Niclas Ericson, director of FIFA TV, had two clear shots at goal last night, taking home not one but two trophies. For the innovations at this year’s World Cup, FIFA took the Judges’ Prize, and for continuing efforts to bring the best possible coverage to the widest possible audience, it won IBC’s highest award, the International Honour for Excellence. For the Judges’ Prize, the stage became a very crowded place as representatives of 14 partner organisations crowded on. They included FIFA’s host broadcast organisation HBS, along with vendors Sony, NHK, Telegenic, EVS, Deltatre, Eutelsat, TV Globo, Eurovision, Netco Sports, Fraunhofer Heinrich Hertz Institute, Boxframe, Dolby and Fujinon. Receiving this award, Ericson said “The global football audience is always hungry for more – more cameras, more detail, more replays and more analysis. In Brazil this year we worked together with our partners to provide more engaging multi-platform content and to develop the language to cover football in high resolution formats. It was an exhilarating team effort, and I am proud to recognise all those who contributed.” The International Honour for Excellence recognised FIFA’s long-term commitment to coverage that is not just excellent but also consistent – wherever in the world you watch a FIFA event you will see exactly the same high quality pictures. New services are also added to maintain engagement. This year, for instance, each game was covered with 34 HD cameras, many of which were available as alternative views on tablet apps. 4K, 8K, 360˚ immersive video and high frame rate capture were also on the Brazil menu. Accepting the International Honour for Excellence, Ericson said “our deepest thanks go to IBC for this honour and recognition. We look forward to continuing this pioneering work with the broadcast industry as we offer the unique platform of the FIFA World Cup to help drive technology forward.” For more details visit www.ibc.org/awards. Monday 15.09.14 the ibc daily www.ibc.org The official newspaper of IBC 4 When an awards ceremony ranges from football to grand opera, and from India to Italy, you know that IBC reaches everywhere that content needs to go. Last night’s awards ceremony was a dazzling occasion enjoyed by a large and enthusiastic audience. Football’s governing body FIFA took two awards. IBC’s highest award, the International Honour for Excellence, went to FIFA TV for its long-term commitment to quality and innovation, and the Judges’ Prize went to FIFA and 14 of its technology partners. Niclas Ericson, director of FIFA TV, said “This honour and recognition pays a fitting tribute to the dedication of our industry- leading service providers who help us deliver the very best coverage of the World Cup to football fans all over the world. We look forward to continuing this pioneering work with the broadcast industry as we offer the unique platform of the FIFA World Cup to help drive technology forward.” A different sort of score was one of the factors that saw the Vienna State Opera receive a special award for its staatsoperlive.com online service.This includes a lot of imaginative ways of augmenting the opera experience, including presenting the musical score on a tablet, synchronised to the main broadcast. The opera house is also experimenting with 4K capture and delivery to Samsung smart televisions. The audience at last night’s show got to see excerpts from Verdi’s Nabucco – as well as from the FIFA World Cup final – in 4K and surround sound. The show also saw RAI of Italy receive the prize for best conference paper, and Innovation Awards go to Sky in the UK for its Monday Night Football coverage; to Sky News Arabia; and to Turner Sports. Prizes were also awarded to the best exhibition stand designs. You can see pictures of the winning stands on page 8 in this issue of The IBC Daily. Find out more about the IBC Awards at www.ibc.org/awards. IBC honours the world of content FIFA Excellence on the ball Award for mobile future IBC always attracts many more papers for its technical sessions than can be programmed, and the papers committee carefully review each submission for relevance, innovation and clarity. As well as forming the programme, they also choose the best paper in the conference, which receives an award. This year the award went to a team from Italian national broadcaster RAI. Gino Alberico, Andrea Bertella, Silvio Ripamonti and Mirto Tabone carried out research into DVB-T2 Lite, a new variant of the digital broadcast standard, aimed particularly at allowing live broadcast to portable and mobile devices using the existing infrastructure. Chair of the technical papers committee Nick Lodge said they were “impressed with the thorough nature of your experimentation and measurements, both in the lab and in the Aosta Valley. The results you achieved provided and excellent validation of the performance of T2-Lite.” Lodge presented Gino Alberico with the award for best conference paper during the ceremony last night. On behalf of his colleagues, he said “We are proud of the recognition given to the work that RAI R&D is doing which could enable the best possible exploitation of broadcast spectrum and network infrastructures for new services.” Visit www.ibc.org/awards for more details. Niclas Ericson, FIFA TV (holding Award), with Technology Partners for FIFA 2014 Football World Cup TM Brazil
IBC2014 Daily D4 Monday 15 September
Apr 06, 2016
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Niclas Ericson, director of FIFA TV, had two clear shots atgoal last night, taking home notone but two trophies. For theinnovations at this year’s WorldCup, FIFA took the Judges’Prize, and for continuing effortsto bring the best possiblecoverage to the widest possibleaudience, it won IBC’s highestaward, the International Honour for Excellence.
For the Judges’ Prize, thestage became a very crowdedplace as representatives of 14 partner organisationscrowded on. They includedFIFA’s host broadcastorganisation HBS, along withvendors Sony, NHK, Telegenic,EVS, Deltatre, Eutelsat, TVGlobo, Eurovision, NetcoSports, Fraunhofer HeinrichHertz Institute, Boxframe,Dolby and Fujinon.
Receiving this award, Ericsonsaid “The global footballaudience is always hungry formore – more cameras, moredetail, more replays and moreanalysis. In Brazil this year weworked together with ourpartners to provide more
engaging multi-platformcontent and to develop thelanguage to cover football inhigh resolution formats. It wasan exhilarating team effort, andI am proud to recognise allthose who contributed.”
The International Honour for
Excellence recognised FIFA’slong-term commitment tocoverage that is not justexcellent but also consistent –wherever in the world you watcha FIFA event you will see exactlythe same high quality pictures.
New services are also addedto maintain engagement. Thisyear, for instance, each gamewas covered with 34 HDcameras, many of which wereavailable as alternative viewson tablet apps. 4K, 8K, 360˚immersive video and highframe rate capture were alsoon the Brazil menu.
Accepting the InternationalHonour for Excellence, Ericsonsaid “our deepest thanks go toIBC for this honour andrecognition. We look forward tocontinuing this pioneering workwith the broadcast industry aswe offer the unique platform ofthe FIFA World Cup to helpdrive technology forward.”
For more details visitwww.ibc.org/awards.
Monday 15.09.14
theibcdailywww.ibc.org
The official newspaper of IBC 4
When an awards ceremonyranges from football to grand opera, and from India to Italy, you know thatIBC reaches everywhere thatcontent needs to go. Lastnight’s awards ceremony was a dazzling occasionenjoyed by a large andenthusiastic audience.
Football’s governing body FIFA took two awards. IBC’s highest award, theInternational Honour forExcellence, went to FIFA TV for its long-term commitmentto quality and innovation, and the Judges’ Prize went to FIFA and 14 of its
technology partners.Niclas Ericson, director
of FIFA TV, said “This honourand recognition pays a fitting tribute to thededication of our industry-leading service providers who help us deliver the verybest coverage of the WorldCup to football fans all overthe world. We look forward to continuing this pioneeringwork with the broadcastindustry as we offer theunique platform of the FIFAWorld Cup to help drivetechnology forward.”
A different sort of score was one of the factors that
saw the Vienna State Opera receive a special awardfor its staatsoperlive.com online service. This includes a lot of imaginative ways ofaugmenting the operaexperience, includingpresenting the musical score on a tablet, synchronisedto the main broadcast.
The opera house is alsoexperimenting with 4Kcapture and delivery toSamsung smart televisions.The audience at last night’sshow got to see excerptsfrom Verdi’s Nabucco –as well as from the FIFAWorld Cup final – in 4K
and surround sound.The show also saw
RAI of Italy receive the prize for best conferencepaper, and Innovation Awards go to Sky in the UK for its Monday NightFootball coverage; to Sky News Arabia; and toTurner Sports.
Prizes were also awardedto the best exhibition standdesigns. You can see picturesof the winning stands onpage 8 in this issue of The IBC Daily.
Find out more about the IBC Awards atwww.ibc.org/awards.
IBC honours the world of content
FIFA Excellence on the ball
Award formobile futureIBC always attracts many more papers for its technicalsessions than can beprogrammed, and the paperscommittee carefully review each submission for relevance,innovation and clarity. As well as forming the programme, they also choose the best paperin the conference, whichreceives an award.
This year the award went to a team from Italian national broadcaster RAI. Gino Alberico, Andrea Bertella,Silvio Ripamonti and MirtoTabone carried out research into DVB-T2 Lite, a new variant of the digital broadcast standard, aimedparticularly at allowing livebroadcast to portable andmobile devices using theexisting infrastructure.
Chair of the technical paperscommittee Nick Lodge said they were “impressed with the thorough nature of yourexperimentation andmeasurements, both in the laband in the Aosta Valley. Theresults you achieved providedand excellent validation of theperformance of T2-Lite.”
Lodge presented GinoAlberico with the award for bestconference paper during theceremony last night. On behalf of his colleagues, he said “We are proud of the recognitiongiven to the work that RAI R&D is doing which could enable thebest possible exploitation ofbroadcast spectrum andnetwork infrastructures for new services.”
Visit www.ibc.org/awards formore details.
Niclas Ericson, FIFA TV (holding Award), with Technology Partners for FIFA 2014 Football World CupTM Brazil
Innovation in partnershipThe IBC Innovation Awardsare highly regarded becausethey are more than simpletechnology prizes. Theyreward collaborations:broadcasters or productioncompanies working togetherwith technology companies tosolve a real challenge,whether it is creative,commercial or operational.This year 10 projects made it to the list of finalists, andany of them could have been winners.
Taking the award for mostinnovative project in contentcreation was Sky in the UKwith the graphics for itsMonday Night Footballprogramme. The project wasso big and complicated itneeded two competinggraphics giants – ChryonHegoand Vizrt – to come togetherto realise the vision. MotionAnalysis Corporation was thethird technology partner.
The finalists in contentcreation included anothersports application, this timetracking horses racing theGrand National for the UK’s Channel 4. They used
technology from Civolution,Monterosa and TurfTrax. Also recognised was aningenious IP-based, iPadcontrolled radio solution from Cumulus Media, withtechnology partners Axia Audio, BroadcastSoftware International andTelos Systems.
