viding consistent loudness. Tools areavailable now that allow broadcastersto measure the loudness of an entireclip, and then adjust the gain of theclip to ensure that the overall long-term loudness is at the desired level.That way, regardless of what contentis played, each clip will share the samelong-term loudness, thereby mini-mizing loudness inconsistencies.

A single gain value is applied acrossthe clip, ensuring the dynamic range(the difference between the softest and

loudest audio) is perfectly preserved.(See Figure 2 on page 32.) This satisfiesthe first half of the artistic integrity for-mula: artistic integrity = dynamic range+ spectral density. Since the gain is ap-plied equally across the frequency spec-trum, the spectral content of the audiois also preserved, fully satisfying the ar-tistic integrity formula: artistic integrity= dynamic range + spectral density

However, there are a few placeswhere this approach is problematic:

Silence - Long periods of si-lence contribute to average loudness,

-8

-16

-24

-32

-40 111111111111111111111111

..,111111.111,

Figure 1. This image shows a clip prior to any gain adjustment, highlighting thedisparity between loudness levels.

ITU-R BS.1770 adoptionThe measurement algorithm must come close to mimicking the human

perception of loudness in order to be useful. The accuracy of an algorithmis determined by how close it comes. Any difference between the two es-sentially leads to incorrect audio gain adjustments, and therefore unnec-essary audio modifications and an incorrect overall loudness.

The ITU-R BS.1770 algorithm was developed to identify a means ofmeasuring loudness by splitting the signal into five frequency bands andapplying a weighting filter. This solution is simple and cost-effective forequipment manufacturers to implement, and results in a reasonably goodapproximation.

More complex techniques (such as critical -band analysis) are availablewith better accuracy. These techniques require more hardware/softwareprocessing power, and the expertise is limited to very few companiesworldwide. Such complex technology would severely restrict wide adop-tion of the standard. ITU-R BS.1770 represents a good balance betweenaccuracy and simplicity, enabling widespread adoption. With everyone us-ing the same technique, content across providers will be more consistent.

For more information on measurement techniques, refer to "PerceptualLoudness Management for Broadcast Applications" by DTS.



lowering the measured result. Thegain applied must, therefore, be in-creased such that the long-term loud-ness of the clip reaches the desiredlevel. This impacts the dialog level ofthe clip and can lead to dialog levelsthat are slightly different betweenclips. Dialog is considered a key "an-chor" point in human loudness per-ception. Gating algorithms have beendeveloped to suppress periods of si-lence from contributing to the mea-sured result. Some mild, short-termloudness control processing will helpreduce differences in perceived dialoglevels, while having little impact onthe overall dynamic range.

Trade-off decision: With a propergating algorithm, differences in dia-log levels should be very small. Anyshort-term correction should bevery light.Transitions - Short-term char-

acteristics of the human ear duringa clip transition mean that althoughtwo clips can have the same long-term

0

-16

-24

-32

-40 JFigure 2. This image shows the same clip from Figure 1 after a single gain valuehas been applied across the entire spetral content. The spectral density has beenpreserved, satisfying the artistic integrity formula.

loudness, the switch point from oneclip to the next could cause the ear toperceive a sudden jump in loudness.Again, mild, short-term loudness con-trol will help to reduce the jumps.

Trade-off decision: The jumpsin loudness perception will not al-ways happen. When they do, how-ever, they are usually short lived.Any correction applied here shouldalso be light. That said, commercialscan be the exception. The largestsource of complaints, transition-

Single-, multi- andcritical -band techniques

Manufacturers of multiband compressors often provide content -basedprofiles, in addition to controlling the amount of loudness control. This is use-ful for choosing profiles that match the type of content going through, so thatthe multiband compressor can adapt to different audio characteristics (forexample, news, sports, drama, jazz music, rock music, etc.). This helps tocompensate for the differences between how a multiband compressor mea-sures loudness and how the ear perceives loudness. It also helps to com-pensate for the changes to spectral density that multiband compressors, bydefinition, impose on the audio.

Loudness controllers that use critical -band analysis, however, do not needto offer such profiles. The increased computational algorithm delivers a loud-ness measurement that is mathematically much closer to how the ear per-ceives loudness and is a single result for the entire audible range. This meansthat a loudness controller that uses critical band loudness measure can ap-ply a single gain to the entire signal (known as "wideband") and, therefore,does not change the spectral density of the signal in any way.

This is not to be confused with single -band compressors (also known aswideband) that only look at the intensity of the signal to apply gain correction.These original wideband compressors create significant, audible artifactsand are not suitable for modern broadcast loudness control.

For more information on single -band, multi -band and critical -band tech-niques, refer to "Perceptual Loudness Management for Broadcast Applica-tions" by DTS.

ing to a commercial often resultsin a sudden increase in loudness.This is partly due to the severelyrestricted dynamic range of mostcommercials, which translates to ahigh average loudness value.Live audio - Live material and ma-

terial received too late to be processedbefore going to air cannot have its long-term loudness measured. It is necessaryto apply some level of short-term, real-time control to keep the loudness rea-sonably close to the desired level. Thelevel of the anchor point, in this case,will depend on the person mixing theaudio or the absolute gain value of theincoming audio. It is, therefore, subjectto more unpredictability. Generallyspeaking, this scenario requires moreaggressive loudness control to ensurethe anchor point is close to the desiredtarget level.

Trade-off decision: In this case,the variations in perceived loud-ness could be substantial, and theloss of artistic integrity is overshad-owed in cases where the audio levelbecomes annoying to the listener.More aggressive loudness controlis recommended.

Dynamic correction profilesWith many different profiles, it be-

comes necessary to adapt to the con-tent. This translates into providingthe least possible amount of real-timecorrection for the situation at hand.

Automation can be of great serviceto a network or station. Known goodcontent can have mild processing only.Enhanced processing can be enabledfor live or unknown/unprocessed



content. It is important for real-timeloudness controllers to be able to re-spond to automation triggers.

A benefit of leaving some mild pro-cessing for all content is it helps whenknown good content is not at the cor-rect loudness. This can happen whenthe ingest control process is appliedincorrectly or inconsistently, or whendialnorm metadata is either incorrector missing.

In addition to mild processing,some loudness controllers providemore advanced features such as intel-ligent metadata handling of missing/incorrect dialnorm, and input loud-ness measurement alarms to warn ofvery hot or very quiet content.

Cascaded processingOne of the simplest approaches is

a "set and forget" control profile. Thecontroller will be configured to apply

mild processing, providing an excel-lent trade-off between artistic integri-ty and consistent loudness level. Thatsaid, someone upstream or down-stream may also apply loudness cor-rection. Imagine where a feed, withmild loudness correction is sent to alocal station, which then also appliesmild correction. The effect is an ever-increasing reduction in the signal'sdynamic range.

Everyone in the audio chain mustunderstand sources and destination,and have flexible enough systems to dy-namically make changes as required.

Tailored solutionsThere are many unique applica-

tions and situations, with differentcharacteristics and requirements foreach. There is no "one size fits all,"and engineers must tailor solutions tothe situation at hand.

Good ingest loudness managementis one of the most important steps inensuring consistent levels. However,processing the audio is inevitable insome scenarios. Therefore, quality ofthe real-time loudness control pro-cessor is key when choosing a real-time solution.

To provide a solution that mini-mizes processing, real-time control-lers must apply the most appropriatecorrection profile. The goal is a systemthat preserves artistic integrity of theaudio wherever possible, while apply-ing only enough processing to ensurecompliance. Spending time up front toconfigure such a system will result inan enhanced listening experience. BE

Randy Conrod is product manager, digitalproducts, Harris BroadcastCommunications. Stephane Gauthier issenior account manager, strategicsales, Alteia.

COVER THE SPECTRUM OF With Canon's high-performance lenses, -920 x1080

CMOS image sensors and DIGIC DV Ill digitalRGB video processing all work ng together, theXA & XF Series digital camcorders facilitatesuperb HD imaging over an extensive range ofscene light intensities usa.cancm.comispectrum

5 2011 Canon U.S.A., Inc. At rights reserved. Canon, XF. and XA are registered trademarks of Canon Inc. in the United States. IMAGEANYWARE s a trademark of Canon.

CanonimageANYWARE

The foundation forthe Gray Model

A new station design concept removesmaster control from the workflow equation.

BY JIM OCON VIC RICHARDS AND MIKF FASS

The transition to a digitaland HD workflow repre-sents a cultural shift for thebroadcaster. That shift can

take many forms, from basic play -out automation to full-fledged cen-tralcasting. Regardless of the chosenpath, the workflow transition foreveralters the way stations and networkfacilities operate.

Gray Television has been on recordtalking about the Gray Model, its

unique twist on workflow integrationat the station level. The concept goesfar deeper than the obvious transi-tional points: The company charac-terizes it as a full heart, lung and braintransplant as opposed to a simplestrategic shift.

WOWT in Omaha, NE, is the blue-print for this redesign concept, andthe first reference point for all Graystations in transition. The station'sdeep pool of in-house resources was

In the new station design, automation replaces the traditional function of the MCR,and multiple station processes are handled from the station's Media Control Center,which features Harris ADC automation and an HView multiviewer, as well as RossVideo OverDrive control. Pictured: Mike Fass, media production manager at WOWT.

ideal for the initial project. It also hada well-oiled plant infrastructure thatremained efficient but was ripe foran upgrade.

Workflow accommodationFacility staff implemented the new

model as opposed to working with anoutside systems integrator, learningthe equipment inside -out. That up-front knowledge became valuable forfuture troubleshooting purposes.

The initial stages focused onclearing space to accommodate thenew workflow. The station designinvolves removing the traditionalMCR and merging production,


ingest, playout and other operationsinto a principal area called the MediaControl Center.

Master control elimination is per-haps the boldest characteristic of GrayTelevision's new integration concept.Automation becomes the pulse of theentire ecosystem with master con-trol's absence. Harris ADC automa-tion acts as the force multiplier inthe station group's model, mergingbusiness and technical operationsfrom traffic and billing through tothe transmission point.

The centralized operation removesthe need to babysit machines in dif-ferent spaces and promotes a scal-able environment in which addingan automated ingest feed or playoutchannel is headache -free. The rede-sign plan essentially supports techni-cal expansion through an open andflexible environment.

Throughout the redesign, the station has downsized to fewer than five racks, each deeperto accommodate more servers. However, as router size decreases and file -based workflowsbecome more common, there may be less need for rack space.

COVER THE SPECTRUM OF

COLOR

2011 Canon U.S.A. Inc An rights reserved. Canon XF. and XA are register2d t a

,

Originate extraordinary color clarity and detailwith Canon's high-performance opt cs, CMOSimage sensors and DIGIC DV Ill digital componentprocessing. The XF Series with d gital recordingof 50 Mbps 4:2:2 component vioeo, and the XA10with an AVCHD Codec, capture a +nide color gamut

with high accuracy. usa.canor.com;spectrum

rrk- rks of Canon Inc. in the.

CanonimageANYWARE

SYSTEM DESIGNSHOWCASE

Flexibility in blueprintIt also provides plenty of wiggle

room in the blueprint to accommodatesubtle differences among stations.

Automated ingest is one glaringdifference. WOWT records little syn-dicated content, which minimizes au-to -ingest needs. The majority of thecontent records automatically, withtechnical media producers manuallysegmenting the feeds in ADC.

The entire process ties back to theelimination of master control. Theabsence of a master control switcher

commercials, promos and other copyinto ADC and analyzing video andaudio levels. The media productiondepartment subsequently verifiesthat the material is present, in orderand playing back as intended.

ADC automation also generates allas -run files, and imports the files intoOSi-Traffic media software. The as -

run files become the official stationlogs as bills are generated and distrib-uted. (Sayonara, paper logs.)

The Nexio AMP server also ties tothe newsroom workflow. Raw video

The station has downsized to fewerthan five racks, housing KVM switch-es; signal -processing equipment;and electronics for the router, Vizrtgraphics, and other systems. Theracks are deeper to accommodatemore servers, but real estate require-ments diminish as routers get smallerand file -based workflows take shape.

The engineering staff cleaned upfacility power and ensured adequatecooling prior to building out the newracks. Multiple HVAC loops cool theroom to ensure that the servers and

WOWT's newly redesigned newsroom features workstations equipped with dual networks that enable newsroom staff toaccess the Internet and the station's video network.

means that ADC is switching destina-tions on its house router. This tran-sitions the true master control op-eration to ADC and a NEXIO AMPtransmission server, which removesmanual switching processes.

This change forces additional QCup front, however. The role of thetraffic operator evolves from basiccommercial copy assignments tomedia ingest. This means ingesting

is stored on a Facilis TechnologyTerraBlock SAN, edited on Grass ValleyEDIUS machines, and transferred viafiber to NEXIO AMP for play -to -air.

In the coreThe broadcast plant infrastructure

continues to shrink, its compressionalmost analogous to the digital signal.This is most obvious in the rack roomwhen studying the integration model.

computer equipment remain operable.The station plans to extend the rackroom cooling concept to the comput-er -rich newsroom and studio areas.

The facility has transitioned to anall -embedded scenario, which makessignal processing fundamentally easier.Following the station group's model, ithas replaced outdated satellite receiv-ers, removing the need to populate rackspace with multiple audio embedders


and de-embedders. These have beenreplaced with satellite receivers that spitout embedded SDI signals, even if theytake analog signals in. This minimizeslip sync issues and makes the overallsignal processing much cleaner.

The station has added Harris X50frame synchronizers and format con-verters, along with AJA FS1 synchro-nizers. The X50 offers significantlybetter technical capability, while theFS1 offers a quick learning curve.Both have their benefits in the stationgroup's redesign model.

At press time, the station is testingaudio legalizers from Harris, LinearAcoustic and TC Electronic to pleaseviewers as well as the FCC. VideotekVTM4100 rasterizers handle test andmeasurement in the infrastructure.