Winner of the IBC2014Innovation Award for ContentManagement was Sky NewsArabia, a finalist two yearsago for its original build. Nowit has developed an ingeniousdisaster recovery solutionbased on its news bureauxaround the region and aroundthe world. Project SkyNet was developed withBlackmagic, Haivision,Nevion, Vizrt and Zixi.
Highly commended in thiscategory was the businesstransformation at GroupeMédia TFO in Canada, whichboosted its output by 50%while slashing its freelance billby transforming itself into anew media factory. Technologypartners were Adobe, AppliedElectronics, EMC Isilon, IPV,Oracle and Signiant. Also
highly commended was theDPP-compliant workflowproject at BT Sport, built byTimeline TV in association withDalet Digital Media.
The third category, contentdelivery, saw the award go toanother sports application.Turner in the US wanted toprovide home and awaycoverage for every subscriberto its NBA basketball service –as many as 30 simultaneousgame feeds or 800 streamspublished in realtime. Theproject used technology fromAdobe, Akamai, DNF Controls,Elemental, FreeWheel Mediaand Harmonic.
Turner Sports beat off threeother finalists. Snap is SkyDeutschland’s online ondemand service. It is popularand simple with subscribers,thanks to a complex projectinvolving collaborationbetween Accedo, Atos,Capgemini, Coeno, Contone,CreateCtrl, Deloitte, Fincons,HP, ID Media, Namestorm, NTTData, SHS Viveon, Sky Italia,TDS, Wirecard and Weeks.
The BBC iPlayer is theworld’s most popular on
demand service. To meet the demand BBC FutureMedia built a new contentprocessing factory with the help of Amazon WebServices, Atos, Codeshop,Elemental and Omnia. Finally,Airtel Digital TV in India hadan idea to present selectedtweets – from celebrities and
programme producers – onscreen to its subscribers,without the need to makechanges to existing set-top boxes. It made theproject work throughcollaboration with Brizz TVMedia Labs.
For details on the shortlistvisit www.ibc.org/awards.
Opera for allThe Wiener Staatsoper – theVienna State Opera – is one ofthe world’s greatest operahouses. As you might expect,its performances are virtually allsold out well in advance.
To extend its reach, itlaunched staatsoperlive.com,an online service that offersmuch more than simple relays,although it does cover around45 opera and balletperformances a year.Subscribers can choosebetween a live cut and a staticview of the stage, both in HD.
Additional content includinga synchronised score as wellas subtitles adds to theviewer’s understanding. Extravideo and multimedia content,tailored to specialist audiences,
include a discussion of theopera, live rehearsals andbackstage views, and more.And in May this year they gavetheir first 4K live relay, of Verdi’sNabucco, to Samsung Ultra-HD smart TVs worldwide.
For all this and more, IBCpresented Wiener Staatsoperwith a Special Award last night.It was accepted by thecompany’s director, DominiqueMeyer, who said “For us as anopera house with 150 years oftradition, presenting an art formthat looks back on 500 years ofhistory, to be rewarded withone of the most renownedawards in this highly innovativeindustry is a wonderfulacknowledgement. It showshow vivid we are, looking
from a glorious past into apromising future.”
In return, Wiener Staatsopergave the audience a wonderfultreat, with 4K clips from three
operas, including PlacidoDomingo in that pioneeringproduction of Nabucco.
Visit www.ibc.org/awards formore details.
Director Dominique Meyer andhead of Digital DevelopmentChristopher Widauer in the studio© Wiener Staatsoper/Michael Pöhn
Content Delivery Award: Presenter Vijaya Cherian with Euan McLeod, Vice President of Content Platforms at Turner Broadcasting
Content Creation Award to Sky Sports: Presenter Caroyln Giardina with (L-R)Rex Jenkins (Vizrt), Mike Ruddell (BSkyB) and Mark Bowden (ChyronHego)
Monday 15.09.14
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Dongles andbandwidthDelegates at the IBCContent Everywhere Hubcan attend two paneldiscussions on donglesand mobile data delivery
Page 10
Big Screen, big starDouglas Trumbull talksabout his five decades ofpioneering work indisrupting the status quoof the film industry
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Keeping your radiocontent prominentThis panel examineswhether in-car radio will berelegated to just anothersource of entertainment
Page 14
Exhibitor list andfloor planPlan your way aroundIBC2014 with the fullexhibitor list and floorplans at your fingertips
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Read our IBCnews stories onthe move…
Conference Analysis
By Kate Bulkley
Broadcasting is the “mostpowerful cultural medium” andbroadcasters have a socialresponsibility to introduce peopleto new and complex ideas,Professor Brian Cox, physicistand science TV presenter, told apacked Forum audience at IBC.
“I don’t want a society whereyou are a 15-year-old and youcan sit in your bedroom andwatch the computer gameschannel 24 hours a day. I wantthat 15-year-old to be exposedto ideas and obviously theeducation system does that, butin the past the television systemhas done that as well,” said Cox.
“How do we protect that in anenvironment where you chooseprecisely the sort of content youwant to watch? This is where Iwant to see the innovation
working for society. I challengethe idea that the ultimate ideal ischoice…it’s really aboutinformed choice. So do we seeourselves (in television) as part ofsociety or as deliverers of thingsthat we know people want or is itsome kind of a middle ground?”
Cox’s engaging on-air stylehas helped popularise TVprogrammes like Wonders of the
Universe and Stargazing Live,moving science more into themainstream and even increasinginterest by young people inpursuing careers in science,technology, engineering andmathematics. Cox urged theindustry to fight to keep thesekind of programmes on air,saying that this kind of subject isnot simply the purview of public
service broadcasters like theBBC but part of a socialcompact that all broadcastershave with their audiences.
“The cliché is that the bigcommercial networks don’t dothis kind of thing, but Fox in theUS backed the new Cosmos,”he said, referring to the re-makeof the original series fronted byCarl Sagan in the 1980s, a seriesthat he first saw as a young boyand that inspired him to a careerin science.
Cox praised the BBC’sHorizon series strand as a long-standing commitment toscience programming and thatworking over the last six years toproduce 19 hours of televisionhas taught him thatcollaborating with the TVprofessionals is the best way toproduce a good programme, buthe thinks about four people isthe right number to collaborateon the script. “Making televisionis a complex thing and when itworks and there is a properexchange of views between thedirector and the editors and theacademic, the result is morethan the sum of its parts.”
By Carolyn Giardina
Robert Rodriguez drew a hugecrowd at Avid’s IBC standwhen he appeared to discusshis use of Avid’s tools to makehis movies. The filmmaker has been an Avid user since he made 1995’s Desperado,and calls his use of thetechnology a “way of life” as he maintains an at-home studio.
This includes AvidMediaCentral Platform’s Avid
Artist Suite (including MediaComposer and Pro Tools) andAvid Storage Suite (ISIS)applications. He most recentlyused Avid tools to make 3Dfeature film Sin City: A DameTo Kill For and the adaptationof his From Dusk Till Dawn forhis El Rey network.
“Technology helps you getcloser to working at the speedof thought,” Rodriguez said.“I’m always excited about thelatest technology. I startedmaking movies when digital
cameras came around.“It’s good to adopt new
technology early and givefeedback to manufacturers.
They want to make it as goodas possible; you can be part ofthe creation of that.”7.J20
Creation and technology Robert Rodriguez (right): “Technology helps youget closer to working at the speed of thought”
Broadcasting choice
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Democratisation of productionConference Analysis
By Chris Forrester
“Virtualisation is forcing somevery real changes on us. Frommy viewpoint at Disney it meansmany things,” said Todd Livdahl,director of productiontechnology at Walt DisneyStudios. “We can be shooting inHollywood or on location yetsending material to Ireland for asound mix, or using technologyto create a very sophisticatedpre-film preview that brings theold storyboard process up todate, and allows the director amuch tighter control of hisvision, and this is very cost-effective. When the production isready to roll and the expensive
crew and talent get to the set itcan be a much more efficientprocess.
His comments came fromIBC’s ‘Movie-making in thematrix’ conference session. For
Sony’s Media Cloud Servicesdivision, Naomi Climer said italso meant virtual team-working,allowing greater collaborationfrom people working around the world and in different
time-zones yet maintaining a genuine creative process. “We have the additional benefit of being a smaller ‘start-up’ within a much largerorganisation, but the cloudmeans it is quite easy to change processes and without a legacy from the hardware-dependent world.”
Climer added that her facilitywas seeing productions rangingfrom Hollywood blockbusters tomuch smaller, individual users.“And it is these smalleroperators who are faster toadopt the new methodologies. Itseems like quite a different paceand hunger from these newplayers. The big studios aretesting and piloting, but I’d saythey’re not pushing theboundaries just yet.”
ConferenceHighlightsToday at IBC
What caught my eye: Blue sky thinking08:15, E102
IBC Big Screen Keynote: An odyssey of cinematic innovation09:30, Auditorium, FREESESSION
Advanced contentproduction in an automated world11:30, Emerald Room
Immersive Audio: From thebig screen to the small screen 11:30, Auditorium, FREESESSION
Meet the Dutch – producedin association with the cityof Amsterdam11:30, E102
The outlook for broadcast –IBC2014 wrap-up11:30, Forum
Laser projection Part 1:seeing is believing16:00, Auditorium, FREESESSION
Laser projection part 2: Is the devil in the details?16:00, Emerald Room
Telekom Austria Group
By Monica Heck
A satellite DTH ecosystem is onshow at the Telekom AustriaGroup (TAG) stand during IBC,focused on helping serviceproviders with limited fixedinfrastructure to expand theirfootprint. Operating companies ineight countries, including Serbia,Croatia and Macedonia, with anaddressable market of 41 millioninhabitants, TAG is helpingcompanies extend their reachfrom the provision of mobile andbroadband services to thedelivery of TV services.
The Direct2home andDirect2home White Label satellite-based TV services, on show at thestand, enable operators, eitherlocal or TAG-owned such as A1 and blizoo, to start offeringthose services.14.C16
Hitachi
By David Fox
Gearhouse has bought theentire first production run ofHitachi’s newly announcedSK-UHD4000 Ultra HDcamera, with plans to offerthem for use on the AsianFootball Championships inAustralia in January.
The 50 cameras will go toequip two UHD OB trucks, in
the US and Australia, with theremaining 20, or so, camerasbeing held in the UK for useby OB companies looking toupgrade their HD trucks whowant to migrate to UHD, butnot yet. “We think thiscamera is a great way ofmanaging the transition to4K,” said Adrian Young,commercial director, GravityMedia, parent company ofGearhouse Broadcast.
Gearhouse has beenworking closely with Hitachi
for two years, and hopes toget the first delivery of thecamera by the end ofDecember so it can offerthem to Asian broadcastersfor the football.
“The beauty of their 4Kcamera is that it operates, toall intents and purposes, liketheir HD cameras, so itneeds no adaption,” saidYoung. “As it can be used asan HD or 4K camera, it givesus great flexibility.” Becausethe camera uses 2/3-inch
sensors, it can be used withGearhouse’s existing stockof Canon lenses.11.D39
Gearhouse buys 50 Ultra HD cameras
Siemens
By Monica Heck
OTT SWIPE UX as a Service hasbeen launched at IBC, allowingoperators to add a customer‘swipe’ function to their existingOTT and IPTV video platforms.The cloud-based service offeringallows viewers to move contentfrom one device to another.
“Interest has been high and we expect orders soon,”explained Markus Placho, vicepresident of OTT SWIPE atSiemens Convergence Creators.
“Many of our customers alreadyhave video platforms, eitherIPTV or OTT and are delightedthey can now access thisfunctionality. It already exists as part of our own basic OTT platform offering, and it can now be integrated into other systems.”
The new product supports avariety of brands, both on themobile device and TV front. “We also have a patentedautomatic pairing process thatautomatically identifies what TVyou are standing in front of,”added Placho.14.A30
Swipe for OTT and IPTV
Christian G Fritsch:“We help operators
deliver TV services toplaces where
the infrastructure isnon-existent”
Sat DTH ecosystem
Hitachi technical director RichardHarvey (left) with Adrian Young andthe new SK-UHD4000 camera
Tanja Hüther, head of business developmentat Siemens Convergence Creators
Dynamic edits on the fly: One of the highlights in the IBC Future Zone, BBCR&D’s Object Based Broadcasting Initiative, is the rich result of three years ofdevelopment work. “OBB is a concept of delivering broadcast programmes ascomponent parts. With those we provide additional metadata that describes theparts and how they can be put together,” said Chris Pike, BBC R&D seniorscientist – audio (pictured). “In doing that we are able to adapt things to adjust theexperience for the audience, and that has to do with things like personalexperience in the sense of taste and need,” he added. “It also allows for a morerich interactive experience.”
This kit without glue requires a rendering process on the audience side. Thedemos are on computers and tablets delivered through a web browser. The BBCteam has more radio than TV examples at the moment because processingaudio is simpler in a web browser currently.
“In the future we hope that broadcast systems and standards can support thiskind of interactive object-based representation of content,” said Pike. “We havegot some more advanced and sophisticated uses of this idea, one beingresponsive radio.” – George Jarrett
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Conference Analysis
By Chris Forrester
“Ultra-HD is really complex, andit is a new eco-system. 1080p isa good compromise untilUHD/50-60fps 10 bit comes tolife and including High DynamicRange,” stated Thierry Fautier,VP/solutions marketing atHarmonic. “Silicon is starting tobe available now for set-topboxes, and ready for 2015deployment. But we still need tolook further at standards, andaspects such as contentprotection need to be addressedbefore mass deployment cantake place. There are stillchallenges ahead.”
Fautier was speaking at afascinating IBC sessionproduced in association withstandards body ETSI, and
chaired by ETSI’s ChantalBonardi and which heardpresentations on 4K’s technical demands, and theprogress being made by NHK’sengineers on their 8K/Super Hi-Vision plans.
Fautier added that despitesome examples of 4K streamingalready taking place by the likesof Netflix, there were also goodopportunities to ‘push’ 4Kcontent to a consumer’s set-topbox hard drive. “We seetransmission demands settling atabout 20 Mbps, and perhaps 25Mbps in 120 fps. While this isdemanding it is way below the100 Mbps expected for UHD-2/Super Hi-Vision, which isundoubtedly the nirvana andwhen we can all go home and retire!”
Further challenges werethrown up by Pierre Routhier(VP/Technicolor) and his team,
who have been testing,comparing and contrasting thedifferences in spatial andtemporal resolution whencapturing content in 4K. “Peopleseem to take for granted thatwhen you go from HD to UHD itis simply a matter of changingcameras. This is not the case.”
Rothier showed a variety oftest shots, but admitted that
much of what he had seensuggested that good DoPs weregoing to be extra-busy on 4Kshoots, especially OBs. Hefurther confounded the audienceby giving them some qualitychoices, only for the audience todiscover that the best qualitymaterial, as far as motion blurwas concerned, was achievedon ‘ordinary’ HD.
4K: “still challenges ahead”
Thomson Video Networks
By Monica Heck
The new 2RU ViBE XT1000Xtream high-density transcoderfor live broadcast andmultiscreen content has madeits debut on the Thomson VideoNetworks stand. This productallows Thomson VideoNetworks to step into the worldof high-density low-costtranscoding, which is a newmarket for the company.
“We offer different products toaddress the different segmentsof the encoding market and the
new ViBE XT1000 packs themaximum number of channelsinto the minimum amount ofrack-space,” explainedStéphane Cloirec, director ofproduct management atThomson Video Networks(pictured).
The ViBE XT1000 supports upto 54 HD channels or 180 SDchannels with transcoding fromany format to any formatincluding MPEG-2 and MPEG-4
AVC and is pitched at linearbroadcasts on cable, IPTV, DTHand DTTV services as well asmultiscreen delivery.
“This brand new encoder isalso a crucial addition to ournew ‘Behind Every Screen’strategy,” continued Cloirec. “So far, the feedback from key accounts about ournew strategy has beentremendous.”14.A10
High-density transcode
Kaltura
By Will Strauss
Harmonic has teamed up withthe open source video companyKaltura to develop and market acloud-based video infrastructureand OTT TV platform.
Combining a virtual headendwith a service delivery platform,the offering will provide telecomscompanies or broadcasters withthe opportunity to offer over-the-top pay TV linear, VoD, catch-upand nPVR options without theneed for up-front capitalexpenditure. The managedservice is made up of Kaltura’sOTT TV, content managementand service delivery platformalong with Harmonic VOSsoftware-based mediaprocessing and Electra’s XVMvirtualised media processor andthe ProMedia Origin streamingvideo server. 3.C67
Harmonic partnersfor OTT TV platform
SilverBACK family grows:MultiDyne is demonstratingenhancements to its camera-mounted fibre transport productfamily, SilverBACK, which nowincludes four models.The versions are: the flagshipSilverBACK-II; the SilverBACK-II-Lfor multicamera production; theSilverBACK-II 4K-L, a feature-richmodel that includes Ethernetsupport and a video option forviewfinder or monitor viewing in thefield, enabling camera operators toturn any 4K camera into a true UltraHD multicamera production; and theSilverBACK II-4K, a low cost modelwithout the viewfinder/monitorviewing option, designed to supporttraditional film-style productions.Frank Jachetta, president ofMultiDyne, commented: “Othercompanies came up with thistechnology and it was great, veryinnovative, but they madeBlackBerry. We have created theiPhone. SilverBACK looks like partof the camera.” Ultra HD support
can be added to any existingSilverBACK system through asimple upgrade, enabling customersto deliver a state of the art 4Ktelevision experience cost effectively.– Heather McLean10.D46
Expansion to Infinity: Vista V, a new 52-fader digital console has beenunveiled at IBC. The Vista V features a built-in meter bridge, high-qualitymotorised faders, and a built-in Dynamic Automation system with DAWremote control. The console is fully surround-sound capable, with versatilepanning and monitoring functionality. At the heart of the Vista V is the InfinityCore, which uses CPU-based processors to deliver over 800 audio channelsand more than 5,000 inputs and outputs. It provides 12 high-capacity A-Linkports (1,536 channels per port) for D23m I/O integration or direct connectioninto routing systems or AoIP networks. Keith Watson, marketing director ofSoundcraft Studer Professional (pictured left, with product manager RogerHeiniger), said the console was based on the same Quad Star technology asits predecessor the Vista X, but in a compact footprint that was more ideal forsmaller studios, OB trucks and large live productions. The Vista V uses four processors to achieve high levels of redundancy in thecontrol surface, while the CPU-based DSP makes it viable to provide twoindependent DSP cores running in parallel with instant changeover, withoutaudio dropout. – Michael Burns8.D60
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DPP 1 October countdownBy George Jarrett
Declaring the DigitalProduction Partnership (DPP)IBC event to be ashareholders’ meeting, chairMark Harrison first celebratedthe successful take up of AS-11 by UK broadcasters,before laying out plans for 2015.
“File-based delivery: 16 daysto go and we are going to hitthat deadline with the BBC, ITV,C4 and C5,” he said. “We werenot ready for what it was goingto mean as a change piece. Thismove is probably the fastest,most highly coordinatedchange in a broadcast processthat has ever happened.”
The AS-11 project willrequire an effort to join upmetadata right from the startof the production process. Thecompliance program that DPPdeveloped and shares withAMWA, and required thecreation of a centralisedtesting facility, produced itsfirst four pass mark vendors –Cinegy, Dalet, Telestream androot6 – and the DPP launched
the cleverly edited booklet ‘10 Things You Need To KnowAbout Digital Storage’ forindependent producers.
This is a handy taster for oneof the upcoming attractions –an ultimate guide to storageaccompanied by specifications,standards and associatedpolicies for cloud. Also in thepipeline are efforts in the areasof international distribution,connectivity as a businessopportunity, and UHD filedelivery. This will requireworkflow and processchanges, and the DPP islooking hard at new specs for
delivering commercials andmusic promos. Music clips maymatch with an interstitials spec.
Harrison admitted that theDPP effort so far – based onproducing and delivering in anefficient way, as encompassedin the Producer’s Guide to FileDelivery – will have to grow ifambitions like the storagestandards are to be set.