Production and playoutADC automation and the NEXIO

AMP server also connect to a Ross

Video OverDrive automated produc-tion control system. The Media Clientserver can cue breaking news clips forplayout, and the OverDrive operatorcan take content to air once qual-ity and duration is confirmed. Otherproduction tools include a Visionswitcher - part of the OverDrive sys-tem -a Yamaha DM1000 audio mix-er, Sony EX3 cameras, and Camboticsrobotic camera control systems.

The move to the automated pro-duction environment was per-haps the most challenging learningcurve, especially in terms of audio.OverDrive rundowns require opera-tors to code audio with video sourcesat each encoding step. For example,the microphone disappears if the op-erator fails to code the mic audio witha piece of video.

HView SX Hybrid multiviewers areused in production and traffic. Multi -viewers are of increasing significance

today: The monitor walls of yester-year are disappearing as the numberof bodies in the facility decreases. Itis almost impossible for one or twooperators to track everything along awall of separate monitors.

The multiviewer allows one pair ofeyes to monitor a single screen - bigenough to accommodate every im-portant element but compact enoughto not overwhelm the operator. Themultiviewer's ergonomic workflowprovides a clear sightline into what isimportant, with a simple means of in-terpreting key information. The signalsbeing monitored remain mostly static,with a strong focus on news and otherplay -to -air sources including camera,server and automation feeds.

The traffic multiviewer is helpfulto media specialists for monitoringingest and record feeds, while pro-viding a second monitoring pointfor other operators.


WORKFLOW

2011 Canon U.S.A., Inc All rights reserved. Canon XF. and XA are regi

The XF Series' universal CF Card zaptur?..s 50 Mbps

MPEG-2 4:2:2 or 35/25 Mbps 4:2:0 componentvideo. MXF file wrapping streamlnes the integration

of video, audio, and metadata nto networkedinfrastructures and ensures high -compatibilitywith leading NLE systems. The XA.10 records AVCHD

files to internal 64GB memcr,/ or to 2 SDXCmemory cards. usa.canon.com/spectrum

d :radernarks of Canon Inc. in the Uni-ed States. IMAGEAN'WARE is a trademark of Canon.

CanonimageANYWARE

SHOWCASE

Solid backboneThe backbone is central to every-

thing in TV facility operations today,and the station's network topologyreflects this reality.

The first goal was to ensure thatthe station's video network co -exist-ed with the newsroom network. Theindustry has transitioned to an erawhere the same workstations are used

to access the internet, and send andreceive video.

The station has implemented dualnetworks on each workstation to sep-arate the two processes for maximumprotection without handcuffing thestaff. Newsroom personnel have accessto social media and video networkingapplications, for example, without re-quiring separate computers.

Project teamWOWT:

Vic Richards, director of promotion and media productionMike Fass, media production managerRick Klutts, chief engineerAmy Adams, news directorDennis Wilden, executive producerMike Plews, chief photographerWOWT/Gray Television: Charlie EffingerGray Television: Jim Ocon, VP -technology, Lisa Guill

Technology at workAJA FS1 synchronizersAutoscript teleprompterCambotics camera roboticsENPS newsroom systemFacilis Technology Terra Block SANGrass Valley EDIUS editorHarris Broadcast

ADC -100 automation systemsApex M2X exciterAutoSat automation systemsHView Predator multiviewersMPH Mobile DTV systemNEXIO AMP serversVideotek VTM4100 rasterizersX50 frame synchronizer/converters

Ross Video

CrossOver switcherOverDrive automated production control systemVision production switcher

Roundbox mobile broadcast softwareSony EX3 HD camerasUtah Scientific

SC -4 control systemUTAH -100/X HD/SD video distribution amplifiersUTAH -400/64 router switcher

Vizrt graphicsYamaha DM1000 audio console

The station uses a Cisco Layer IIIbackbone, but it is planning a migra-tion to HP ProCurve, which is easierto configure and requires fewer ser-vice plans. The station has imple-mented ProCurve for asset sharing,as opposed to using islands of KVMswitches. The result is a single net-work for sharing all available assets atmultiple locations around the facility.Future plans include upgrading moreswitches and other network elementsto facilitate faster media transfer.

And onto transmissionIt would appear on paper that trans-

mission is a separate animal from thetype of station redesign described here.The truth is that transmission is the re-sult of all the hard work to this point.

The station transmits four streams:two terrestrial and two mobile. It wasamong the first stations to launchATSC Mobile DTV, using the HarrisMPH system with integrated encod-ing, network adaption and amplifica-tion via the Apex M2X exciter. Thesystem also includes Roundbox soft-ware for electronic program guidesand other data services.

The station's workflow DNA re-mains relevant as the transmissionprocess publishes content to TV setsand mobile devices. Automation andplaylists drive the station content thatmoves over the air. Fewer conversionsin the plant - an increasing trend asstations move away from basebandand toward all-IP - make the lastmile easier, from stat-muxing throughto transmission. Eventually, the trans-mitter will be the only baseband im-print in the entire chain.

The project has been an ideal proofof concept for the Gray Model as itrolls out to other stations in the sta-tion group. With plenty of technicalchallenges met and learned from, theWOWT team has laid a roadmap thatthe remaining stations can follow tothe next level of broadcasting. BE

Jim Ocon is VP -technology Vic Richards isdirector of promotion and media production,and Mike Fass is media production manager atWOWT Gray Television.



PRODUCTIONWhen v.e set out to produce a family of high quality, durable, easy -to -use digital camcorders,we soucht to cover all aspects of video production. Starting with the distinct size, weight andergonomics of each model and their individual sjstem interfaces, we produced a camcorder formost types of portable shooting. We knew what the industry needed WES a new level of flexibilityin digrte mo:icn image capture that anticipated the varied needs of high-performance handheldsand tripod mounts. So from high -mobility _hooting to precision image capture in confinedspaces 3nc even infrared capture, the )(A & Series pro camcorders handle everythinc you'dever erect it a handheld and more. usa.carion.com/spectrum

Can onirrrgeANYWARE

= 2011 Caren U.3.A., nc. All rights reservec. Canon, XF, and XA are regstered trademarks of Canon Inc. ii the United States. MAGEANYWARE is atrademaNx)f Canon.

forspectrumH

ere's howw

e got tow

here we

are today.

BY

MA

RK

A. A

ITK

EN

hebattle

fortelevision

broadcast spectrum contin-

ues to rage much like a w

ildfireout of control, being fanned

by the hot winds of the C

TIA

and a parchedC

ongress willing to sell alm

ost anything ofm

onetary value. At the sam

e time, som

eA

mericans are asking,"If there is sm

oke, isthere really a fire?" D

epending on where

one sits, and as time progresses, the bat-

tle lines seem to be less and less clear

as the smoke spreads. So, let's w

indback the clock to see how

we got to

where w

e are (or are not), and bet-ter understand w

hat was the genesis

of the debate unfolding before us.

"In the beginning, God createdthe heav-zrs and the earth," and fromall accounts by the FCC, CTIA, CEAand others, not enough spectrum.(It is lice being better informedthan the almighty.) In an address at aCTIA meeting on Oct. 5, 2009, FCCChairman Julius Genachowski said, "Ibelieve tha: the biggest threat to the fu-ture of tr-o3ile in America is the loom-ing spectrum crisis?' From that date for-ward, thiscrisis, unknown and unnamedby anyanelszfore then, has taken on a lifeof its own.

In March 2010, the FCC announced itscontroversial National Broadband Plan(NBP). This aggressive plan promised totransform tac nature of broadband and

shape an uncerstanding of a new Americanpolicy initiative. I found a well -articulatedsummary (sort of a "Readers Digest" ver-

sion of the plan) written by Rob Frieden, aprofessor of tele.communications and law at

Penn State University. Frieden writes onhis blog, regarding the NBP:

"In a nutshell, I see much to like aboutthe Plan,but doubt whether many of the

`should' anguage will get done. Morebroac the Plan does not providemuch insight on what the authorsthink the Commission can do, on its

OWE ar.card, versus the need for newstatutory authorization?'

FEATURESPECTRUM

BackgroundThe drive for statutory authoriza-

tion has been the focus of the FCCfrom virtually day one. Let's try tonavigate what has transpired.

On June 28, 2010, the White Houseendorsed the FCC's proposal to freeup 500MHz of spectrum from gov-ernment and commercial users forwireless broadband and other useswith the avid support of the CTIA,CEA and others. The alignment ofparties and issues speaking to "thelooming spectrum crisis" are perhapsbest characterized as the haves andthe have-nots.

The NBP has all the twists and un-expected turns that one would expectto thrill most every daredevil, and thepromised excitement can be felt, butare the wheels for the ride attachedin a safe and meaningful way? Thereis a whole lot more in the NBP thanthe discussion of spectrum, but it isthe spectrum policy issues and theircharacterization that have been driv-ing the discussion.

From the executive summary ofthe NBP we find:

Spectrum is a major input for pro-viders of broadband service. Currently,the FCC has only 50MHz in inventory,just a fraction of the amount that willbe necessary to match growing de-mand. More efficient allocation andassignment of spectrum will reducedeployment costs, drive investmentand benefit consumers through bet-ter performance and lower prices. Therecommendations on spectrum policyinclude the following:

Make 500MHz of spectrum newlyavailable for broadband within 10

years, of which 300MHz should bemade available for mobile use withinfive years.

Enable incentives and mechanismsto repurpose spectrum to more flex-ible uses. Mechanisms include incen-tive auctions, which allow auctionproceeds to be shared in an equitablemanner with current licensees as mar-ket demands change. These wouldbenefit both spectrum holders andthe American public. The public could

benefit from additional spectrum forhigh -demand uses and from new auc-tion revenues. Incumbents, meanwhile,could recognize a portion of the valueof enabling new uses of spectrum. Forexample, this would allow the FCC toshare auction proceeds with broad-casters who voluntarily agree to usetechnology to continue traditionalbroadcast services with less spectrum.

Ensure greater transparency ofspectrum allocation, assignment anduse through an FCC -created spec-trum dashboard to foster an efficientsecondary market.

Expand opportunities for innova-tive spectrum access models by cre-ating new avenues for opportunisticand unlicensed use of spectrum andincreasing research into new spec-trum technologies.

It would certainly seem that severalways might exist that could lead to avigorous industry discussion aboutone or another course that could af-fect such a bold plan. One might alsothink (or at least hope) that such anopen discussion of spectrum wouldlead to a multiplicity of ideas regard-ing policies that might yield suchspectrum. But alas, this is Washing-ton, and easy things than can be re-solved by being candid rarely if everfollow such a dignified course.

In Chapter 5 of the NBP -"SPECTRUM" - the plan states,"The FCC should initiate a rule mak-ing proceeding to reallocate 120MHzfrom the broadcast television (TV)bands." Where did that come from?The FCC has identified 225MHzthrough 3.7GHz as "prime wirelessspectrum." If television broadcast-ers occupy only 5.18 percent of thiswide swath of frequencies exclusively(another 3.65 percent is shared withland -mobile and BAS), why is theFCC so intent on confiscating 24 per-cent of "needed spectrum" (120MHzof the stated 500MHz) from televi-sion broadcasters up front?

Without even so much as a hintas to how such a swath of spec-trum is to be made available, how itmight affect the present occupants

(television broadcasters, us), and with-out any stated critical analysis as to thespecific necessity of the upper UHF,the "broadcast television spectrumdebate" has churned on this narrow is-sue. The rest of the NBP seems to haveescaped the attention of everyone.

There has been some flexibility ex-hibited in discussions and offers ofvarious small segments of the "primespectrum" by NTIA, from somegovernment assets with an offer of115MHz. But on the broader discus-sion of what amount of what spectrumfrom whom might be made availableat what cost and by which means toanswer the stated "need" of 500MHz,well, there has been little flexibility(as in none) about the 120MHz thatbroadcasters occupy and the means bywhich it should be taken away.

No alternative to auctions?There exists a lack of diversity and

dialog, and everyone has settled onthe two ends of the only plan: auc-tion spectrum. Are you for or against?With no other options having beenput on the table, parts of the televi-sion broadcast industry have offeredsupport to the idea of a "truly vol-untary incentive auction," and giventhe nod to giving up spectrum. (I, forone, have not embraced such a posi-tion.) Everyone except perhaps theFCC and those wireless carriers cov-eting the television broadcast UHFspectrum seem to understand themeaning of "voluntary." But how didwe get to here (auctions of televisionbroadcast spectrum) from there (weneed 500MHz of wireless spectrum)?

The FCC, which is held account-able by Congress as the expert agencyon spectrum matters, has yet to makegood on what would seem to be therequired first step of devising and ex-ecuting a plan. What spectrum do wehave, how is it being used, by whom,and what is the impact of reallocat-ing it to address the needs of the NBPwould seem to be some initial steps.

There have been frequent callsfrom the likes of Rep. John Dingell(D -MI) to make good on the various


FEATURESPECTRUM

request for a spectrum inventory andan understanding of the repackingplan (allotment optimization model[AOM]), but little want on the partof this FCC's chairman to suitablyanswer the request. Genachowski isquoted as saying AOM "remains verymuch a work in progress," adding thathe was "deeply concerned that disclo-sure of predecisional informationwould potentially damage the com-mission's deliberative process, as wellas result in needless public confusionabout the status of the Commission'swork on the voluntary incentive auc-tion concept."

Before Sept. 28, 2011, the discus-sion was largely about an auction fortelevision broadcast spectrum, but thenew call (chanted for by Steve Largentof the CTIA and others) is for a seriesof auctions. This idea was first delin-eated in a paper prepared for the 39thResearch Conference on Communica-tion, Information and Internet Policy.One position taken in the paper hy-pothesized increased revenues broughtby a series of auctions for 120MHz oftelevision broadcast UHF spectrum.

One thing is evident: Before the endof October, no one had offered an alter-native plan to auctions. In conversationswith FCC staff, when asked, "Why onlyauctions?" the answer was a simple one.

They would consider other options,but none had been offered. As a result,you have both the House and the Sen-ate with draft language to authorize theFCC and auctions. Some thought thatthe "Supercommittee" would includespectrum auction language. Everythingthere was DOA. Rep. Greg Walden(R -OR), chairman of the HouseCommunications Subcommittee hassubmitted a bill including spectrum in-centive auctions for mark up, and, if allgoes as expected, it could get voted outof the subcommittee. Again, auctionswere the only option that had been onthe table from the beginning, and thefocus on the part of the haves and thehave-nots has been specific language.Broadcasters - high -power, low -pow-er, class A and translator operators -are looking for protection.

One might ask a simple question,"Is there an option beyond auc-tions?" Starting in late October, somemay have seen reports of a BroadcastOverlay plan put forward by The Co-alition For Free TV and Broadband.They state "... broadcasters have bet-ter ideas, more potential to create jobsand revenue that will benefit the fed-eral government, and ways in whichthey can help alleviate the spectrumcrunch." They appear intent on mak-ing sure Class A TVs, LPTVs and TV

translators are not lost in the spectrumauction discussion. Rep. Gene Green(D -TX) said some low -power TVspectrum plans may make sense. Ata meeting with LPTV executives, "wediscussed how the Dingell/Green billprotects Americans' access to freeOTA television," he said. "They alsohighlighted an idea of theirs thatwould raise $100 billion over 15 years,which is far more than any of the cur-rent spectrum proposals raise," Greensaid of the coalition. "Their proposalagrees with the Dingell/Green bill, toensure that broadcasters that wish tostay in the market are not forced out.This idea deserves scrutiny, and I lookforward to working on it," he said.Their plan would be an alternativeto auctions.

This 112th Congress has before itnumerous spectrum -related bills, in-cluding the president's jobs bill. Thegroup Public Knowledge has a list andsearchable copies of the legislation aswell as an "informational chart com-paring the bills to help you navigatethe spectrum bill tsunami." It may takea tsunami to put out this raging spec-trum wildfire. It may also make senseto put on the hip waders.

Mark A. Aitken is vice presidentof advanced technology,Sinclair Broadcast Group.

BE

World's Best Mobile TV AudioSports

Wea,ther,k/12DTV

The M2DTV Mobile Media Loudness Processor keeps mobile TV audiocontent intelligible even in noisy environments.

Automatic DownMix provides LtRt stereo from discrete 5.1 content Eclipse' codec pre-processor reduces lossy compression artifacts 5.1 surround, stereo and EAS/CAP inputs

ITU BS 1770/1 loudness measurement

DaySequerraivww daysequerra.com

ditSNeural Surround

.4-11,er ern,vhs dnd

IfIrlrfZvr Reser,ed


Taming the

bandPlug -and -playdevices needcoordinationto avoidinterference.BY LARRY ESTRIN

In recent years, there has been anexplosion in license -free devicesusing the Wi-Fi 2.4GHz spectrum.These devices have been billed

as "plug -and -play;' resulting in a seri-ous misconception about the need forfrequency coordination throughout theproduction industry. That misconceptionhinges on the flawed belief that the absenceof a license means interference is impossi-ble. Simply put, that belief is dead -wrong!

While it is true that a specific license touse the product is not required, there are a sig-nificant and growing number of instances wherethere may be upward of 50 -plus 2.4GHz devicesoperating in relatively close proximity to one anoth-er. These locations include almost all motion picture,television production and news studios, college and pro-fessional sporting venues, as well as live performance the-aters. One of the best ways to combat this issue isn't through atechnical solution. It is communication between all parties involvedin the broadcast or event that ensures frequency channels do not inter-fere with one another.

Rampant devicesThe 2.4GHz spectrum is used for hundreds of devices, including portable

billing devices, surveillance systems, restaurant and service facilities, and more.Of course, every user believes he or she has the most optimal use of the spec-trum. A primary purpose of coordination is to allow the maximum use of as



FEATURETAMING THE 2.4GHz BAND

many devices as possible without in-terference. Most of these devices havemultiple channel settings within the2.4GHz spectrum. Coordination inadvance allows for all the devices towork without conflict or disruption.

That said, no production is im-mune to interference. Sometimes,

devices for the most recent telecast ofthe NFL draft.

"At the NFL draft at Radio CityMusic Hall, a 2.4GHz wireless inter-com system was fired up," said RalphBeaver, manager of the NFL game daycoordinators. "Immediately, the NFLIT people were trying to find out why

This image illustrates a reading received from a Wi-Fi analyzer dectecting different Wi-Fi devices within a venue. The spikes in the reading indicate a device operating in the2.4GHz band.

however, it is at larger events wherefrequency coordination is paramount.An example of this came when tech-nicians were coordinating wireless

more than half of their many, manylaptops in use in the hall had slowed orstopped. CP Communications techni-cians on -site immediately recognized

the problem and very quickly changedthe settings on the wireless intercomsystem so as not to occupy that muchof the Wi-Fi band.

"At the same event, a 2.5GHz wire-less camera was turned on in the the-ater. The camera wreaked havoc withthe other wireless devices until it wasadjusted so that it would not conflictwith the 2.4GHz devices."

Human element is keyMichael Mason, president of CP

Communications, believes that oneof the best ways to work through thisissue is simple communication.

"The fundamental principles ofcoordination are cooperation andthe sharing of information," Masonsaid. "There is no difference if you areusing 500MHz or 2.4GHz. All partiesusing RF need to communicate witheach other so a plan can be put to-gether to ensure a successful show.

"The challenge with the 2.4GHzband, as well as all other license -freebands, is the lack of understandingthat license -free does not mean coor-dination free. In large venue events,such as NFL's Super Bowl or theMLB All -Star Game, great expense(both time and money) is put forthon frequency coordination. Unfortu-nately, tens of thousands of handheld

shaping tomorrow with you

IP 920 Encoder/Decoder IP 9500 Encoder/Decoder

Dual encoder model provides two independent HD streams or Best -of -class Lroadcast-quality MPEG-4 AVC (H.264) 4:2:2independent HD/SD streams for Simulcast, 1/2 rack unit.

High performance H.264 encoded content reliably over allnetworks at extremely low data rates

Less than 400ms latency , AC/DC powering, balanced audioand eco

video encoder/decoder

Selectable vid so bit rates from 1.3Mb/s to 38Mb/s

Real-time HDTV (SDTV) transmission over DVB-ASI, DVB-S/52n.1 IP networks


FEATURETAMING THE 2.4GHz BAND

devices and/or smartphones comeinto these venues that we have nocontrol over. These can and will ad-versely affect the spectrum.

"While they may not be permit-ted to access the Internet through theWi-Fi systems in the venues, they areconstantly pinging them, looking foraccess. This constant chatter aloneraises the noise floor tremendously.Taking this into consideration, it is

critical that the users who do havecontrol over their equipment coordi-nate with each other by sharing infor-mation and steering their equipmenttoward usable parts of the spectrum."

Henry Cohen, of Production RadioRentals - a supplier and integratorof communication devices for specialevents, believes that along with com-munication, preplanning needs to bea part of frequency coordination.

"Coordinating the unlicensedbands (generally 900MHz to 928MHzin the United States, 1.92GHz to1.93GHz, 2.405GHz to 2.485GHz,and the 5GHz U-NII sub -bands)have become an absolute require-ment in most special and high profileevents," Cohen said. "Many bad expe-riences have managed to get the at-tention of management. A significantelement of coordination is to clearlycommunicate the policies governing

equipment operations to all eventvendors, participants, venue adminis-tration and, in particular, IT depart-ments during the planning phase(s).

"As this remains a somewhat newconcept to most entities involved inproductions, time is generally re-quired to find and contact the ap-propriate technical individuals andeducate them so they can acquire theproper equipment needed to managespectrum coordination."

Most IT department technicianshave little concept of, or experiencewith, the production world and thedynamically growing requirement forRF communications to support ever-increasing levels of production. ITtechnicians' training and experiencerarely goes beyond the plug -and -playconcept, or the use of non -overlap-ping channels and possibly trans-mission power levels. They generallybelieve that latency is not a problem;just send the information packet againand again.

Aid from technologicaladvances

In addition to resolving this issuevia communication, manufacturersare developing products to help withfrequency coordination. Many com-panies have built in various channel

configurations in their 2.4GHz prod-ucts. One company, for example, hasreached out to some of the wirelessDMX receiver/transmitter manu-facturers in order to coordinate thechannel configuration schemes be-tween manufacturers.

It is also appropriate to mentionthat other spectrums that are license -free, such as Digital Enhanced Cord-less Telecommunications (DECT)wireless telephone systems, can andwill interfere with each other as wellas other services. Some productioncommunications manufacturershave designed wireless stage man-agement systems using the DECTplatform, further exacerbating theproblem of license -free withoutfrequency coordination.

Frequency coordination is the mosteffective way to guarantee the properoperation of all devices at a particularevent, whether it is the Super Bowl or achurch service. Taking the time to planthe use of the available spectrum willyield positive results for everyone. Agood reason to do so is that if every-one coordinates at a particular event,then everyone can be protected by thefrequency coordinator. BE

Larry Estrin is strategic technologyconsultant for Clear-Com.

Freedom.With the new GuideBuilder Mobile, you have the freedom to choosewhat's best for your PSIP and ESG metadata management needs.

GuideBuilder's open standards fully integrate with yoLr current equip-ment, listing services, and traffic systems. You're free fromproprietary protocols that limit your ESG options.So now you can provide all the new mobileATSC services to your customerswithout having your hands tied.

GuideBuilder®Simplicity. L,

a 1-60 -716-3535:,www.TriveniDigital.com

[email protected]


entoptical

networksThe technology can increase the survivability and

efficiency of video distribution networks.

Broadcasters, as well as film and televisionproducers, face the common challenge of ef-ficiently transporting high -bandwidth videocontent over existing networks while main-

taining the highest levels of availability. The smallestdowntime while broadcasting a live event has seriousconsequences on advertising revenue and viewer expe-rience. While availability is of vital importance in thebroadcasting industry, the ability to transport high -quality video content efficiently is equally important.Broadcasters are constrained by short-range microwaveservices and costly satellite services, which offer subparreliability, latency and service quality, while film andtelevision studios are hampered by terrestrial leased -line services and router -based networks that are notsuitable or robust enough for HD video delivery. Thisarticle describes how an intelligent optical networkincreases the survivability of broadcast networks andprovides efficient and cost-effective transport of high -quality, advanced video content.


FEATUREINTELLIGENT OPTICAL NETWORKS

Current challengesVideo content is often carried

over private lines, ATM, ring -basedSONET/SDH, or router -based net-works with some type of path redun-dancy (link protection) and sub-50msfailover time. Despite this carrier -classguarantee of service, these networkscannot survive multiple or simultane-ous failures caused by natural disas-ters, acts of terrorism or human error.(See Figure 1.)

Meanwhile, the demands for newHD and 3-D video capabilities aregrowing rapidly, creating additionaltransport challenges. HD and 3-Dvideo are driving significant increasesin bandwidth demand that cannotbe mitigated through compressionbecause compressing HD and otherhigh -end video results in a loss ofsignal quality and adds cost and com-plexity to the network. Addressingthese issues, while minimizing the risk

Data backupsite

Pre-set bandwidth

Venue 2

ConversionVideo -)TDM

The network cannotsurvive multiple failures

Post -productionsite 1

1/4W.Post -production

site 2

Figure 1. Current deployment for live video broadcast

of service disruptions, requires a newnetwork approach: a highly survivableintelligent optical infrastructure.

Conventional leased lines androuter -based networks are ill-suitedfor HD video content. HD video filesare too large to transport over copperleased lines, and conventional routernetworks are incapable of streaminguncompressed HD video signals. Since

Venue 1

ConversionVideo -)TDM

compression leads to a degradation invideo and audio quality, many studiosdistribute HD video content on tape-a costly and inefficient method.

Those who use conventional satel-lite services have realized quickly thatthis medium is expensive and fraughtwith limitations. Satellite uplink/downlink delays can cause unnaturalpauses and "talk -over" that impede

FIPRr'1TRCExtensive range of cost-effective MULTIVIEWERS for

Broadcast, ProAV and ANY application in between

Auto -Detects 4-32 Inputs / Sources Built-in CATx extenders (1080p @ 115 feet) Embedded & discrete audio monitoring Multiple outputs: DVI, HDMI, VGA, SDI Skin Technology for customizable user interface Cost-effective, compact solution with 3 -year warrar

TAHOMA-LE MultiviewersStandard series of Multiviewers - 3G, SD, HD,Analog multi -image display processing

TAHOMA-LX MultiviewersBuilt-in Routing Switchers - view any input source onany Multiviewer output - 3G, SD, HD

TAHOMA-LI MultiviewersLooping Video Inputs - for further distribution orduplication of inputs - 3G, SD, HD, Analog

www.apantac.comMain: +1 503 968 3000 West Coast: +1 714 815 7421 East Coast

Euromedia 08 Van740 with APANTAC Multiviewers

1 814 238 2365 [email protected]


Data backupsite

Network orsatellite gateway

The network can survivemultiple failures

11111,...4...,.

4_4iphN.4iiipy_ Gs;_

Venue 2


The network interfaceauto -adjusts for video format

4,

1111161.Venue

Capacity can be automaticallyset for high -bandwidth

transmissions


Figure 2. Intelligent optical network for live video broadcast applications

live interviews. Poor weather condi-tions can impair satellite feeds, andscheduling transponder time is in-convenient and inefficient.

Distance is another challenge fortelevision and film studios becausethey rely on geographically dispersedteams to assemble and edit content. Ateam in one facility may specialize indialogue editing; another in a secondlocation may add music tracks; anda group in a third city may generatevisual effects. Sharing HD content se-curely and efficiently over hundredsor thousands of miles is a challengevideo broadcasters and producershave to overcome.