“We could do a bit more,” hesaid. “People want more fromus and faster, which meansincreasing capacity. Thinkingon this is advanced and anannouncement will come intwo months.”
Ross Video
By Heather McLean
Ross Video Broadcast Networkshas delivered new mobileproduction unit initiative,openTruck, at IBC2014.
openTruck is a collaborationbetween Ross Video and othermanufacturers to create asystem that makes local sportsprogramming for smaller eventsmore affordable. It is beingshowcased on the Ross Videostand in the form of a high-speccompact production unit, built
by Broadcast Networks to theopenTruck standard.
Nigel Spratling, marketingproduct manager at Ross Video,commented: “Producers have amission to get more and moreevent coverage as there is anincreasing demand to getprogramming from more events.But to cover sports that arelower down the sportinghierarchy, you can only get a vanand crew that are larger thanrequirement and expensive.
“We created the architecture ofthe openTruck platform, workingwith partners to create consistentproduction quality at a low costusing the DashBoard protocol,”said Spratling. “Dashboard canbe used to reduce set-up timebefore a match from 12 hoursdown to six by storing previousset ups for a particular stadium. Itenables you to operate manycontrols from a single button, soyou can use lower-skilled staffand less of them.”9.B08
Dalet
By Michael Burns
TV Globo has used IBC toannounce it is placing DaletMedia Life at the heart of itsentertainment archive. The Brazilian media giant isdeploying an end-to-endarchiving and contentpreparation workflow using DaletBrio for high-density ingest andDalet AmberFin transcoding, allunder the control of Dalet Galaxyenterprise MAM to enable themanipulation of digital files forarchive purposes. The workflowcovers all entertainment content,including telenovelas, producedat the network’s Rio de Janeiroand Sao Paulo hubs. The Daletinstallation will also enable thedistribution of content to internaland external users.
TV Globo produces around2,400 hours of entertainment
annually and reaches 99.5% ofthe Brazilian population throughits network of 122 owned andaffiliate TV stations. Theorganisation’s studio productionbase is located in Jacarepaguá,Rio de Janerio, and knownlocally as Projac.
The solution at Projac issystems integrated by SonyProfessional Services andarchitected to extend TVGlobo’s file-based workflowfrom ingest into archive. Sonyselected Dalet Media Life, whichincludes a broadcast-specificBusiness Process Managementworkflow engine, advancedproduction and mediapreparation tools and a singleand centralised contentrepository for housingmultimedia content. Thecomplete solution also includesDalet Brio for ingest acquisitionand QC playback as well asDalet AmberFin for transcoding. 8.B77
HRT goes HD with XDCAM: Public Croatian broadcaster HRThas bought 44 Sony PMW-400 XDCAM camcorders on which tostandardise its news production in HD. Signing the deal at IBC,CTO Dusko Zimonja said: “HRT is committed to moving towardsHD content production and this agreement represents therealisation of our plan to move our news production to deliveroutstanding HD news-broadcasts to viewers. By combining thehigh quality needed for HD broadcast within an efficient, establishedworkflow, the PMW-400 gives us a powerful combination of priceand performance that will underpin our transition to HD.” Theinvestment also included two channel digital wireless audio witheach camera equipped with Sony’s DWX wireless microphonepackage. Delivery was confirmed at the show through local SonyPartner Audio Video Consulting (AVC). Pictured: Dusko Zimonja andKoki Kato, senior manager, product planning and marketingdevelopment, Sony. – Adrian Pennington
Unicast win at Deutsche Glasfaser : German fibre-to-the-home (FttH)network provider Deutsche Glasfaser has selected the ABOX42 M-SeriesSmartSTB platform, which includes the company’s advanced DVB feature-set, topower its new ‘DGTV’ service. The service is expected to launch in October2014 and will include around 100 SD channels, 50 HD and 100 radio channels.It’s understood Deutsche Glasfaser is one of the first major operators to deliver afull live IPTV service using unicast technologies. “This approach enablesDeutsche Glasfaser to avoid the set-up and operation of a costly and complexmulticast network for its TV service,” explained ABOX42 CEO and MD MatthiasGreve. The ABOX42 technology offers Deutsche Glasfaser a modern HTML5user interface, HLS adaptive bitrate streaming with multiple audio tracks andsubtitles, HbbTV (Red Button) services, support for major German VoD servicesand third-party smart TV applications. Pictured: Martijn van Horssen (24i) andMatthias Greve (ABOX42). – Monica Heck14.J13
Mark Harrison: “16 days to go andwe hit that deadline with the BBC,ITV, C4 and C5”
Nigel Spratling: “Consistent production quality at a low cost”
Julien Decaix, general manager, Americas, Dalet, with Carlos Abrahao engineeringmanager, engineering projects & support division, TV Globo, and Julio Lima,projects director, TV Globo, on the IBC show floor
openTruck to take cost out of sports coverage
TV Globo to put Media Life in production control
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By George Jarrett
Akin to an implementation armof the DVB Project, DigiTAG hasbeen the market’s watchdog ofDTT as it has moved from DVB-T to T2. Explaining that thelatest mission is aboutminimising the differencesbetween the various launches ofDTT, steering group secretaryPeter MacAvock said: “Thislatest phase is about trying tounderstand the roadmap ineach one of the markets as theymove to the launch of DVB-T2HD and perhaps even UHD.
“We must understand howindividual markets are going todevelop, and for our membersshow it is going to work,” headded. “We will bring all theinformation together so we canproduce a cohesive road map.”
If the DVB operates in a pre-competitive phase, DigiTAG isabout “when the boys come outto play the game. If the DVB isall about defining what the rulesare, we are concerned withgetting warmed up, making sureeverybody has the samenumber of players in the team,and that they are going to abideby the rules. We then go out andplay the game,” said MacAvock.
“People are aware what isgoing on elsewhere but one ofthe unique things about DTT isthat it is typically focused on anational regulatory scheme,” headded. “Sometimes they ignorethe fact that there are similarproblems elsewhere. The issueis getting the timing right.
“If you are a small country likeIreland, there is no point inlaunching UHD with DVB-T2
now,” he continued. “The Irishneed to latch onto the largermarkets around them, probablythe UK, and focus on followingthe UK’s roadmap. Butunderstanding the details of thatroadmap are criticallyimportant.”10.F29
Peter MacAvock: “We mustunderstand how individual markets aregoing to develop”
GoPro
By David Fox
GoPro has introduced two newaccessories at IBC: a versatilethree-way mount; and Fetch, anew mount for dogs. The €79three-way mount can be usedas a pistol grip, pole, or to shootselfies, and “you can unscrewthe base and it turns into a[miniature] tripod,” said IsabelPakowski, manager, mediarelations, Europe.
The €69 Fetch allows users tomount two cameras on a dog,one on the shoulders and theother between the front legs, togive a canine point-of-view. Theadjustable mount is designed tofit small dogs of 7kg to largerbreeds of up to 54kg. It happilytakes to the mud and water, andis machine-washable. There isalso a camera tether so theGoPro stays attached.
GoPro has also released new
editing software, with templatesto offer simple drag-and-dropediting, cut to music, includingslow motion and effects. Forcontrolling the camera, it hasjust updated its mobile app,which now allows users toadjust the ISO setting, imagesharpness, colour and whitebalance.9.C40
Fetch offers new PoV
Watchdog of DTT
Pakowski (and friend)demonstrates the newdoggy-cam harnessand 3-way mount
Stand designs honoured
Best use of shell scheme spaceThe winner is Veset (8.A14). The judges liked the brilliant lightingpanels with clear messaging.
Highly commended was Trivis Weather Graphix (3.A58), whichthey felt had clear product promotion.
Smaller free design stands (below 100 square metres)The winner is Tech4home (3.C46). The use of their product incombination with the stand design caught the judges’ eye.
Limelight (3.B15) was highly commended for its simple designand clear messaging.
Also highly commended in this category was Digispot andSingle Malt Audio, which share stand 8.D74. It is a good use ofthe space for two brands – and the company name appealed toa thirsty audience!
Larger free design stands (above 100 square metres)The winner is Sony (12.A10). It makes imaginative use ofmaterials and texture, very clear top-down messaging and goodintegration between the stand and the building.
Highly commended was Nagra (1.C81), an inviting andwelcoming stand: eye-catching and impressive.
After scouring the busy halls, a panel of judges has selected thewinners for this year’s IBC2014 Exhibition Design Awards. The accolades were handed out for:
Lang chooses XT3 for rental:Lang, a German specialist in visualpresentation technology, hasselected the XT3 media server andrelated tools to power its rentalbusiness. The XT3 will ingestmultiple camera feeds and play backcontent on large screens at Lang’scustomer events. The equipment isscheduled to ship at the end of thismonth. “With complete control fromingest to playout, includingcomprehensive live editingcapabilities, the XT3 allows us tooffer our clients the functionality andversatility to meet any live eventvideo requirement,” said Langtechnical director HubertusBeckmann. Pictured (from left):Jamie Gordon Mitchell, EVS VPSales, Central & Northern Europe;Lang technical director HubertusBeckmann and technical engineerSascha Kihm; and EVS SVP EMEAQuentin Grutman. – Michael Burns8.B90
Calibre UK launched its FoveaF1 broadcast grade motionestimated and motion compensatedstandards convertor at IBC, and
signed a global distributionagreement with ImagineCommunications. Imagine will offerFovea-F1, as well as forthcoming
models, through its worldwide sales channels. Calibre’s Fovea —which was used at the FIFA WorldCup for frame rate conversion for transmission to viewers incountries with 50Hz TV standards —has been updated to the new Fovea-F1 model with a new webbrowser interface including realtime status reporting. Also, the existing ability to select different MEMC levels hasbeen enhanced with presets.Pictured at IBC: Tim Brooksbank(left) with Imagine product managerRandy Conrod. – Carolyn Giardina7.G20
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There is another packedprogramme for delegates at theIBC Content Everywhere Hubin Hall 14 today. As usual, atthe heart of the programme aretwo independent paneldiscussions.
At 13:00 there is a look at theimpact of HDMI dongles likeGoogle Chromecast, AmazonFire TV and Roku and theiralternative delivery schemes.How can broadcasters takeadvantage of this new breed ofdevice, and how can theymonetise their programming?Find out today.