The intelligentoptical network

Highly reliable, intelligent opticalinfrastructure enables uncompressedSD, HD and 3-D digital video signalsto be transported efficiently, regard-less of distance. Network complexitycan be reduced and operations sim-plified to achieve better video qualitycompared to alternative compressionstrategies. While compatibility withvideo compression requires morecomplex configuration and testingto ensure interoperability betweenencoding and decoding devices, un-compressed video formats adhereto universal standards and can betransmitted using less equipment inthe end -to -end video transmissionpath. This makes installation easier,reduces costs and enhances networkreliability and survivability.

An intelligent network is made pos-sible with the latest technology break-throughs in silicon and software thathave unlocked the network potentialto carry high -bandwidth video con-tent with the highest levels of availabil-ity. Some of these technology break-throughs, and how they solve the latestchallenges faced by video broadcastersand producers, are listed below.

Capacity: Intelligence is brought tothe network by a breakthrough tech-nology called coherent optical process-ing, which increases network capacity10 times or more while preserving theexisting fiber plant - no network re -engineering, no forklifting, no massiveinvestment. Coherent optical process-ing unlocks the network potential tohandle the large amount of traffic be-tween venues, such as stadiums, andproduction sites. The capacity un-leashed by coherent optical processingallows the core of the video transportnetwork to scale for emerging videointerfaces, such as 3G HD and 3-D.

Efficient signal mapping throughEthernet or optical transport network(OTN): Video signals can be trans-ported over the network efficientlyand cost-effectively while preservingtheir stringent requirements such assynchronization (clocking), low jitterand low latency. Packet technologyadvancements allow users to map andmerge video signals - such as SD -SDI,HD -SDI, 3G -SDI and DVB-ASI -onto Ethernet (GigE or 10GigE), witha complete set of diagnosis and moni-toring tools. OTN allows video signals

111 RIEDEL

MediorNetCompact

50G Real -Time Media Network

c.oc,ococr.

.00009900 0000C]r.r..r.

Synchronized 50G real-timeietwork for 3G/HD/SD-SDI video,audio, data & intercom at theonce of multiplexing point-to-point fiber products

Flexible signal routing incl. point-to-multipoint

Integrated Frame StoreSynchronizer, Embedder/De-Embedder, Test PatternGenerator, On -Screen Display &Timecode Insertion at every port

Fully compatible with Artist,RockNet and modular MediorNetsystems

www.riedel.net

EditingFEATUREINTELLIGENT OPTICAL NETWORKS

to be carried transparently over thenetwork, with built-in capabilitiessuch as FEC that increase signal reachand help reduce the number of net-work elements required between thenodes. The intelligent optical networkbrings operational simplicity, scal-ability and efficient bandwidth man-agement (aggregating and switching)capabilities to eliminate bandwidthfragmentation and ensure efficientuse of all network assets.

Intelligent control plane: Down-time in video networks translates tothe loss of millions of dollars in ad-vertising revenue and damages theprovider's reputation with viewers.An intelligent control plane acts asthe brain of the network, reacting tonetwork changes - such as multiplesimultaneous failures, changes innetwork topology or an increase inlatency in some of the network's criti-cal spans - in real time, without any

Specialeffects

Sound

Data center

On -locationfilming

Encrypted content

Graphics

171:-.; *Nese :NaHigh and flexible New connections Self -healing Secure content

bandwidth on the spot

Figure 3. Intelligent optical network in111/ and movie production applications

human intervention. The controlplane handles and executes the band-width increase requests, setting upa new connection between two endpoints (such as a broadcast in HDbetween two locations, or a need totransfer a large amount of raw video

footage between two studios) andmany other tasks required in the TVbroadcast and movie production in-dustries, without any intervention.The control plane increases networkavailability and protects it from thevarious sources of failures, such as

The FOR -A HVS-4000 Series SwitchersThe Highly Effective Core of Your Video Production System

FOR -A s HVS-4000 is a 2 M/E, 2.5 M/E, or 3 M/Emulti format video switcher. It has a wide range offeatures, including HD/SD mixed input, 3 Gbpssupport, 2.5D and 3D DVE, multiviewer, externaldevice control, macro function, video file support and

stereoscopic 3D support. It also comes with a number

of interfaces and functions for connecting to external

devices, making it extremely useful as the core device

in your video production system.

The HVS-4000 offers you a choice of three moclis, a2 M/E, 2.5 M/E, or 3 M/E model. The main unitoptions are the same, so you can upgrade to 3 M/Eeven after purchasing a 2 M/E model. The main unithas a redundant power supply, DVE board and options

for additional functions that help reduce systemperipherals and save you space.

Continuous Innovation

-.4

6I,11 4164111111

111qk

mNBI

FCIR.INNOVATIONS IN VIDEOand AUDIO TECHNOLOGY

lh

1111L".74.1411111.6 'Li-

141 111114, 111

lb 4411,7011,4*.11b -

<ft Ili_

www.for-a.com Head Office (Japan) Tel: +81 (0)3-3446-3936

USA Western (CA) Tel: +1 714-894-3311 USA Eastern & Midwest (NJ) Tel: +1 201-944-1120 USA Southern (FL) Tel: +1 305-931-1700 Latin America & Caribbean (FL) Tel: +1 305-931-1700 Canada (Toronto) Tel: +1 416-977-0343


fiber cuts or hardware failures thatcould affect the services offered toviewers. (See Figure 2 on page 51 andFigure 3 on page 52).

BenefitsAn intelligent optical network has

a significant positive impact on thevideo transport network.

Enhanced reliability (uptime): Theself -healing capability and the abilityto survive multiple failures enabledby an intelligent optical network raisevideo network availability to a newlevel. Service providers offering net-work connectivity to broadcasters andTV production firms can capitalize onthe high availability of these services asa competitive differentiator.

High performance: An intelligentoptical network provides determin-istic, high-performance, scalable,resilient and fully transparent videotransport. High -quality video can bedelivered with low latency and lowjitter. Emerging video signals suchas 3G -SDI and 3-D TV can be trans-ported on the network without put-ting a huge stress on its capacity.

Enhanced flexibility: All the es-tablished video interfaces used in thevideo industry (such as SD -SDI, HD -SDI, DCI [3G -SDI] and DVB-ASI)are supported, allowing content pro-ducers to reduce inventory and main-tenance costs. Content producers canupgrade to a newer video protocol- such as from HD to 3G HD - ina plug -and -play fashion, without op-erational churn.

Advanced diagnostic features: Thecombination of video -specific ap-plications and advanced transportnetworking features, such as faultdetection and state signaling, pro-vide superior diagnostic capabilities.The video engineer can now distin-guish between a camera failure anda network fiber failure, with differentvideo patterns being generated in thevideo stream for each type of failure.

Better networking agility: Theintelligent optical network enablesbetter agility through a quick setupor tear -down of new connections

(bandwidth on demand) for eventswhere a large amount of bandwidthis needed for a limited period of time,such as broadcasting from footballstadiums over a four-hour period.

Enhanced security: In the TV andmovie production industries, videocontent is the most valuable asset toprotect from intruders. An intelligentoptical network enables wire -speedencryption for any content beingtransported over the network.

Architecture simplification: An in-telligent optical network brings oper-ational simplicity, efficiency and costsavings to venues, production sitesand backup sites. Seamless scalability,flexibility, efficient bandwidth man-agement and automated operationsdrive down operating costs while sim-plifying the network architecture.

The intelligent optical network al-lows broadcasters to transmit livecontent more reliably and economi-cally, with higher service quality. Tele-vision and motion picture studios canexploit electronic delivery to improvecollaboration among post -productionteams, eliminate tape -based distribu-tion methods and reduce costs.

ConclusionIn the video broadcast industry,

uptime, video quality and operatingcosts are among the main businessimperatives. Film and television pro-ducers are in a constant search for asecure and reliable system to sharehigh -bandwidth, high -quality videobetween geographically dispersedteams. The intelligent optical networkenhances network survivability andprotects it from multiple failures -afeature that current networks cannotmatch. The network infrastructurealso allows content providers to de-liver video in its highest quality whilepaving the way for a new generation ofprotocols, and leads to network sim-plification and cost reduction that seta new economic benchmark for videoproduction and distribution.

Fady Masoud, M. Eng., is an advisorat Ciena's Portfolio Solutions Group -Montreal, Canada.

R 111 RI E DE L

Global Fiber Service

The alternative to satellite uplinks: RiLink isthe new way to broadcast live signals fromremote event locations or foreign studios tothe home facility. Bi-directional, unaffectedby weather conditions and with significantlyshorter latency. Based on Riedel's ownglobal backbone, the RiLink Global FiberService transports not only HD/SD-SDI videosignals but provides additional featureslike integrated intercom and telephonecommunication, secure connections tocorporate networks or access to digitalarchives. RiLink is charged at a flat rateallowing for precise budget planning andmore live pre and post -event features ornews reports at no extra costs.

www.riedel.net

encodingEncoding specialistscan help streamlinemultiscreen video deliveryBY P'REK n r "

As TV service providers tryto keep up with the surgeof mobile video consump-tion and more connected

TVs and tablets coming to market,the need for cost-effective and secureencoding services that provide qual-ity of experience becomes increas-ingly important. And, although TVservice providers understand mobileis important, are they really ready todeliver these services to consumers?Are they prepared to roll out services

to stay competitive, but also provide ahigh -quality experience that protectsthe quality of their brand?

According to a recent report fromIn-Stat, worldwide revenue for n- ul-tiformat transcoders will surpass$460 million in 2015. The reason be-hind this growth is that due to vary-ing OS and screen size, every newdevice requires service providers toindividually encode video for eachmodel or device family. Further-more, with the adoption of adaptive

e10011b

1' NI

Ir

3t4

streaming, there are now multiplevariants of each device. For cableoperators, TV service providers andmovie studios - or anyone provid-ing premium content to a subscriberbase - the need for better encoding


Encoding services can assist contentproviders to deliver premium v deocontent such as television, moviesand even I ve sports to mobile del.icesand otter connected devices. Image5courtesy Quickplay Media.

RIIIRIEDEL

ConnectAVB

Intercom goes

Real -Time IP

Connecting intercom panels over an IP-basedLAN environment has been the dream ofmany system planers. Riedel's AVB productline provides a communication solutionf.dfilling the demands of professionalintercom users. Based on official IEEE

r ext generation Ethernet standards!NB makes it possible to utilize facility andenterprise LAN data infrastructures forneal-time intercom applications. This allowsior new approaches in system and facilitydesign providing significant savings in

infrastructure investments.

www.riedel.net

FEATUREMOBILE VIDEO ENCODING

Rawcontent

Video(master

Figure 1. Content providers have many options for the familiar process of collecting,transcoding, encrypting and delivering video. When it comes to premium mobile video,they should remember to include encoding as a step.

is even more critical as the mobilevideo adoption curve climbs upwardand consumers demand a pristineviewing experience on their smart -phone and tablet devices. Premiumcontent can be defined as a televisionshow, a movie or a live sporting event- essentially, anything that consum-ers will pay to watch. Today, the mostcommon means of watching this con-tent is through cable subscriptions.However, as mobile video becomesmainstream, consumers who wishto have access to their cable serviceacross multiple screens will have thechoice to either purchase a premiumbundle or pay more for a basic pack-age in order to view this same contenton a mobile device.

Premium content requires a preciseset of specifications, all of which are

dependent on factors such as networkcapacity, carrier requirements, targetdevices and diversity of source for-mats. The encoding process follows afour -step process: collect, transcode,encrypt and publish. Although this

premium content requires between20 and 25 output files to accommo-date varying devices, screen sizes and(where appropriate) adaptive streams.This is a challenge for content provid-ers across the board. According to anarticle from Leslie Ellis' "TranslationPlease" blog, HBO executive DianeTryneski states, "Since 2006, the num-ber of video assets HBO creates ev-ery month went from 500 to 60,000."This story is a familiar one across theindustry. As long as new devices areintroduced to the market, this num-ber will continue to climb, and con-tent providers will be faced with thechallenge of pushing more content inmore formats to more devices and in-creasing network capacity.

As one can imagine, the encodingprocess can become a time -intensiveand costly initiative for content pro-viders to handle on their own. Al-though many have tried, it requires a

On average, a 22 -minute episodeof premium content requires

between 20 and 25 output files toaccommodate varying devices.

process is not new, the specificationsassociated with it continue to evolvedue to device capabilities, networkevolution, and enhanced compres-sion and delivery technologies. Fora bit of perspective, consider this:On average, a 22 -minute episode of

lot of resources, which means manyservice providers are now turning tothird -party specialists to help stream-line the process and make it morecost-effective, while leveraging econ-omies of scale. Third -party specialistsalso are better aligned to keep on top

; -II la 011.1DO130'00'1361:13DO OD'OD OM

oUse

op

Oils Be

II II

malit

ON AIRCompact Broadcast Solution

powered by NEXUSc=cII II CREATE - CONNECT - DELIVER IIIle

airII STAGETEC USA

email: [email protected] STAGETEC

WINO" yire

1 .7.7.E Ell



of new developments, standards andinnovations. In order to provide best -in -class live -TV and VOD services formobile devices, it's important to con-sider the points below.

Ensuring high -quality VODAside from the content selection,

video playback and quality are themost important parts of the mobilevideo experience from a consumer'sperspective. Thus, it is critical that ca-ble, TV service and content providershave stringent benchmarks in placewhen testing the quality and deliveryof premium content. The first stageof analysis often happens during theingestion process. When workingwith a third -party encoding vendor,service providers should make surethat they are receiving optimal sourcefiles and accurate metadata for thetype of VOD content they are pro-viding. They should understand the

preferred levels of interlacing, aspectratios, resolution, codecs, frame ratesand bit rates in order to ensure thatthey are starting with the best sourcefile. From there, the files should betested and checked to confirm theymeet agreed -upon standards. After

From here, many vendors take acustomized approach to the encodingprocess. The most challenging partof this is determining how many en-codes are required to meet the specifi-cations of the overall service. It is im-portant to evaluate key criteria such

Content providers will be faced withthe challenge of pushing more content

in more formats to more devices.

the source input is successfully vali- as network and content types, mediaplayer preferences, security, and de-vice capabilities and, in some cases,carrier restrictions. By separating theaudio and video layers during perfor-mance testing, one can ensure a ro-bust and error -free encode and shapethe encoding profile for various de-vice/service combinations. However,it is likely that these encoding profiles

dated, a series of pre-processing stepstake place. These steps include videoequalization, de -interlacing the file,audio boosting and noise reduction.The encoding process may then be-gin. If any of these steps are skippedprior to the encoding process, it couldseverely impact the delivery and qual-ity of the content.