Then at 15:30 the spotlightturns to the ITU 2015 WorldRadiocommunications
Conference and the likelihoodthat it will lead to broadcastersrelinquishing spectrum infavour of mobile data delivery.What impact does this have onbroadcasters? Is there even afuture for terrestrial television?Come along and join in withthis crucial debate.
These two sessions – and all the manufacturerpresentations on stage today at the IBC ContentEverywhere Hub Theatre – arefree to all IBC attendees, notjust those registered for IBCContent Everywhere. For more information please visitwww.ibcCE.org/europehub.
Dongles and bandwidth at the IBC Content Everywhere Hub
Conference Today
Each year at IBC, the Beneluxgroup of the Society of CableTelevision Engineers holds itsannual lecture. This year it’sMonday afternoon at 14:00.This session is free to allvisitors, you need neither anIBC Conference Pass norSCTE membership.
This year’s topic looks at ‘Inhome architecture issues’.Consumers now expect abroad range of services in thehome, many accessedsimultaneously. The SCTEworkshop at IBC looks at thetechnologies underlying thedelivery.
The afternoon is split intofour sessions, with the firstdiscussing the challenges forservice providers in deliveringthe high speed internetoptions that consumersexpect. From there the panelmoves on to the connectedhome, the new applicationsbecoming available and theopportunities this provides for
business.The session looks first at
home networking. Quality ofexperience is a difficultsubject to quantify, so how dowe balance usability,availability and proactiveservice management?
Finally, the talk is of thecloud. What is the path fromtraditional consumer premisesequipment to virtualisationand a cloud-based homenetwork? What are theimplications for networkmonitoring?
The SCTE has broughttogether a powerfulinternational panel, under thechairmanship of EdoKweldam, director of CAIHarderwijk. The debate is sureto be lively, so if you areinvolved in content to thehome, this is a session not tobe missed.
It starts at 14:00 in roomE102, and is free to all IBCattendees. To view the fullconference programme visitwww.ibc.org/conferenceprogramme.
SCTE and TheConnected Home By Chris Forrester
IBC Keynotes do not comemore celebrated than DouglasTrumbull (pictured), a legend inthe industry who will presenthis latest cinematic vision ofthe future and latest work,UFOTOG. Trumbell has againcranked up the stakes by‘filming’ in 120 fps, calling forfull brightness laser 3D and, ofcourse, Dolby Atmos for itsimmersive sound.
Trumbull is the AcademyAward winner and five-timenominee, whose visual effectscredits include 2001: A SpaceOdyssey, Close Encounters ofthe Third Kind, Star Trek: TheMotion Picture, and BladeRunner. He is also a writer anddirector (‘Silent Running’,‘Brainstorm’, ‘Back to theFuture - The Ride’ ) and isadept at integrating directorialand storytelling aspects toimmersive cinema language.
Forever pushing thetechnical boundaries of artisticimmersion, he developed theShowscan process for 60 fps70 mm cinematography whichdelivered imagery onto thecinema screen that was said to
be indistinguishable fromreality. Now firmly in the digitalera, Trumbull’s current vision ismanifested in his new process,MAGI, which explores a newcinematic language that invitesthe audience to experience apowerful sense ofimmersion andimpact that issimply notpossible usingconventional24 fps or 2Dcinematechnology.
This is amust-attendkeynote forthose needing tokeep an eye and earon the next generationquality of electronicentertainment — both bigscreen and small. We will hearfrom Trumbull’s five decades ofpioneering work in disruptingthe status quo of the filmindustry; how advances intechnology unlock new artistry;and how commercial realitiescan be navigated as weconsider the future of themedium.
We will also be making full
use of theIBC BigScreen’sfull
brightness6-primary
laserprojection
system from ChristieDigital and 40+ speaker QSC
sound system featuring DolbyAtmos by showcasing in 120fps 14 fL Dolby 3D, Trumbull’sshort sci-fi adventure,UFOTOG, which is a fullydramatic story that exploresthis new medium as a creativepalette.
For more information aboutthe key note ‘An Odyssey ofCinematic Innovation visitwww.ibc.org/bigscreen
IBC’s Big Screen big star
Today09.30-11.00
IBC Big Screen
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Conference Today
By Chris Forrester
For some of us – of a certainage – it seems like onlyyesterday that 5.1 DolbySurround Sound wasintroduced, but the reality isthat it was 40 years ago andthe difference it made to
cinema-going was totallydramatic.
Dolby Labs used thetechnology on movies such asSuperman and ApocalypseNow and over the past 20years Dolby and DTS havemade Digital 5.1 commonplacein multiplexes and in the home.Today’s cinemas are nowembracing Immersive Audio ata significant rate.
With hundreds of cinemaauditoriums equipped, wellover 100 feature films mixedwith an Immersive Audiosoundtrack, and with movesalready underway in thebroadcast, home cinema, andmobile spaces, is immersiveaudio disrupting theestablished de facto standardsurround format of 5.1?
This panel, chaired by Julian
Pinn, is drawn the leadingtechnology providers such asAuro Technologies, Barco,Dolby, and DTS, and they’llexplain their solutions forcinema, broadcast, homecinema and mobile. We willalso discuss the industryendeavour to providemeaningful interoperability andstandardisation.
There will also be
breathtaking demonstrationsusing the IBC2014 Big ScreenExperience immersive audiosystem from Dolby Atmos.Finally, IBC attendees canexpect the Big Screen Mondaynight movie, Dawn of thePlanet of the Apes, to beshown using Immersive Audiofor you to completelyexperience the next generationof sound.
Immersive audio: from big screen to smaller screens
In recent years, the broadcastindustry has experienced amajor shift toward file-basedvideo strategies for contentstorage, post production andplayout. This has resulted inan inevitable need to serve,manage and distribute filesat all stages of thebroadcast workflow.
At the same time, serverstorage capability and thepower of videoprocessing equipmenthave grown radically. Inany broadcastenvironment, whetherplayout or production,the emphasis hasalways been oncentralised contentmanagement andsecurity – which iscounter to thecomputer-industrynorm of localisedprocessing andstorage.
KVM MatrixSwitches provide thecentral switching
capability that enablesdynamic
communication betweenremotely-located servers
and user workstations.They permit centralised,secure processing and
storage with instantswitching between sourcesand near-zero latency ofsignals.
Equally as important,the user workstation isdivorced from the server:with a KVM switch, allusers can have access toall source devices –
subject to administrator-assigned rights and accesspermission. This means that theuser can access postproduction servers, schedulingcomputers and other sourcesat their own terminal and caninstantly switch between them.
You can think of a KVMswitch as a parallel device tothe main broadcast videorouter. It dynamically connectsindividuals to computingprocesses through a matrix, inmuch the same way that avideo router connects servicesto content in the broadcasttransmission chain. It facilitatescentralised content storage andapplication processing whileallowing ‘local’ access byusers.
The user, sitting at theirworkstation (which is just avideo screen, keyboard andmouse) can access andoperate a remote computer,associated with a central filestorage system. They areunaware of the switch andcontinue to work as though thecomputer was located right bytheir desk.
A KVM Matrix Switch can beeasily integrated into thebroadcast environment andcontrolled with the samebroadcast system controlsoftware as the rest of thestudio. So it can be seamlesslyintegrated into the workflow.
At BT Sport in London, whichis probably the largest, mostrecent broadcast systemintegration, two interconnected288-port Draco tera KVMswitches connect editors,designers and production staff
to banks of Avid editingmachines, Omneon storagedevices, EVS servers, Chryonproduction tools and the hostof other essential broadcastcomponents.
They provide the requireddelay-free switching betweensources and workstations tocreate an end-to-end tapelessworkflow; offering immediateaccess to incoming feeds andstored content throughout 20edit suites or on any of the 200producer desktops. Othermajor users include Germany'sARD group, prestigiousHollywood post facility SonicMagic Studios, Videohouse inits newest outside broadcastvan and at ZDF studios inGermany.
Our philosophy is to createproducts that perform theirtasks reliably and incorporatefunctionality that is required byusers within each specificindustry; features that areessential in all applications,none more so that broadcast.
IBC2014 marks the fifthsuccessive year that IHSE hasexhibited at IBC. Each year wehave moved to a moreprominent position, increasedthe size of the stand andgenerated greater levels ofinterest among visitors. Weexpect that more broadcastprofessionals will stop at thestand and investigate theopportunities that KVM offers,and the ways that it can beused to streamline theiroperations and assist them inrunning today’s broadcaststudios and editing facilities.7.F33
Enno Littmann, MD of IHSE, discusses the importance of KVMextenders and matrix switches within broadcast studio workflow
Broadcast switches on to KVM
Opinion
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Conference Today
By Chris Forrester
In-car radio accounts for a largepart of the daily Europeanlistening figures. Yet thedashboard is changing, and fast.
Apple's CarPlay, Google andMicrosoft’s connected cars ofthe future, all have thepower to disruptradio's long-heldcaptive audience. Insome car-boundmarkets such asNorth America, apay-radio operatorSirius-XM as well asproviding hundreds ofchannels of audio is also bettingon the future for auto-based‘telematics’.
Indeed, savvy auto-makersaround the world are significantlybeefing up their mobileconnectivity and in-carentertainment systems with theintention – it seems – ofproviding more consumer choice
but potentially at the detriment of‘normal’ radio listening.
This panel will examinequestions such as whether in-car radio will be relegated to justanother source of entertainmentand information, alongsideSpotify, iTunes etc? This sessionwill focus on:
� the importance ofbroadcast in-car radio – to
listeners, broadcastersand vehicle
manufacturers� the steps that
the industry needsto take to ensurethat radio maintains
its leadershipposition for in-car
entertainment – byaddressing issues such as userinterfaces, position within a'connected car' environment,hybrid services and free to airtraffic information services.
The session will end with alively roundtable paneldiscussion, addressing theseimportant issues for digitalmultimedia broadcasting.
Keeping your radiocontent prominent
Today14.00-15.30
Emerald Room
On the approach path toIBC2014, I was struck by theintersection of the state of ourindustry, the reach of ourtechnology, and the userneeds of our customers. And Isee in that intersection, afascinating study in evolution.
These elements are inconstant motion, eachintertwined with the others.Some years it is newtechnology that empowersopportunities and change. Atother times, users demandaction from manufacturers tomeet the demands of their art.And when the industry itselffractures, glistening new facetsand opportunities are exposed.
As a former user, and now aproduct designer, I’m eager todiscover what this twisting,
turning evolution has in storefor us. Sure, predictions can bemade. But they are really justeducated guesses. When allthe players in this dramagather on the stage of IBC,then we will find out where thenarrative will take us. It’s theinteraction and the exchangeof ideas that produce the mostinteresting, and most lastingdevelopments.
So I greatly appreciate theopportunity to meet and talkand learn from the people whoare using the products wehave, and will, design. Werecognise that the needs of ourcustomers are continuallyexpanding, and ourunderstanding must likewiseexpand.
This year presents plenty of
food for thought. Higherresolution image capture anddisplay; new techniques incompression coding; broaderchoices for programmedelivery; and the everexpanding applications forsound and video technologies— these are fantastic buildingblocks. How can each of thembest serve the needs of ourcustomers.
A special quality of thisindustry is the symbioticinterplay between user anddesigner. It grants to each botha duty and a value toward theother.
I invite you to join us on ourstand for a coffee and a chat.The next big thing may just getits start on a napkin. 8.B91
A special quality of this industry is the symbioticinterplay between user and designer saysEnsemble Designs president David G S Wood
Opinion
A study in evolution
© 2014 Avid Technology, Inc. All rights reserved. Promotions and discounts are subject to availability and change without notice. Product features, specifi cations, system requirements and availability are subject to change without notice. Avid,Avid Everywhere, and the Avid logo are trademarks or registered trademarks of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries. All other trademarks are the property of their respective owners.
Join the movement
Let’s reinvent our industry together.
We have an opportunity to bring more people together. Creators
and consumers. Professionals with global collaborators. Media
companies with new markets. When we do, we can shape not
only how people create and share stories—but how creatives and
media companies build sustainable businesses.
This is the heart of Avid Everywhere—our vision for the future of
our industry. And we want to help bring it to life with you.
Let’s get started.
Visit us at Hall 7, Stand J20
Join the Avid Customer Association avidcustomerassociation.com
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Whether you are working in liveapplications such as studio,OB van, continuity, headendsetc., an efficient infrastructurerequires an ergonomic controlsurface, a visualisation surfacetailored your needs, and agood seat. At Apantac, we takecare of the display part, acomprehensive multiviewerrange to drive your visualmonitoring.
It is surprising to see thateven in modern facilities controldesks are still crowded withmultiple small size computerdisplays along with legacybroadcast multiviewers. Apossible reason for that is,despite several multiviewers onthe market today having theability to display computerformats, very few have good
scaling quality.An ideal visualisation surface
would consist of a large displaysurface with a resolution equalor higher to what the humaneye can resolve. On thisultimate visual monitoringsurface, signals of any formatare displayed as virtualmonitors with freely adjustableposition, size, and aspect ratio.In addition the on-screendisplay of graphic elementsshould offer a consistent lookand feel.
What are the challenges toachieve these goals? � Accept a wide range ofsignal formats: This includesbroadcast formats fromComposite to HD and 3G SDI,video over IP or ASI formats,and various computer formats,
such as DVI, HDMI, VGA orYPbPr. The ability to display amix of formats on the samemultiviewer output is alsoimportant. Apantac's currentoffering include broadcastformats multiviewers, computerformats multiviewers, IP/ASImultiviewers, as well as hybridmultiviewers that accept a mixof Broadcast and Computerformats. A new generation ofmultiviewers supporting a mixof ALL the various formats iscoming soon.� High Output Resolution: Theability to choose between a fewlarge monitors or a largenumber of smaller sizemonitors is important. With thecurrent display technology,most monitors have a native1920 x 1080 resolution
regardless of their size. Thinbezels for mounting displaysedge to edge create largerdisplay surfaces. Using smallmonitors and displaying lessimages per monitor, will by defacto increase the actual visualresolution. Another solution isto drive the newly available4K/UHD monitors which arenow becoming affordable.Apantac uses the samemodular architecture,regardless of the multiviewermodel. For example, a sixteeninput multiviewer can beconfigured to display thesixteen inputs on a singlemonitor (16x1), or drive fourmonitors displaying foursources each (4x4). At IBC2014, Apantac is introducing anew four input processor that
accepts four 1080p signals anddisplays them on an UHDmonitor. � Look & Feel: For the sake ofconsistency, the graphic on-screen display elementsassociated with the sourcepictures should be identicalregardless of the input format.Apantac’s family of IP,broadcast, and computermultiviewers all share the samearchitecture and sameconfiguration interface, whichallows the user to have aconsistent look and feelregardless of the input format.
Come visit Apantac and seefor yourself.8.E37
Visual monitoring for your application
Opinion
Michel Rudelle, EMEA regional manager, Apantac takesus through the qualities of a comprehensive multiviewer
Trimaran
By Monica Heck
French computer graphicsstudio Trimaran is showcasingits Georacing sportingproduct. Georacing is a livecoverage system for outdoorsport events, which allows themanagement of GPS data andthe production of virtualtiming, ghost visualisation,virtual reality and ranking.
The system can be used forrallying, sailing, gliding, rowing,jet ski competitions and thecompany is continuouslydeveloping its reach into othersports.
Georacing is compatible
with a range of devicesincluding TV sets, largescreens, PCs, Macs, tabletsand smartphones, with appsfor the broadcast (HD-SDI) anddigital markets. It was usedduring the last WRC Rallye deFrance/Alsace live on Canal+.
Trimaran is also showing itsShoot3D solution to managelive graphics for elections, witha 3D software engine runningon standard PCs.
During the 2012 presidentialand legislatives elections, itwas used by France Televisonsto produce all graphics for its36 channels: France 2, France3, the 25 regional networks aswell as the nine overseasterritories of France O. 14.G02
Managing live GPS data and VR Plain sailing: Using GPS data to betterunderstand sporting competitions
MSA Focus
By Will Strauss
An Enhanced EPG Module anda Windows PresentationFoundation (WPF) SalesSystem are the keydevelopments within ForeTV,the broadcast managementtechnology being showcasedby MSA Focus at IBC2014.
The Enhanced EPG Moduleprovides centralisedprogramme EPG metadatamanagement for all schedulesand non-linear cataloguesacross a broadcast operation,whether planned, generatedor imported as pass-thru.
The ForeTV WPF SalesSystem is a Sales and TrafficManagement application thatcontrols a sales inventoryfrom contract entry to TX andbeyond.
MSA Focus operationsdirector Martin Long said:“Both [applications] have beendeveloped using WPFalongside the latest Microsoftdata access technologies to
provide a responsive,customisable and graphicallyrich user focussed interface.”
When using the EPGmodule, specific EPG dataforms can be designed for andapplied to particular
applications, channels andlanguages. EPG details can bemanaged directly againstlibrary items or via schedulesor catalogues allowing the useof standard library linkeddetails or event specific
versions. A web-linked display of a
chosen online contentdatabase for each channel canalso be configured, offeringdirect access from withinForeTV.
The WPF Sales Systems isdelivered through acustomisable interface with
enhanced graphicpresentation and offerscommercial airtime bookingmethods and spotmanagement functionality.
Other highlights include aconfigurable validationcomponent and automaticclash resolution routines.3.B56
For the latest show news and updates follow #IBC2014
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EPG Module added to ForeTV
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Axinom
By Monica Heck
The second generation ofAxinom’s cloud OTT solutionportfolio is on show at IBC.
The solution providesprotected, multiscreen, live andon-demand video streamingservices for content owners,aggregators and distributors. Itfeatures CMS, DRM and whitelabel apps for the web, iOS,Android and Windows mobiledevices, smart TVs and gameconsoles.
Designed for multi-platformvideo delivery, its OTT portfoliooffers the benefits of a cloud-based solution. Axinom’s CMSenables media companies tomanage, convert and distributedigital assets and metadata inthe cloud while reducingmaintenance costs for live andon-demand scenarios.
The company’s set of centrallymanaged white label apps andDRM solution also support allmajor platforms. Collaborationswith encoding providers likeEnvivio, Harmonic andiStreamPlanet enable customersto tailor their media workflow. 14.G04
OTT videohits secondgeneration
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The goal of live sportsbroadcasting is to immerse theviewer in the experience somuch that they believe they areactually at the event. Theadvent of UHDTV has providedbroadcasters with the framerates and pixel resolution tomake this almost a reality. Eventhough at the time of writing thespecification and delivery ofUHDTV is still to be defined bythe interested parties, there hasbeen a number of widelyreported sporting eventsincluding the recent FIFA WorldCup that have been trialling andbroadcasting in UHD.
The latest generationinfrastructure includingproduction switchers andwireless transmitters are able to
work with both HD and UHDsources and mix/convertbetween to simultaneouslyprovide a multi-format outputfor the multi-platform and multi-device consumption beingtargeted to today’s viewer.However, one of the (many)remaining issues facingbroadcasters with the move toUHDTV is that othertraditionally available solutionsmay not yet be available withUHDTV support.
One specific item is the smallform factor camera oftenreferred to as the ‘mini-cam’.These cameras are used insituations where a studiocamera is not suitable orpractical; examples are goal-cam, aerial camera or point-of-
view (POV) as used withincreasingly popular realitytelevision shows and secondscreen applications in liveevents. To solve this particularissue IO Industries haslaunched the Flare 4KSDI atIBC2014. The 4KSDI is a singlepiece highly compact4K/UHDTV camera.
Multi-angle cameraarrangements are one way toincrease the viewingexperience and can also add toadvertising revenues. Multi-camera systems in today’s livesports have been introduced byFox Sports with their DiamondCam and Hyper Motion and thepopular Sky Sports 360.
With this increased call formulti-camera systems, a mini-
cam will be considered so longas it retains the same featuresand image quality as the studiocameras. Their advantage of asmaller footprint and lower costmakes these multi-camerasystems increasingly moreaccessible.