Don't take a chance with your timing needs.Trust the name broadcasters have countedon for precision master clocks and timing -related products for nearly 40 years-ESE.

iOur products accurately synchronizebroadcast operEtions using a choice of GPS,WWV, Moiem, Crystal or line frequency foraffordable, reliaole, perfect time.

Visit www.ese-web.com to witness world -class timing systems that are designed foreasy installation, set-up and operation.

142 Sierra StreetEl Segundo, C.\ 90245Tel: (3101 322-2136

www.ese-web.com



will need to be refined as new servicesand devices come to market.

After each encode is created, each fileshould be analyzed using automated

service providers should feel confi-dent that their services have under-gone rigorous testing and monitoringto provide a quality experience for

With live TV, there is little opportunity torefine and manipulate the content as it

makes its way to IP-connected devices.Thatdoes not mean the quality has to suffer.

QC tools to ensure that it meets thequality expectations of the service. Iferrors are detected during this stage,then manual validation is often re-quired to determine severity levels andnext steps. In most cases, a faulty en-code will need to be re -encoded fromscratch. It should also be standardpractice to manually sample video onactual devices to ensure the final prod-uct is of the best possible quality andfree of any potential errors.

Live TV - no room for errorIt goes without saying that with

live TV, there is little opportunity torefine and manipulate the content asit makes its way to a variety of IP-con-nected devices. That does not meanthe quality has to suffer. Content and

consumers. This includes ensuringthat there is a high -quality input feed,that adaptive streaming protocols are

Transport stream files(400kb/s to 1200kb/s)

Source file

supported between various networks,and that the encoding service pro-vider has configured specific profilesfor all content. Most importantly, en-coding service providers must makesure that any issues in the redundantinfrastructure are addressed to avoidthe potential of having a negative im-pact on the service.

The architecture at the core oflive TV streaming services should betaken seriously. Whether one is try-ing to deliver the content via satellite,SDI, ASI or IP speeds, it is importantto establish a connection with serviceprovider headends.

Playlists

P11211171M14- Al

Masteris playlist

DEEMI 4 --Chunks

(20 seconds each

P2Al

As

P3Al

A6

User

Figure 2. Adaptive streaming has been widely adopted as the trusted model forstreaming live video. However, it is important for encoding service providers to offersupport for Real Time Streaming Protocol (RTSP).

RTM - Chosen by Major TV Networks World Wide

videof

0.0

ASOD RTM

- Continuously logs and monitors baseband AV quality- Logs and monitors lip -sync and VANC data lines integrity- Automatically records AV source and processed feed if

monitored items fall below a degradation threshold you E et

Email [email protected]

Call 1-866-748-8072 or visit videoclarity.com

Video ClarityuEN

Tools for Video Analysis

1566 La Pradera Drive Campbell, CA 95008



Adaptive streamingDue to its consistency and sig-

nificantly improved quality, adap-tive streaming has taken over as the

rate and resolution must be carefullyanalyzed and tested so that the me-dia player can quickly transition tonew versions without compromising

A plethora of options exist for determininghow to collect, transcode, encrypt anddeliver premium mobile video. ... [But]the encoding process is a critical step.

trusted model for streaming live vid-eo. However, despite the fact that RealTime Streaming Protocol (RTSP) isno longer the protocol of choice forstreaming, it is important that encod-ing service providers offer support forlegacy devices that still use this proto-col and maintain capabilities for dis-tributing the content.

Adaptive streaming comes withsome challenges: Variables such as bit

the integrity of the picture. AdaptiveStreaming now powers many of theearly TV Everywhere efforts from ca-ble service providers such as Comcastand Time Warner. These services arehelping to drive the adoption and per-vasiveness of Adaptive Streaming bymaking it easier to get various types ofcontent to different devices over sever-al types of network connections. Theability to push higher -quality versions

will really come to bear as Long-termEvolution (LTE) networks and devicesget rolled out.

The next encoding frontierA plethora of options exists for de-

termining how to collect, transcode,encrypt and deliver premium mobilevideo. One thing remains constant:The encoding process is a critical stepin that life cycle. Spending too muchon encoding processes or encodinginaccurately can negate a tremendousopportunity to drive additional rev-enue or value and keep subscribershappy. It is important to find an en-coding service provider that will de-liver a high -quality finished productand document the process from startto finish in order to establish timeli-ness in a cost-effective way. BE

Derek Bell is senior director of productmanagement for QuickPlay Media.

TVU PackBroadcast live in HD from amireless video backpack

Go Anywhere Transmit in SD or HD over multiple 3G/4G,

Wi-Fi and BGAN

Capture news from locations yourENG/SNG/OB van can't reach

No waiting - go live with fast start up

Sub -second latency

[email protected] +1.650.969.6732 TVUpack.com

December 2011 bro3dcastengineering.com 59

FIELD REPORTNEW PRODUCTS & REVIEWS

"ACL" mixes concertsound with Avid

A duo of S5-BPs simplifies tracking and remix.

For more than 30 years, "Aus-tin City Limits" ("ACL") hasbrought a wide cross-sectionoflive-music concerts to pub-

lic -television audiences, in addition toCD and DVD releases from the "Livefrom Austin" TV series. Since the 1974"ACL" pilot program, sound engi-neer David Hough has mixed soundfor virtually all of the show's tapedlive concerts.

Although the initial idea for the se-ries was to showcase the music of Texas,"ACL" now features regional, nationaland international artists performing awide range of musical styles.

The show acquired its first S5 -BPin 2001, and according to Hough, itscombination of fixed and fully as-signable controls fit the needs of a liveconcert where there wasn't the possi-bility of a second take.

From 1976 through its 2010 sea-son, "ACL" was recorded in Studio 6Alocated on the University of Texas atAustin campus.

To provide additional audiencespace for the series' recent tapings,which are recorded live in front ofup to 800 patrons, the production re-cently moved to a new, purpose-builtfacility at ACL Live at the MoodyTheater, sited next to Austin's WHotel. The theater was equipped witha second S5 -BP.

Both the original studio andACL Live at the Moody Theater areequipped with identical 32 -fader AvidS5 -BP consoles with the latest V5.0software, which includes EUCONcontrol. The two consoles need to befully compatible because, with the ex-ception of other video productions,the original studio now is used prettymuch exclusively for reconform-ing and remixing the audio tracks

BY MFL LAMBFRT

for concerts recorded at the MoodyTheater. Each console features 72 mic/line inputs that route via multichan-nel MADI connections from the stageboxes or Pro Tools playback sourcesto the main DSP engine, which canhandle 160 full -featured signal paths.

cord the show at the Moody Theater,return to the original studio and startremixing the edited show quickly.

For Hough, S5 -BP's V5.0 softwareadds several other useful operationalfeatures, such as the ability to quicklyset up an auxiliary mix and send it to

The S5 -BP's Expand Tracks function lets "ACL' video editors, who cut the show onMedia Composer, quickly conform Pro Tools tracks from the recorded concerts tomatch the picture edits.

The new upgrade was addedthrough the able assistance of twoAvid support personnel: applicationspecialist Ozzie Sutherland and pro-fessional services solutions architectScott Wood.

Wood also introduced the show'sstaff to a new AAF-based auto con-form feature from Avid: the ExpandTracks function. This function lets"ACL" video editors, who cut theshow on Media Composer, quicklyconform Pro Tools tracks from the re-corded concerts to match the pictureedits. Because there are high-speedaudio and video fiber-optic links be-tween the two locations linked to AvidISIS servers, this allows Hough to re -

the musicians as a stage -monitor mixfor overdubs. "We had that situationduring a recent session with the bandExplosions in The Sky, who wereasked to record a new theme song forthe show," he said. "I used the AuxPage to create a monitor mix for theband so that they could add over-dubbed guitar and bass."

While remixing the live concertsfor subsequent broadcasts on PBSstations and other outlets around theworld, Hough makes substantial useof the S5 -BP multitrack mixing func-tions to create enveloping 5.1 -channeland stereo mixes. BE

Mel Lambert is a freelance writer basedin Los Angeles.


APPLIED TECHNOLOGYNEW PRODUCTS & REVIEWS

TC Electronic'sloudness radar meter

The unit provides a valuable tool in the ongoing fightagainst the loudness wars.

The most fundamental au-dio issue of all - controlof loudness - makes mil-lions of people adjust their

volume controls over and over on adaily basis. The CALM Act and legis-lation in other countries are signs ofhow serious the issue has become indigital TV and with multi -platformbroadcasts around the world.

TC Electronic's radar loudness me-ters represent a quantum leap awayfrom simply measuring peak level tomeasuring perceived loudness. Theold method is responsible for unac-ceptable level jumps between pro-grams and commercials, and an in-creased audio workload at the stationbecause audio formats and programgenres are incompatible when onlypeak level is considered.

Radar meters are part of a new,globally standardized system, where-by audio may easily and consistentlybe measured and controlled at vari-ous stages of production and distri-bution, thus creating a transparentloop from creation over delivery tologging. Workload is minimized andaudio quality is maximized not onlyin AC3-based transmission, but in de-livery to all platforms. Follow guide-lines given in this article to be com-pliant with the latest ATSC, EBU andITU recommended practices.

Loudness on the radarThe meter displays momentary

loudness and loudness history in asingle, unique radar view. (See Figure1.) The circular, color -coded displaymakes it easy to balance audio visu-ally and to see when level falls belowor exceeds the end -listener's loudness

BY THOMAS LUND

range tolerance. Figure 1 shows ascene from "Desperate Housewives"that is generally too soft. It's a tre-mendous help for a mixing engineeror a video editor to know which radar

the numbers displayed are programloudness and loudness range.

Program loudness is a standardizedintegrating loudness measurement.If one program should be aligned in

Outer ringMomentary loudness

Radar viewLoLdness history

4min per revolution6dB between circles

Soft partLoud part

Loudness range(entire prgram)

True -peak warning

Unit (LUFS = LKFS)

Time since resetProgram loudness(entire prgram)

Figure 1. This shows a scene from "Desperate Housewives" that has audiogenerally too soft.

The old method of loudnessmeasurement is responsible for

unacceptable level jumps betweenprograms and commercials becauseformats and genres are incompatiblewhen only peak level is considered.

area to stay inside as shown in Figure2, where a film scene from "Pirates ofthe Caribbean: On Stranger Tides"clearly falls outside normal broad-cast expectations.

The radar itself is complemented bya true -peak warning and by two num-bers to characterize the entire loud-ness 'landscape' of a program, filmor music track precisely. By default,

levels

loudness with another using only again offset, that offset would be the dif-ference between the program loudnessvalues of the two. Practically speaking,both programs should simply be nor-mali7ed to a certain target loudness. Inthe United States, the value to aim for is-24LUFS. That number is directly com-patible with AC3's dialnorm parameter,which should also be set to 24.

December 2011) broadcastengineering.com 61


Loudness range is a standardizedmeasure of the loudness range of aprogram. It measures the differencebetween soft and loud parts. From anapplication's point of view, loudnessrange is compelling 1) as a produc-tion guideline, 2) for prediction ofplatform compliance during ingestor on a server and 3) for verifying atransparent signal path all the wayfrom the studio to the home -listener.

measure of loudness. When display-ing loudness level on an LU meter,a certain target loudness is explicit.For instance, if the target loudnesslevel of a station is -24LUFS, the ra-dar meter can be configured to showthat number as `O'LU, which causes alevel of -27LUFS to be shown as -3LU,while one of -20LUFS will be shownas +4LU. In other words, it's merelya question of preference whether an

Broadcast production:

Most of the time,stay between +4LUand -8LU

Target: -24LUFS(LUFS = LKFS)

Figure 2. This illustrates the target loudness within which levels should be aimed.In the U S , the level should be -24LUFS.

Audio is preciousand deserves tobe reproducedrespectfully.

Note that the number stays the samedownstream of production, even if aprogram is later normalized.

LKFS, LUFS and LUSince the units used on different

loudness meters currently varies, it'simportant to be aware of the differ-ences and similarities of these units.First of all, LKFS (Loudness 'K -weighted' Full Scale) and LUFS areinterchangeable, and both denote anabsolute measure of the loudness of adigital signal. For instance, -24LUFSis precisely the same as -24LKFS.

LU, on the other hand, is a relative

absolute or a relative display of loud-ness level is preferred. TC radar me-ters present both options to the user.

Radar meter platform rangeTC's loudness radar meter comes

in a number of different versions. TheLM2 stereo hardware loudness meterwill show the above -mentioned de-scriptors on a built-in display, whilethe full radar meter (stereo version) isincluded as software for PC and Mac.Further, TC TouchMonitor TM7 andTM9 feature the radar meter as doesthe transmission processors DB4MKII and DB8 MKII.

Finally, it is also available for ProTools HD as the LM5D plug-in, forTC's System 6000 MKII digital signalprocesser and as a new LM6 plug-inthat is compatible with most au-dio and video editors, such as Me-diacomposer, Final Cut Pro, ProTools, Nuendo, Sequoia, Logic Proand more.

Transparent andclosed loop

On a global scale, broadcasting isadopting a transparent and predict-able loop, spanning from produc-tion over distribution to variousend -listener platforms and logging.TC embraces this closed loop andstands committed to support fur-ther loudness and true -peak basedimprovements to already -existingbroadcast standards in the years tocome. Without forgetting linear au-dio, work will continue optimizingdelivery of data reduced formats andrefining trickle -down techniques fordealing easily with multiple platformswithout locking broadcasters intoproprietary solutions.