Historically mini-cams couldhave been forgiven on imagequality or output format due tothe specialist view they cancreate – but theseshortcomings are no longeraccepted by the broadcaster orthe viewer. The Flare 4KSDIuses a global shutter APS-C/Super 35mm image sensor
and has full colour processingwithin the camera for colourmatching. It can be controlledby either the same handheldremote as used by the 2KSDIor via RCP (the protocol isfreely available).
The Flare 4KSDI marks thestart of a new generation ofmini-cam performance. WithUHD and 4K output via quad3G-SDI outputs at frame ratesof up to 60p, it is built to meetthe demands and uncertaintysurrounding the technicalrequirements of the nextstandards in broadcasting. 11.D67
Ultra HD action with FlareOpinion
Small form factor cameras for live Ultra HD broadcastsare here and are more accessible, explains StuartChaston, European sales manager, IO Industries
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The move towards a globalbroadcast market is well on itsway. No longer interested inselling their content to localbroadcast companies, today’scompanies with tomorrow’sworld-famous brands are nowoffering an entire broadcastchannel. Country by country,they stretch their reach aroundthe globe.
Working on a global or atleast multicountry scale seemsa logical choice, given the factthat already today the samecontent is broadcast in nearlyevery country. All over theworld the same episodes getingested, quality controlled,described and promoted forwhat must be a staggeringnumber of times.
But world domination isharder than portrayed on thebig screen, even for abroadcaster. Evidently, youmust have the technicalinfrastructure to get your signalor stream to each country and,obviously, you should be ableto generate sales orsubscription revenue in everycountry. But even when youhave all that in place, many
challenges remain.All of a sudden it dawns on
you how diverse a place the
world still is today. Differentlanguages require multipleaudio and subtitle versions,
translated titles, categories andpress descriptions. Differentcultures and local laws spawn
specific age restrictions andcompliance rules. Differentparts of the world have differentframe rates, which requires twoversions of the same material.And, unlike in an onlineenvironment, frame rates cannever be mixed in a broadcastenvironment.
And then there’s rightsmanagement. Managing rightsfor multiple territories canbecome very complex. Definingthe rights for every differentdevice, service or businessmodel requires a very flexibleand efficient rightsmanagement system. Itdemands an even smarterrights verification tool thatchecks the legal use of contenton each channel, device orservice in each country.
Your system must handle therelation between regions, as torelease dates or costdistribution for instance, andmonitor the actual use ofassets for all of these outlets.Stock management perterritory must make sure thatthe assets in your inventory areexploited in the most efficientway.
Operating a multicountrybroadcast company is socomplex that very fewhave tried and even fewerhave succeeded. The factremains that companieswant to extend their reachover the borders with theircontent without multiplyingtheir staff and operationalcosts. So only by investingin the right systems andjoining the right partnerscan they attain theefficiency that makes thismove towardsglobalisation feasible.
The shift from single-country to multicountrybroadcast operationsreminds us of the movefrom single to multichannelstations, which seemsobvious now but was a bigdeal at the time. Thecomplexity now is tenfold.A go at world presenceshould therefore not beattempted without aproper broadcastmanagement system anda system provider that canpartner with you on thisawesome journey. 3.C59
World domination for dummiesOpinion
Michel Beke, product director MediaGeniX, explores the expected and hidden challenges broadcasters face as they make their move towards globalisation
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Black Box
By Michael Burns
The new KVM DisplayPort CATxExtender is being showcased atIBC2014. The KVM extendercan transmit either two 1920 x1200 video streams or one 4K(3840 x 2160) video stream overa single CAT6/7 cable.
The system is uncompressed,sending every pixel of everyframe without loss. The receiversupports DisplayPort Dual Mode(DP++), meaning monitors thatonly support HDMI or DVI canbe used, assuming they havethe correct adapter cable.
Black Box said theDisplayPort 4K extender couldenable users to locate criticalcomputing hardware in a secure
and temperature controlledenvironment away from theirworkstations, while maintainingthe same user desktopexperience.
Black Box has also used IBCto update the broadcast videofunctionality for the DKM HDvideo and matrix switch system.This copper/fibre hybrid solutionprovides KVM, video routing,and switching and signalconversion in a single,convergent platform.
By using modular SFP (SmallForm-Factor pluggable)technology from Embrionix, theDKM matrix switch can now beused with SDI technology. TheSFPs will also support andextend HD-SDI, 3G-SDI,and HDMIvideo
connections, as well as state-of-the-art KVM signals. Realtimesignal conversion is alsosupported between SDI, HD-SDI, 3G-SDI, and HDMI throughspecialised SFP connections.
The DKM FX line featuresredundant power supplies and arobust, scalable modulararchitecture.8.E20
For the latest show news and updates follow #IBC2014
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Mediaproxy
By Carolyn Giardina
Version 9 of Mediaproxy’sLogServer suite of products,including compliance logging,content monitoring, transportstream analysis and IPmultiviewer functionality, isbeing introduced at IBC.
“LogServer allowsbroadcasters, satellite andcable providers the ability tonot only fulfil regulatorycompliance mandates, butalso enhance revenueopportunities and increaseefficiency in-house,” saidMediaProxy CEO, Erik Otto.“With a user-friendly GUI andability to monitor on mobiledevices as well as in-house,LogServer is no longer utilisedonly by a single technicaldepartment but by technicalstakeholders, sales andmarketing, management andcontent consumers.”
At IBC, Mediaproxy is alsopreviewing its next generationOTT monitoring option, whichgives broadcasters the abilityto both monitor and providethose sources. The companybelieves that with the growth inOTT, service providers needflexibility to support the influxof streaming devices and
content services and provide aseamless multiscreen subscriberexperience regardless of contentsource.7.J07
Logging on: Mediaproxy’s LogServer suite of products hits v9 at IBC
Boxing clever: Modular SFPtechnology hasadded SDIcapability to theDKM switch
Version 9 LogServerincreases efficiency
IDX
By David Fox
The new CW-7 short-range HDwireless video link is anupgrade of IDX’s popular CW-5HD. It has the same formfactor and ease of use, butadds many improvements at alower price, notably an increase
in transmitter power across allfour selectable channels.
This power has enabled botha doubling of picturebandwidth and range withreliable line of sight of 100metres now being achieved.
Reliability of the link has alsobeen greatly improved thanksto the introduction of DFStechnology on two of thechannels. This technology
scans all the available channelsthat the CW-7 is allowed to uselicense exempt and picks theleast constrained channel touse in that particular location.
Multicast, where onetransmitter can broadcast to anumber of receivers, issupported on two of thechannels, and the increasedlink stability permits up to foursystems to be used in thesame locality.
The unit also costs €1000less than the CW-5HD.11.C21
HD wireless link extended
4K and SDI boost for KVM tools
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Business in broadcast is goingsoft. Not the difficulty ofintegrating media systems as atask; that remains a challengingproposition requiring skills inproject and capitalmanagement, technologymastery and team leadershipthat only a few companies likeATG Danmon can offer at ahigh quality. Media systems areturning increasingly intosoftware systems that requireintegration, needing a new setof skills and experiences forsuccessful implementation.
ATG pioneered theintroduction both of file-basedcontent management andmulti-definition contentmanagement with a long seriesof successful systems projectsstretching back over nearly twodecades. Over that time we’velearned to adapt our skill setsto include IP and softwarebased systems necessitated bythe kinds of solutions ourcustomers demanded. In orderto find a modern integrator whocan provide solutions that worktoday, it is important thatcustomers understand thefollowing factors:
1. There is no substitute forexperience in media systems.
Detailed knowledge of thebroadcast business and thebridges necessary to ensure fullcompatibility between everyelement of the productionchain is essential. In plainlanguage, that means carefulproduct selection andconfiguration to ensure thecompatibility and seamlesscontrollability of products frommultiple vendors.
2. Customer consultationright from the start. The seniormanagers at many broadcastorganisations have brandpreferences, particularly in theirchoice of software, based onpersonal operationalexperience or the preferencesof their production teams. Ourtask is either to incorporatethose preferences or drawattention to alternatives wherethese have really proved to besuperior.
3. Process automation wherepossible. Whether ingest, postproduction, MAM systems,single channel or multichannelplayout; broadcasting andmedia-management do nothave to be synonymous with aheavy staff workload. Thesystems we are called upon todesign today incorporate a high
level of operational efficiencywhile retaining the freedom foroperators to accommodatecreativity or late changes.
4. Configurability within awide window is important. The
best modern broadcastproducts, software in particular,can be shaped to matchcustomer practices andauthority levels, workflowsparticular to an organisation or
peculiarities different from otherorganisations. Deep and verylow level configuration, plus agood understanding of APIs,scripts and softwarearchitectures, are becomingincreasingly important.
IP networking is everywhere;make it your friend. This is nowattracting a major proportion ofattention in ATG Danmonprojects. One cannot forgetbaseband skills and it remainscertain that SDI systems are farfrom dead, but systemsintegrators have to put effortinto mastering this ubiquitoustransport.
Modern systems in mediarequire a rare combination ofexperience and deep specificdomain knowledge. ATGDanmon is dedicated tocontinuous training,development and skillsenhancements. This hashelped us in our systemsintegration projects and led tosuccess for our technologypartners. If you wish to knowmore about how ATG Danmonhas undertaken developmentsin these areas, come and seeus on our IBC booth, Hall 8,B51.8.B51
Opinion
What should a modern systems integrator mean to you? Tim Felstead, head of sales and marketing, ATG Danmon, explains the importance of the customer consultation process
No substitute for experience
Agama Technologies
By Ian McMurray
In light of the ever-increasingneed for insights within thecustomer experiencemanagement domain, AgamaTechnologies is announcing thatit will provide applications aimedat operator marketing, contentacquisition and productmanagement processes,leveraging the customerbehaviour analysis possibilitiesof an Agama monitoringdeployment. This, according toAgama, further strengthens thecompany’s position of providingsolutions supporting the entireTV operator organisation.
The first targeted application,Operational Analytics for MediaConsumption, launches atIBC2014. This, says thecompany, supports mediaconsumption analytics to giveoperators insight into how andwhen services are consumed:with objective data on howchannels are actually used,operators can streamline
channel line-ups and contentacquisition.