ConclusionAudio is precious and deserves to

be reproduced respectfully. For ages,sound was a natural phenomenon,only existing in the exact moment itwas being produced, but technologyallowing for recording and reproduc-tion of audio has changed that onceand for all. Now, beautiful audiblemoments can be captured and repro-duced to enjoy at any time.

However, technology can also beabused, which, as described in theabove, is rarely beneficial to the mu-sic and film -loving listener. Excessiveand inexpedient use of compression,limiting and maximization causesaudio to suffer considerably. Theradar meter aims to offer produc-tion, post and broadcast profession-als a valuable tool in the ongoingfight against the loudness wars, andhelp them reclaim the right to, onceagain, deliver wide, dynamic -rangeprogram material.

Thomas Lund is HD developmentmanager at TC Electronic.

BE

AUDIOBrought to you by BreadcastEngineering

From microphones to [nixing to monitoring, level controland 5.1 surround, readers learn about the latest

new audio solutions and how to apply them.

Subscribe today at www broadcastengineenng.com



Digital Rapids'Transcode Manager 2.0The new version enhances scalability and automation.

The rapid growth of multi -screen distribution opportu-nities and increasing volumeof content to be processed

are putting more operational pressureson broadcasters and media enterprisesthan ever before, and driving funda-mental shifts in their content process-ing workflows. Striving to grow theiroperations and output capabilitieswhile managing costs, large media or-ganizations are seeking more efficientautomation of their remaining manualprocesses, and ways to scale cost-effec-tively to meet new opportunities andpeaks in demand.

Version 2.0 of the Digital RapidsTranscode Manager automated me-dia transformation software wasdesigned to directly address thesechallenges. Built on the new Kayakapplication platform, version 2.0combines the software's establishedquality, format flexibility and per-formance benefits with new featuresincluding logic -driven workflow au-tomation, dynamic deployment flex-ibility and elastic scalability. Like theearlier releases, version 2.0 is opti-mized for high -volume, multiformatworkflows, supporting a distributedarchitecture with up to hundredsof transcoding nodes and dozens ofcompression and container formatsfor acquisition, production, archive,broadcast and multiscreen distribu-tion applications.

Adaptive automationA key goal in developing the soft-

ware was to enable a new level of work-flow automation intelligence that couldsqueeze even more manual effort out ofthe transcoding process, enabling fasterturnaround, reduced errors, greaterflexibility and lowered costs. The most

BY MIKE NANN

basic level of this is the ability to auto-matically detect the characteristics ofthe source media - for example, itsaspect ratio - and assign subsequentprocessing parameters accordingly.That "analyze -then -act" ability alone,

The software was engineered toovercome these limitations, blend-ing workflow management, analysis,logic branching and transformationfunctions all at the same applica-tion level. Users can visually define

, .imps It altv ,014apti am 0 31,0 1,11.,111110.111111S101 'K....,,,,,, p ,.41.4.1 a 2,111/.414.11,1 ...111.00,..11

rt""t tt#0.1.11,1* 1.1.4.14'111

Digital Rapids Transcode Manager 2.0 blends workflow management, analysis,logic branching and transformation functions. Users can visually define workflowscombining video and audio manipulations, compression and more.

A key goal in developing the softwarewas to enable a new level of workflow

automation intelligence that couldsqueeze even more manual effortout of the transcoding process.

however, only scratches the surface ofwhat's possible, and has been histori-cally achieved by tying together separateapplications. Such approaches in whicha separate workflow management layerpasses media linearly between distinctapplications for various processes(such as transcoding, image processingand quality control) can be inefficientfor tasks in which ongoing interac-tion between each function is desirableor necessary.

workflows combining video andaudio manipulations, compression,visual monitoring, publishing andmore. Different tasks or parameterscan be applied based on the charac-teristics not only of the input sourcebut also of previous processing re-sults within the same ongoing task,enabling workflows to self -correctbased upon the success of ear-lier efforts. Frame -by -frame, inlineanalysis and logic branching enable

December 2011 I broarkastengineering.com 63


workflows to adapt to anomalies orchanging attributes even within asingle source file, thus reducing thenumber of exceptions that must behandled manually.

Elastic scalabilityTo address media organizations'

needs for flexible scalability, version

Dynamic licensecheck in/out

-e-

Dynamic license On -premises cloud

check in/ t E........= 4

to be a wholesale change. For largermedia enterprises with existing me-dia processing infrastructure invest-ments, the focus is on on -demandscalability within and beyond exist-ing in-house capacity, particularly tomeet peaks in demand.

With this in mind, the new versionis designed to deliver the experience

External cloud

[1111111111111111Kayak cloud engines

Secure filetransfer Control

Transcode Manager server 2.0

License server

Irk:. Ililiff/BEENA I

4Kayak facility engines

4

Transcode Managerconsole

Classic transcode engines

Figure 1. The software incorporates a dynamic deployment model and can "spin up"additional transcoding engines on demand with expansion to the external cloud. Dynamicresources appear side -by -side with fixed resources in the software's dashboard.

2.0 of the software adds new clouddeployment dynamics. While cloudcomputing allows media processingdeployments to move from capi-tal expenditures into operating ex-penses, for premium media organi-zations, such a transition isn't going

of an on -demand cloud processingsystem on -premises within a facil-ity, with a seamless path for expan-sion into the external cloud. Light-weight transcoding engines can beinstantiated as needed using avail-able software licenses and program

components checked out from acentral pool. This allows customersto leverage cloud technologies onlocal systems, effectively combiningvirtualization with a new level of dy-namics by elastically "spinning up"new software resources as neededusing existing underutilized infra-structure. For customers who laterexpand their media processing tothe external cloud, local transcodingengines and external cloud -basedengines appear side -by -side in thesoftware's dashboard for seamlesshybrid deployments. (See Figure 1.)

A foundation for the futureAll of these new features and ben-

efits - from increased automationintelligence to dynamic deploymentsand elastic scalability - are enabledby the underlying Kayak applica-tion platform, a rich, multilanguagecomponent -based developmentframework and toolset that can alsobe used by third -party developerswishing to integrate their technolo-gies with the software. Combinedwith Transcode Manager's extensiveformat support and proven qual-ity through optimized codec imple-mentations, the new version offersa modular media processing archi-tecture that can easily adapt to thechanging requirements of the ex-panding media landscape. BE

Mike Nann is director of marketing andcommunications at Digital Rapids.

broadcastloudnesscontroland more...

4110 Television Audio Processor

I I

D*AP LM4 Audio Processor

D*AP LM2 Audio Processor

jUrIgErITU.177o/-2EBU R128ATSC A/85

www.junger-audio.com

USA: Group i www.gilimited.com CANADA HHB Canada www.hhb.co.uk/hhb/canada/



SRS Labs' Circle SurroundThe system encodes surround sound

in a two -channel signal.

When we think of sur-round sound today,we think of 5.1 digi-tal transmission, with

the most popular transmission co-decs being supplied by either Dolbyor DTS. However, there are still manycases when transmission of discrete,multichannel surround is impracti-cal due to bandwidth limitationsor other constraints such as infra-structure restrictions. It may also bedesirable to use a surround formatthat does not require a proprietarydecoder and its associated costs forcases when multichannel surrounddecoding is not required.

In these situations, technologiesexist today that enable surroundsound transmission over two -chan-nel paths. Those technologies arebackward compatible with stereo insuch a way that content that is notsurround -decoded plays back as ste-reo. When multichannel surrounddecoding is desired, the appropriatedecoder can take the input stereo in-formation and render it as an effec-tive surround presentation.

These systems typically fall intotwo categories: composite and para-metric. The composite systems es-sentially encode the information re-quired to reconstruct the surroundfield in the audio itself. This audiocan then be transmitted or stored onor over any two -channel media, in-cluding analog. Parametric systemsanalyze the spatial characteristics ofa multichannel input and encode theresultant information into a low -bit -rate digital sidechain that can be usedat the receiving end to spatially recon-struct something close to the originalsurround presentation. Examples ofcomposite systems are the SRS CircleSurround and the Dolby ProLogic II.

BY ALAN KRAFMER

An example of a parametric systemwould be MPEG surround.

Digging deeperFrom a functional standpoint,

composite, or "matrix," systems em-bed surround decoding cues in theaudio through the use of amplitudeand phase information. Matrix sys-tems evolved from the earliest daysof surround. The original system wasDolby Stereo, which was applied tomotion picture sound tracks. Whenthe home video era began with Betaand VHS, and when each eventuallyincorporated high -quality FM -basedstereo audio systems, people discov-ered that the surround cues remainedembedded in the audio tracks of thehome releases. This, in essence, wasthe dawn of home theater.

The original iteration of DolbyStereo had limitations that prevent-ed it from working well, as it onlyprovided about 3dB of separationbetween adjacent channels. DolbyProLogic was developed to overcomethis limitation by "steering" the signalbased on surround cues encoded inthe audio. Dolby ProLogic providedan improved experience, and it hadthe advantage of being able to playback unencoded content as basic ste-reo. However, it was still limited to amono surround channel, which wasoften reproduced over two rear speak-ers even though they carried identi-cal information. In addition, a 7kHzhigh -frequency roll -off was appliedto the surround channel to enhancethe perception of isolation from thefront channels. Even with these issues,Dolby ProLogic was the standardmethod of storing and transmittingsurround sound for many years.

In the mid -1990s, a compositesurround encode/decode system

was developed by a company calledRocktron. It was designed to addressthe limitations of Dolby ProLogiccited above. The Rocktron CircleSurround system provided full -

bandwidth stereo surround by usinga more advanced multiband, vari-able -time -constant steering system.Circle Surround was later acquiredand further refined by SRS Labsand served as a mainstay for sportsand music broadcasting prior to thedigital era.

In response to Circle Surround'ssuccess, Dolby created ProLogic II,which addressed the limitations ofthe original ProLogic. Both systems,however, could decode each other'sencoding and still present a crediblesurround sound experience. It is thischaracteristic, along with the abilityto encode surround to two channelsand the lack of necessity for a decoderwhen surround is not required, thatmakes composite surround systemsof this type attractive, even today, forcertain cases.

Parametric systems such as MPEGsurround can create a "near -discrete"surround presentation under theright conditions, but they requirechanges to the two -channel infra-structure to carry the sidechain data.This extends to both the transmis-sion codecs as well as the internaldistribution and playout structure ofthe content provider.

ConclusionWhen transmission is limited to

two channels, an excellent surroundsound experience can still be madeavailable to consumers through high-ly effective and mature technologiescurrently available in the market. 1E

Alan Kraemer is the CTO of SRS Labs.


TECHNOLOGY IN TRANSITIONNEW PRODUCTS & REVIEWS

Satellite services andsystems, part 1

OTA transmission is more complicated than it looks.

b,,,,

atellites first were used intelevision for short -dura-tion transatlantic intercon-nection. Short could mean

a few minutes, but at the time it wasa technological wonder. Early Telstartransmissions required substantial an-tennas and large amounts of transmitpower due to the low sensitivity andlarge -transmit beam size with whichthe satellites were equipped. Though itseems hard to believe today, the satel-lites were not in geostationary orbits.Dishes had only seconds to acquire asignal and had to track rapid motion- 1.5 degrees per second.

Telstar had one transponder, mak-ing each pass usable by only onetransmission of about 20 minutes.The cost of transmissions was pro-hibitively expensive and accessible atonly very specific times. That madefor a tough business case. Compel-ling content and experimental useprovided for uses. Only two earth sta-tions were available, in Maine and atGoonhilly in southwest England.

Soviet Molnlya satellitesOther satellites also were used for

communications that were not instationary orbits. Some of the mostremarkable were the Soviet Molniyasatellites, which were in highly ellipti-cal inclined orbits. At apogee (farthestfrom the Earth) they were essentiallystationary for long periods, but asthey moved closer they sped up con-siderably, making them practical formost of each orbit, but then useless.

The Soviet national networkused them for many years for timezone delays for their large distribu-tion system. In later years, they wereused for some occasional feeds byWestern broadcasters.

BY JOHN LUFF

Today we use exclusively geosta-tionary satellites. Each orbital slotoccupies a highly controlled locationover the equator (essentially a box).Inside this box, the spacecraft movesin a figure -8 pattern that is highly

10

11

1 (Time in hours)

Soviet Molniya satellite orbit 1

Satellites willlikely enjoy an

advantage for high -

quality broadcastdistribution for

some time.

predictable, making unmotorized an-tennas practical. Antennas on mod-ern spacecraft are extremely com-plex, making patterns that waste littleenergy over water or unpopulatedareas on land.

Satellites excel when transmis-sions are one to many, broadcastingthe same signal to many receivers,

and thus multiplying the economicadvantage manyfold. Though terres-trial delivery over fiber has certainlyachieved economies that rival one-to-one satellite service today, satel-lites will likely enjoy an advantage forhigh -quality broadcast distributionfor some time.

System complexityIn this respect, satellite technology

resembles compression. The complex-ity and cost is pushed to the transmitend so inexpensive and technologi-cally simple receivers can be deployed.An earth station must be licensed fortransmission, and the hardware isnot inexpensive. Occasional use canbe accomplished with transportableor vehicle -mounted systems, but forpermanent use a fixed, licensed an-tenna is the only practical answer. Itwould be nice if systems could be in-expensive, but there are so many ele-ments that must be part of an uplinkthat low cost is hardly an option athigh bandwidth.

First, the antenna (aperture) andfeed must be well designed to achieveadequate performance in the centerof the beam, but at the same time theenergy that misses the reflector mustbe extremely well controlled to avoidirradiating areas around the anten-na. In addition, the beam itself musthave (by regulation) well controlledside lobes to ensure that only onesatellite is illuminated at a time. Thestandards for U.S. communicationssatellites and others are not neces-sarily the same in this regard, andeach satellite operator has specs fortheir spacecraft.

Second, the RF sections of thetransmission chain need to providewell -filtered signals with sufficient


TECHNOLOGY IN TRANSITIONNEW PRODUCTS & REVIEWS

power to drive the transponder in thesatellite to saturation. This is a com-plex calculation, termed link budget-ing. Many factors must be taken intoaccount, including free space lossover the length of the path to the sat-ellite using the actual location on theearth and the location of the satellitein space. The distance is nominally23,000mi each way, so even a pencil -thin beam loses a lot of intensity bythe time it reaches the satellite. Thecalculations for the link budget mustalso take into account the gain of theantenna on the transmission end,as well as the gain and power of thespacecraft, plus the gain of the anten-na on the ground. All of the figuresare easily obtained, and the link bud-get can actually be calculated onlineusing a variety of available tools.

The constraints on the overall sys-tem effectively mean that you cannot

simply blast the spacecraft with asmuch power as you can buy (largeaperture and big amplifiers). Inter-ference with terrestrial uses in somebands restricts the actions operatorscan take - particularly in C band,where the frequencies are shared withterrestrial microwave services. It is of-ten the case that certain frequencieson certain azimuths cannot be usedto avoid interference.

The burden of proof is on the oper-ator of the newer service. If the trans-mission system has been licensed forthe full arc of available satellites andall frequencies (transponders), anynew services - terrestrial or satelliteservice - must coordinate their useto avoid interfering with the existingsystem's licensed use. Of course thereverse is also true.

With Ku (10.95GHz to 14.5GHz)and Ka (26.5GHz to 40GHz) satellites,

coordination with other uses is not anissue because there are no sources ofterrestrial interference. There are oth-er issues to be understood, the mostimportant of which is that precipita-tion degrades higher frequencies to amore serious degree. This "rain fade"may make high -reliability service im-practical without geographic diversityplans to transmit from a second loca-tion. Of course, having diverse receivesites is seldom an option.

Next month, I'll discuss otheraspects of the technology, includ-ing modulation schemes, the use ofcompression in links and downlink/receiver issues. BE

John Luff is a television technologyconsultant.

illSend questions and comments to:[email protected]

DIVASolutionsMigrate Manage Marke your media

Vedla puzzles solved.Puzzled by media systems integration and workflow solutions?

Front Porch Digital brings you DIVASolutions, tie world leader in integrated,video migration, management, and online publishing.

Our team of experienced video specialsts is dedicated to supporting you24x7 in the design, delivery and implementation of modular, scalable solutionsthat ensure your success.

Solutions that work the way you do. It's that simple.

visit [email protected]

imLaw FRONT PORCH DIGITAL

December 2011 I brcadcastengineering.com 67

NEW PRODUCTSNEW PRODUCTS & REVIEWS

Matrox MojitoCard supports the new version of Avid Media Composer; pro-vides broadcast -quality I/O and lets users deliver H.264 filesfor the Web, mobile devices and Blu-ray up to five times fasterthan software alone; also features 10 -bit hardware scaling, in-expensive HD monitoring with the Matrox HDMI calibra-tion utility, and 5.1 and 7.1 surround sound monitoring usingprofessional connections.

www.matrox.com

TV One 1T -CT -633

HDMI repeater extendsrange of the 1T-CT-631-A/1T-CT-632 in videosystem installations; the1T -CT -631A/632 HDMIextender can achievesignal distribution dis-tances ranging from

125ft for 1080p signals to 195ft for 480p signals; the new repeatercan double those distances - typical distance is 250ft in the8 -bit (1080p) mode and 98ft in the 12 -bit (1080p) mode; also,within the maximum allowable Cat 6 or HDMI cable length,repeaters can be cascaded beyond the distance provided by justone repeater.

www.tvone.com

Broadcast Pix VOX

Voice -activated automation control for Granite, Mica and Slateintegrated production systems; detects when a particular mic isbeing used and triggers software to switch to a pre -determinedcamera position and add the appropriate graphics; lets usersset conditions to prevent coughs or one -word comments fromchanging cameras; mic inputs can be prioritized; allows hostoverride through the included soft panel software.

www.broadcastpix.com

MultiTouch MultiTaction Cell 55

Large-scale (55in) LCD multitouch display offers a set of ad-vanced touch, gesture and object -recognition capabilities; dis-play measures 4in deep on the sides and 8in deep in the middle;can accommodate large numbers of touch points and concur-rent users with full hand recognition; offers response of morethan 200fps; designed for interaction with real -life objects; canbe stacked to any size or shape using tens of units.

www.multitaction.com

Adobe Creative Suite 5.5

New version includes the Production Premium package, whichserves many mobile TV production needs; offers updated ver-sion of the Premiere CS editor, which features a merge clipscommand for mixing audio from different cameras shot in thefield and support for RED and Canon/Nikon DSLRs; also in-cludes an update of After Effects CS, which features stereoscopic3-D workflow; additional features include new effects such asCamera Lens Blur and an advanced warp stabilizer.

www.adobe.com

Sony DWA-F01D

New adapter for standalone portable receiver or mixer bag usewith the DWR-SO1D digital wireless slot -in receiver; supportsoptional powering of the receiver using Sony InfoLithium Lseries batteries; also offers users the ability to additional flex-ibility in multipurpose wireless receiver applications, includingV -mounting the portable receiver onto a camera; new compan-ion soft case offers easy access to connectors and battery.

www.sony.com/professional

Panasonic AV-HS410

19in switcher provides nine signal inputs; inputs are expand-able with option boards to a maximum of 13 HD/SD switch -able signal inputs; features easy -to -read 7in color LCD panel,new memory preview function, an improved multiview func-tion and a simple key layout optimized for live broadcasts; op-tional board slots enable support for input signals, including3-D cameras; includes software development kit.

www.panasonic.com/broadcast

Riedel Communications AVB

Product series allows for transporting AES3/EBU audio in realtime with guaranteed bandwidth and QoS via IP-based LANs;based on official IEEE next -generation Ethernet standards suchas 802.IQav, P802.1Qat and P802.1AS; enables risk -free use ofAVB-compliant facility or enterprise LAN infrastructure forprofessional intercom applications; allows for new approachesin system and facility design, providing savings in infrastruc-ture investments.

www.riedel.net

Snell Vega

96 -port router allows users to configure any signal port indepen-dently for fiber or coax connectivity; offers dual crosspoints, dualcontrollers, dual power supplies and dual fans - all replaceable- for maximum redundancy; uses proprietary algorithms tocontinuously monitor every sub -assembly.

www.snellgroup.com

Media Broadcast Broadcast Access Technology

New access technology enables use of a barker channel to trans-mit additional service information data to online portals or livestreams hosted by various content providers; incorporates theremote controls of both linear and Web -based systems; gives on-line providers a direct EPG listing and consumers direct accessto services.

www.media-broadcast.com


NEW PRODUCTSNEW PRODUCTS & REVIEWS

Sencore SLM 1478

Analyzes digital TV/RF formats, including NTSC, ATSC, QAMand DOCSIS signals; highly portable for use by installers of high-speed CATV video delivery networks; provides in-depth digitalsignal measurements from 4MHz to 1GHz; offers signal param-eters including pre- and post-BER, average power, MER, spectralanalysis, noise margin, and constellation for QAM A and B; fea-tures a LAN port for network connections to facilitate FT P up-loading of logged test data to simplify system documentation.

www.sencore.com

Rohde & Schwarz

Operates in a frequency range from9kHz to 7.5GHz; combined withthe R&S HE300 GPS-enabled direc-tional antenna, can quickly detectand locate the source of cellular bandinterference disrupting wireless in-frastructure equipment; the portablereceiver provides 10MHz real-timeIF spectrum and demodulation overa bandwidth ranging from 150Hz to500kHz; also includes an audio toneindicator of signal strength to helpusers identify the source of interference.

www2.rohde-schwarz.com

Softel MediaSphere

R&S PR100

DTA

TS generator allows cable operators to maximize the bandwidthcapacity of their current, possibly analog, infrastructure forquick, economical delivery of digital services, such as service in-formation, EPG and VOD; can create many types of SCTE dataand deliver it to consumer devices, including set -top boxes, DTAsand CableCards.

www.softelgroup.com

Teradek Bond

Ultra -compact cellular bonding system enables freelance andprofessional broadcasters to transmit live content over as many asfive 3G or 4G cellular modems from multiple carriers worldwidesimultaneously from the field; camera -top unit fits in the palmof the hand; incorporates low -power hardware H.264 HD videocompression and advanced streaming options such as RTMPand MPEG-TS; also features the company's Adaptive InternetStreaming (AI Streaming) technology, which adjusts bit rate andbuffering in real time to handle volatile network conditions.

www.teradek.com

Harmonic Outdoor Hub

Platform enables delivery of improved high-speed Internet, cableIPTV and multiscreen services over existing cable networks; canbe combined with the Harmonic SupraLink 1550nm transmis-sion system to simplify architecture and streamline operations;acts as an optical distribution point for downstream traffic andan aggregation point for upstream traffic; each hub can housemodules for optical switching, splitting, amplification, wave-length multiplexing and de -multiplexing, and re -lasing.

www.harmonicinc.com

Yamaha 01V96i

Digital mixer offers a 16 -track USB 2.0 interface for multi-track recording via Mac or PC; features 16 in/16 out USB audiostreaming at 96kHz, as well as multichannel in/out via expansioncard or ADAT; at a sampling rate of 24-bit/96kHz, the unit fea-tures studio -quality head amps with high-performance onboardA/D and D/A converters; shares all the functionality of its pre-decessor, including 100mm motor faders, 99 scene memories forinstant recall, and fully configurable user -defined keys adaptingto any studio or sound reinforcement situation.

www.yamabaca.com

Mushroom Networks Streamer

Portable device bonds multiple broadband connections (fixed orwireless) into a single high-speed pipe to transmit high -qualitylive video and audio webcasts; works with webcasting equip-ment, including encoders, switchers, software encoders on lap-tops as a video source and CDNs, such as Ustream, Livestream,Justin.tv, Akamai and Limelight.

www.mushroomnetworks.com

THE NEXT GENERATiON

OF FULL DUPLEX WIRELESS

Periormance of a rack mourfed

system - at a fractior of the cost!

8 people communicate soulta

Duao channel with party lire switch'

Self-contained headsets -no beftparl

Partible for on-locabon use.

Range up to 800 yards

1.800.399.5994 www.eartec.com


PRODUCTS & SERVICES SPOTLIGHT

Make the move to HD AI RpDp ioc Satellite / IPAll -in -One Professional

Trade-in your old IRD and get a new UC-IRD+ for only $1,495

IrA0Ago I; 444 !=-* .14

a411° I I I I

Most advanced features

found as optional on other

receivers come as standard

on the UC-IRD+

MPEG-2 MPEG-4 HD SD DVB-S DVB-S2 QPSK 8PSK HD -SDI SDI ASI IP HDMI BISS CA

Trade-in your old modulators for new state of the art DVB-S/S2QPSK/8PSK UC-250L2 modulators for only $2,950

Simply send your old IRD or modulator (analog or DVB-S) to qualify.For more details please contact us by phone or email.

;pi I in d I I I I k

Technologies, Inc.

Tired of being milked?

Frustrated with the cost and hassle of unreliable prompters?

End the headaches with Tekskil replacement displays

World class quality and reliability ... Professional high bright LCD with LED backlights Rugged & lightweight - welded aluminum case Integrated mounting hardware ensures fast installation Your choice of size - 15, 17 and 19 inch Seven year warranty - no display is more reliable!

Twice the display for half the price - $2595Proudly made in North America for over 30 yearsCall us for details at 877-TEKSKIL (835-7545)

Tekskil.com


[email protected]

www.upcom.com

Products & Services

CBT Systems On -Air Lights

N -AIRON -AIR

Made in the U S A

Contact CBT Systems at

858-536-2927www.cbtsystems.tv

Recruit Retain Explore

JOBzoneThe Industry's #1 Job Zone

Finally, a job site created exclusively forthe broadcast industry.

http://jobzone.broadcastengineering.com

CLASSIFIEDS

For Sale

Lithium -Ion Batteries forProfessional Video Camerasand Camcorders

For Sale

Acoustics First-zrn: 888.765-2900Materials to Control Soundand Eliminate Noise'http://www.acousticsfirst.com

Employment

NASCAR Media Group is searching for a tal-

ented professional to join our team in the posi-

tion of Live Event Producer in Charlotte, NC.

The position will be responsible for producing

weekly live events, onsite, for Speed race day.

Apply: www.employment.nascar.com

Employment

WQAD-TV in Moline, Illinoishas an opening for an Assistant Chief

Engineer. To find out about this excellentopportunity, please go to WQAD.com andcheck under About/Job Opportunities.

Interested applicants can send a resume [email protected]

Broadcast TV MaintenanceEngineer / MCO

WAGA-TV Atlantais seeking a broadcast TV maintenanceengineer with 3+ years broadcast television

experience and strong troubleshootingskills. The ,deal candidate will be able toinstall, mairtain, and operate automationsystems, vioeo server systems, video andaudio switciers and routers, computers,Ethernet networks, transmitters, and

other related broadcast equipment. This

position will include both operations andmaintenance shifts.

Send resume with salary requirements toHuman Resources, WAGA/FOX 5 Atlanta,

1551 Briarcliff Road, NE, Atlanta, GA30306 or fax to 404-724-4426.

No phone calls please.EOE M/F/DN

441

ton Mafketing Service

People MoversPenton Marketing Services provides content

that moves your customers. Partner with us.We'll make you the authcrity in your field withcustom campaigns that work as hard as you do.

Content Social MediaWebsites Lead Lifecycling

Search Marketing Mobile &Video

Leverage our expertise as content experts.

Make the move today and move your

customers. All aboa-d.

Learn more:PentonMarketingServices.com800.553.1945

BroadcastEngineeringTO REACH INDUSTRY PROFESSIONALS

PLACE YOUR AD TODAY!

JULIE DAHLSTROM P 312.840.8436 F 913.514.3684 [email protected]


See where a single stroke of geniuscan change the course of tomorrow.

Calling all thinkers, creators, leaders, dreamers and innovators.

It's time to return to the home of unbridled jaw -dropping ideas.

PRODUCED BY Tuesday, January 10-Friday, January 13, 2012

Qt. CEA Las Vegas, Nevada I CESweb.org

THE GLOBAL STAGE FOR INNOVATION

REGISTER NOW

AD INDEXA PENTON MEDIA PUBLICATION

vitgogiscrigiggilleering®Editorial Director. Brad Dick, brad.diclokenton.com

Editor. World Edition: David Austerbeny,editodbroatastengineetingworldcom

Managing Editor: Susan Anderson, susanandersonapenton.com

Production Editor: Andrew Ward, andrew.wardapenton.com

Production Editor. Curtis Kitchen, [email protected]

Production Editor. Laura Dixon, [email protected]

Art Director. Robin Metheny, robin.metherApenton.com

Technical Consultants: Computers & Networking- Brad Gilmer

Digital Video -Aldo Cugnini

Legal - Harry C. Martin

New Technology -John Luff

Industry Watcher - Anthony Gargano

New Media -Craig Birkmaier

Group Publisher. Wayne Madden, [email protected]

Sr. Marketing Manager. Kim Davidson, [email protected]

Dir., Online Product Development Dean Muscio, dean.muscioapenton.com

Senior Director of Production: Carlos Lugo, [email protected]

Production Coordinator. Curtis Jansen, [email protected]

Classified Prod. Mgr. Michael Penelton, [email protected]

Audience Development Kris Cunningham, Kristi.Cunniughamepenton.com

Group Show Director/1BL Sharon Morabito,sharon.morabiti 6,1Mn.com

Penton.Penton Media, Inc.

249 West 17th Street

New York, NY 10011

MEMBER ORGANIZATIONS

Sustaining Member of:

Society of Broadcast

Engineers

Member, American Business Media; Member,

The Missouri Association of Publications

PA.B..... ...rnm s aroclation of put:A.1ton.

BE US/Canada SUBSCRIPTION RATES: Free and controlled circulation

to qualified subscribers. Non -qualified persons may subscribe at the fol-

lowing rates (subject to change): USA and Canada one-year subscription

(12 issues) $99. Outside the USA and Canada $116. Customer service can

be reached at: [email protected] or by calling 866-505-

7173 or 847-763-9504

BE World SUBSCRIPTION RATES: Free and controlled circulation to

qualified subscribers. Non -qualified persons may subscribe at the follow-

ing rates (subject to change): USA and Canada one-year subscription 112

issues) $94. Outside the USA and Canada $110. Customer service can

be reached at broadcastengineeringartinews.com or by calling 866-505-

7173 or 847-763-9504

ARCHIVES AND MICROFORM: This magazine is available for research

and retrieval of selected archived articles from leading electronic databases

and online search services, including Factiva, LexisNexis and Proquest. For

microform availability, contact National Archive Publishing Company at

800-521-0600 or 734-761-4700, or search the Serials in Microform listings

at napubco.com.

REPRINTS: Contact Wright's Media to purchase quality custom reprints

or e -prints of articles appearing in this publication at 877-652.5295,

+00-1.281-419-5725, or [email protected]

PHOTOCOPIES: Authorization to photocopy articles for internal corporate,

personal, or instructional use may be obtained from the Copyright Clearance

Center (CCCI at 978-750-8400. Obtain further information at copyrightcom.

PRIVACY POIJCY: Your privacy is a priority to us. For a detailed policy

statement about privacy and information dissemination practices related to

Penton Media products, please visit our Web site at www.penton.com.

EDITORIAL and BUSINESS OFFICE: Penton Media, 9

Overland Park, Kansas 66212 . 913-341-1300 penton.com

Copyright 2011, Penton Media, Inc. All rights reserved.

Metcalf,

Page

AJA Video 13

Apantac LLC 50

Avid Technology 3

Blackmagic Design 5

Calrec Audio Ltd. 16

Canon Usa 33, 35, 37, 39

Consumer Electronics Association 72

9

43

69

57

IBC

30, 52

67

19

22

25

27

64

7

46

10,11

76

ITC

Dalet Digital

Daysequerra

Eartec Co.

ESE

Evertz Microsystems Ltd.

For -A Corp. of America

Front Porch Digital

Harmonic Inc.

Hilights Inc.

Intelsat

International Broadcasting (IBC)

Junger Audio

Matrox Electronic Systems

NCS Industries

Newtek, Inc.

Playbox Technology Ltd.

Solid State Logic

Riedel Communications Gmbh & Co. Kg51, 53

17

21

56

47

59

15

58

Rohde & Schwarz GmbH

Snell Group

Stagetec Usa

Triveni Digital

NU Networks

Utah Scientific

Video Clarity

AdvertiserHotline

800-251-4224

503-616-3711

800 -949 -AVID

408-954-0500

+44(0)1422842159

800 -0K -CANON

866-858-1555

856-719-9900

800-399-5994

310-322-2136

877-995-3700

714-894-3311

877-445-4487

+44 20-3036-6700

Broadcast Engineering is not responsiblefor errors in the Advertisers Index.

WebsiteAddress

aja.com

apantac.com

avid.com/mmm/integrated news

blackmagic-design.com

calrec.com

usa.canon.com/cusa/broadcast

ce.org/default.asp

dalet.com

daysequerra.com

eartec.com

ese-web.com

evertz.com

for-a.corn

fpdigital.com

harmonicinc.com/video-economy

hilightsinc.com

intelsat.com

junger-audio.com

800-361-4903 matrox.com/video

877-299-4614 ncsind.com

210-370-8000 newtek.com

404-424-9283 playbox.tv

212-315-1111 solidstatelogic.com/c10

55 818-241-4696 riedel.net

rohde-schwarz.com

snellgroup.com

888-782-4391 stagetec.com

trivenidigital.com

650-969-6732 tvupack.com

800-453-8782 utahscientific.com

866-748-8072 videoclarity.com

SALES OFFICESUS/CANADAWESTGeorge Watts III(360) 546-0379; Fax: (360) [email protected]

EASTEmily Kalmus(312) 840-8473; Fax: (913) [email protected]

INTERNATIONALEUROPERichard Woolley+44-1295-278-407Fax: [email protected]

IsraelAsa TalbarTalbar Media+972 (77) [email protected]

JAPANMashy YoshikawaOrient Echo, Inc.+81-3-3235-5961; Fax: [email protected]

Asia PacificTan May LingInterAct Media & Marketing+65-9623-1405; Fax: [email protected]

CLASSIFIED ADVERTISINGJulie Dahlstrom(312) 840-8436Fax: (913) [email protected]

REPRINTSWright's Media877-652-5295+00-1-281-419-5725pentongwrightsmedia.com

LIST RENTAL SERVICESMeritDiiectMarie Briganti, (877) [email protected] Killingback, (914) [email protected] Blohm, (914) [email protected]

Customer Service:913-967-1707 or 800-441-0294Broadcast Engineering, December 2011, Vol. 53, No. 12 (ISSN0007-19134) is published monthly and mailed free to qualifiedpersons by Penton Media, Inc. 9800 Metcalf Ave., OverlandPark, KS 66212-2216. Periodicals postage paid at ShawneeMission, KS, and additional mailing offices. Canadian PostPublications Mail Agreement No. 40612608. Canada returnaddress' Bleuchip International, P.O. Box 25542, London,ON N6r. 682. POSTMASTER: Send address changes toBroadcast Engineering, P.O. Box 2100, Skokie, IL 60076-7800USA. CORRESPONDENCE: Editorial and Advertising: 9800Metcalf. Overland Park, KS 66212-2216 Phone: 913-341-1300; Edit. fax: 913-967-1905. Advert. fax: 913-967-1904. ©2011 by Penton Media, Inc. All rights reserved.


EOMDEPARTMENT

Time to pauseA less famous Steve is in the fight of his life.

In May of this year, I joined about30,000 others from aroundthe world to converge in, of allplaces, Dayton, OH. Why would

so many people from all around theUnited States, Japan, China, Germany,Italy, England, the Ukraine and manyother countries meet there? It wastime for the annual Dayton Hamfest,the largest gathering of amateur radiooperators in the world.

That the broadcast industryis well represented each year atDayton is readily discernable as youwalk around indoor exhibits, attendforums and shop at the indescribableflea market. One encounters stationand network executives, as well as en-gineering and technical staff, who notonly share a vocation but an avocationas well. Anyone who has attended or,perhaps, happened to pass by the ball-room that hosts the ham radio recep-tion at NAB each year can tell fromthe overflow crowd that our industryis well populated by hams - and notjust those in front of the cameras! Theengineering and technology involvedin professional broadcasting offer anaffinity to the broadcasting aspectsand the technology associated withham radio, thus providing a naturalcareer -path progression for many inthe industry.

One such ham whom I met manyyears ago at ABC's New York networkheadquarters was Steve Mendelsohn.Steve had joined the broadcast op-erations center as a systems engineer.Given his quick- witted, extremely so-ciable and always ready to break into agrin personality, I joined the long listof Steve's friends. Steve had his ownlively and extended social networkwhile Mark Zuckerburg was still indiapers. Loving challenges, Steve wasa great fit at ABC, where he enjoyedapplying his uniquely creative systemsengineering skills and was a master at

BY ANTHONY R. GARGANC

coming up with innovative solutionsto the most complex of problems.

I happened to bump into Steve andhis wife, Heidi, in the airport waitingarea as we were all preparing to fly toDayton for this year's Hamfest. Greet-ing me with his usual grin and firmhandshake, but with a bit of tiredness

Steve had hisown lively andextended social

network while MarkZuckerberg wasstill in diapers.

in his eyes, I told him it was great tosee him and asked how he was doing.His response, despite the grin, was"not too well:' He went on to say thatin January of this year he was diag-nosed with Stage 4 pancreatic cancerand was given a matter of months tolive. But, he went on to say with in-credible spirit, he was going to lickthis thing; he was going to beat it.

Steve has enjoyed a remarkablecareer. He has made major contribu-tions to ABC network's programmingand broadcasting capabilities. He wasa key part of the design team who cre-ated the network's initial all -digitalcontrol room. In its heyday, ABC'sMonday Night Football sportscastdrew huge ratings. In no small partwas this due to Steve's contributionsto innovations such as the parabolicmic to pick up sounds to accompanyvideo of the on -field mayhem. Steve'slove of football, coupled with hisham radio experience, landed him hisdream role of being the game day fre-quency coordinator for the New YorkJets. This role led to Steve being askedto take on similar responsibilities for

everything from the 2003 Super Bowlto the New York City Marathon.

For the turn of the century a de-cade or so ago, ABC decided to doa special broadcast entitled "Mille-nium Around The World." This am-bitous project would capture and airlive the ringing in of the year 2000around the globe. The technicalchallenge was switching from venueto earth -circling venue, back to thenetwork, on air, live. Rising to thechallenge, Steve integrated IP, satel-lite and telephone technologies intowhat was probably the most com-plicated communications systemever designed for broadcast televi-sion. Steve reached a career pinnaclefor his efforts by being awarded atechnical Emmy in recognition ofhis achievement. His industry peersrecognized him once again in 2004,when he was awarded the DeForestAudion Gold Medal for his lifetimeof significant achievements.

Steve is now in the fight of his life.He has started round two of chemo-therapy and his weight has droppedto a precipitous 1101bs. But, he hasalready bested his doctor's longevityprediction several times over. Withmuch notoriety, another Steve, ini-tially diagnosed with pancreatic can-cer and also of prodigious creativegenius, sadly, was recently lost to us.(Does being named "Steve" impartspecial technological talents and cre-ativity?) As our industry colleague,Steve Mendelsohn, fights on tirelesslyand determinedly, we wish him well. Ilook forward to seeing him in Daytonagain next year. BE

Anthony R. Gargano is a consultant andformer industry executive.

1/1Send questions and comments to:[email protected]

74 broadcastengineering.corn I December 2011

Encode. Transcode. Multi -Screen.Evertz' new 3480 Media eXchange Platform is a combination of state-of-the-artcompression technology and key system level functionality from Evertz' exteesive video,audio, VBI processing product lines. The platform simplifies content delivery offeringmultiple high quality linear distribution encodes/transcodes plus multi-screee resolution2ncodes. With the addition of Evertz' advanced compression software the 3430 Media2Xchange Platform is the right sclution for today's b-oadcasters with the abil ty to adaptto tomorrow's ever changing Television landscape.

3-ectuP ENCOC:ER

Evertz (Canada HQ)+1 [email protected]

UK Sales+44(0)[email protected]

www.evertz.com 1.877.995.3700

US West Coast Sales+1 818-558-3910uswestsales gevertz.com

South -East Europe Sales+385 1-2001-665SEeuropesalesoevertz.com

Washington DC Sales+1 [email protected]

Dubai Soles+971 [email protected]

New York Sales+1 [email protected]

Asia Pacific Sales+852 [email protected]

P LA BOX-1- E CH 1\1 0 L 1=1 G V

From a Single Channel Playout Serverto a Multi Channel Turnkey Broadcast CentreIt's All in a PlayBox

Single and Multi Channel Playout Automation with interactive CG and Graphics Traffic Management Media Asset Management and Archive Newsroom System Remote Redundant Playout Ad Insertion and DPI Time Shift IPTV and Internet TV Solutions Available in HD / SD and DVB (ASI/IP)

General Sales Contacts: [email protected] Website: www.playbox.tv

PlayBox UK +44 1707 66 44 44 PlayBox Bulgaria +359 2 9703050 PlayBox Romania +4 031106 5115

PlayBox Turkey +90 216 3379402 PlayBox Germany +49 201958 609309 PlayBox Adria +381 113117286

PlayBox Albania +355 44 80 45 52 PlayBox USA +1 404 424 9283 PlayBox Asia Pacific +603 7954 3400

PlayBox India +91 9811913333

Broadcag - americanradiohistory.com€¦ · BEYOND THE HEADLINES DOWNLOAD 12 Dual -polarization weather Prepare now for the upcoming change in meteorological technology. FCC UPDATE

Documents