OTT video service monitoringand assurance remains a keyarea for Agama, the companysays, and is reinforcing itscommitment at IBC2014 with
version 4.7 of its Analyzer OTTintegration in the centralEnterprise Server, which thecompany says has beenstrengthened with enhancedpresentation and management,such as a new dashboard
widget that gives an at-a-glanceoverview of OTT service quality.Also available in the EnterpriseServer is a new top-level servicequality report function forAnalyzer OTT, enabling trendingand analysis of service quality
and availability on OTT assets,as well as on the individual ABRprofiles.
The Analyzer OTT alsoincludes new features includinga new add-on that enablesservices to be monitored inmultiple round-robin pools formore fine-grained control.4.A75
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Understanding media consumption analytics
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ContentWise
By Monica Heck
Demonstrations of an all-in-one digital media discoveryand recommendationsplatform are taking place atthe ContentWise stand. Thesolution supports high-volumedigital media, TV and video.
The ContentWise platformdelivers a personalisedmultiscreen TV experience bymaking use of semantics andsocial engagement. It deliversrecommendations anddiscovery experiences toincrease demand for movies,music, ringtones and TV.
The platform can bedeployed on any screen andintegrate with live TV, PVRs,IPTV, web TV and cable, andcan be paired with thecompany’s business modulefor monetisation and ROImeasurement.
It also offers pay TVoperators a robust, scalablecontent discovery platformthat includes detailed analyticsto ease service creation andmanagement while providinghigher visibility and controlover the user discoveryprocess. 14.K05
Cross-mediadiscovery andrecommendation
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Zacuto
By David Fox
A new Control Grip forshoulder-mountedcamera rigs hasbeen introducedby Zacuto. Itbrings cameracontrol (stop/start,menu control andmore) down to ahandgrip position forcomfort andaccessibility usingfive customprogrammablebutton functionsand a joystick. Anoptional Z-Motorattaches to your lens tomimic a traditional ENG rockerzoom control, with adjustablespeeds, to convert any type oflens into a servo-control lens.
The Control Grip includesLemo plugs for two motors andcamera control, and its firmwarewill be upgradeable via USB. Itis particularly suited for use with
compact cameras fitted withheavy lenses, as these
will typically be setfurther back on
the shoulder tomaintainbalance,making thebuilt-in controlsharder to reachcomfortably.
Proprietarycontrol cablesfor the system
will be available forvarious cameras
including: DSLRs fromCanon, Nikon and Panasonic,the Arri Amira/Alexa, Sony’sF5/F55/F65, Red Epic/Scarlet,and Canon’s C100/C300/C500. 11.G64
Get a Grip oncamera control
IBC Big Screen
The second of IBC’s specialmovie screenings is tonight inthe Auditorium, at the IBC BigScreen Experience, and oncemore all of the remarkabletechnological advances arebrought into play. The NewYork Post called it “two hoursof breathless drama” –tonight’s movie is thissummer’s blockbuster Dawnof the Planet of the Apes.
Following Saturday’sscreening of Life of Pi, you willonce again have the chance tobe among the first to see afull-length feature film in high-brightness 3D. The IBC BigScreen has been fitted outwith a Christie 6P 2D and 3Dlaser projectors and DolbyAtmos audio.
This really is the state of the
art in digital cinema,and the first timeanywhere that all thistechnology has beenbrought together toscreen a movie. TheIBC Technical teamhas worked withChristie, Dolby Labsand QSC to bring it alltogether, and theirgenerous support iswarmly acknowledged.
So, too, are the effortsof 20th Century Fox tomake this screeningavailable to the IBCaudience. Thanks to allthese supporters,tonight’s screening is freeto all IBC attendees.
Doors open to the IBC BigScreen Monday Night Movieat 18:15. This is sure to be ahugely popular event, so arriveearly to be sure of your free
place inan audience that is makinghistory, as well as enjoying acritically acclaimed movie.
View the full Big ScreenExperience schedule atwww.ibc.org/bigscreen.
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Argosy
By Heather McLean
A new range of equipmentracks is being introduced by
Argosy. The racks aredesigned to simplifyinstallations and maintenancewhile minimising rollout costs.
The new racks are alreadybeing used in real worldsituations by broadcasters
and service providersincluding GearhouseBroadcast, who has the racksinstalled in broadcast facilitiesaround the world covering livesporting events, including thissummer’s World Cup.
Said Kevin Moorhouse,chief operating officer andmanaging director atGearhouse Broadcast UK: “Weare always on the look out fornew equipment that is bothreliable and that will help saveon installation time, and thenew Argosy racks meet thesecriteria perfectly. We have hada longstanding relationship
with Argosy which offersproven, high quality productsquickly and efficiently, as weneed them.”
The new Argosy-designedequipment rack incorporates aplethora of features to supportquick and easy installation. Itsnew open design maximisesaccess to cables making iteasy to install. It also providesthe flexibility to allowcustomers to incorporateadditional sets of cable trayswhere intensive cabling isrequired, and to change thepositioning of mountingprofiles to allow quick andeasy relocation to suit thecustomers’ individualrequirements.
The U designation helpspartial loading of equipmentwithout the need formeasurement and the internalcapacity also benefits fromimproved air circulation andheat dispersion, ideal forcompact environments suchas an outside broadcastvehicle. 10.C51
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Equipment racks debut
Net Insight
By Ian McMurray
As well as demonstrating whatthe company says are its uniquecapabilities in reducing total costof ownership through simplifyingnetwork complexities, Net Insightis also launching a new productthat the company claims enablesbroadcasters and mediaoperators to efficiently and cost-effectively distribute live 4K and8K UHDTV productions.
Among the demonstrations arethe Nimbra VA 200 series, whichenables high-quality videotransport over the internet for livesporting events and expansion ofnewsgathering. Also on show areaudio solutions for TV, radioproduction and radiotransmission, together with thecompany’s most recent digitalterrestrial TV implementations.
Topics of discussion includehow the Nimbra Media SwitchRouter technology can allowbroadcasters and contentowners to self-provision mediaservices without operatorinvolvement; the continuing trendtoward remote production andworkflows; the transition fromsatellite to wired contentacquisition; and recent customerdeployments.1.B40
Efficient,cost-effective4K and 8Kdistribution
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Vestel
By Monica Heck
A ‘whole home’ solution is onshow at the Vestel stand in Hall14, offering a user-friendly
multiroom ecosystem enablingcontent distribution via a homenetwork.
Regardless of thetransmission interface, a Vestelmultituner gateway outputsindividual broadcasting tosecond screens in the home,
including smartphones andtablets.
A new multiscreen solutionwith NAS (Network AttachedStorage) support is also onshow at the Vestel stand.Multiple client IP devices canrecord and playback the samecontent over network storage.
A gateway with multiplefront-end inputs provides livestreaming to other clients such
as client TVs, STBs, tablets orsmartphones, delivering a fullmultiscreen experience in thehome. Well known DRMtechnologies are supported inthe system to secure premiumcontent.
Finally, visitors can also seeVestel’s smart security STB, anall-in-one home monitoring andsecurity system with wirelesssensor control which enables
home surveillance, securitycontrol and power monitoring.
A dedicated mobile deviceapplication is used to controlthe overall system including airconditioning, switch devices onor off and dim or switch lightson or off.
Notifications can be sent todedicated mobile devices toinform the end-user.14.A20
Multi-room ecosystems
By David Fox
A compact new portable LEDlighting kit has beenintroduced by Nanguang,containing all mostusers will need to shootan interview. Thelights can beusedindividuallyon camera, onthe included stands,or lock together toform a larger panel.
The three 30Wdimmable CN-5400Pro LED lightscome in twoversions, a 5600Kdaylight unit, or abi-colour modelthat can switchbetween 5600Kand 3200K.
For powerthe 575g lights
take 7.2-12v DC or 100-240vAC. They can take Sony NP-FH, NP-FM or NP-F seriesbatteries and the kit comeswith six sets of AA batterypacks, plus six Panasonic
battery adapters (forCGR-D series
batteries). Each lightcan take two
(swappable) batteriesfor extended usage.
Each light comes with a setof filters (diffuser, extra softdiffuser and orange filter).There are also three lightingstands, and each light has aflexible handle that can bebent to reposition the light bybetween 15º and 45º. There isalso a soft carrying bag.
11.E10
Nanguang Photographic Equipment
Flexible three-light LED kit
Adaptable:Nanguang’s new kitcan bend to your willwith a flexible handleand click-togetherlights
Nexto DI
By David Fox
To back up HD or Ultra HDmemory cards on location,without a laptop, Nexto DI haslaunched the Storage BridgeNSB-25, an expandable fieldbackup device withinterchangeable memory cardmodules and removal drives.
The versatile unit comeswith two removable USB 3.0hard drives, plus CF/SD(SDHC/SDXC) memory cardslots and a slot for aninterchangeable memory cardmodule – of which there will bea choice of seven modules tohandle SxS, P2 & ExpressP2,Red, AJA,AXSM, 2.5-inchSSD (or HDD),or CFast cards.
With onetouch, NSB-25can generate up
to three true back up copiessimultaneously (MCopy) on thetwo removable drives and oneexternal USB 3.0 driveattached to it.
For reviewing backed upfootage as thumbnails, or toplayback 2K and preview 4Kvideo clips, the NSB-25 has a5-inch 800x400 touchscreen,where it can show XAVC2K/4K or other formats, suchas MPEG2, AVC-intra, AVCHD,H.264, ProRes, DNxHD andDVCPRO HD. The NSB-25 willalso transcode 4K files toH.264 for quick playback - viaa future upgrade pack. It hasan internal speaker andheadphone jack, and userscan connect it to a largermonitor through its HDMI
port.It can also generate a CRC-
protected Log file to keeptrack of usage, and whencopying a 4GB or larger file itsupports exFAT/FAT/UDF andHFS+ file formats.
A Sync function allows usersto quickly offload all backed upfiles to another drive bytouching the screen, and onlythose files that have changedsince the last sync will becopied.11.G37
2K/4K field backup device
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Time to DI: The NSB-25 canback up to three drives atonce, from many differentcards and formats
Has IBC come at a goodtime for the electronicmedia industry? Why?Yes, absolutely. Digitalcontent is at top of mind forall right now and with thatthere has to be a new way ofthinking. How to create,manage and share contentwith viewers in the best waypossible while integratingmodern technology is anobstacle we all face everyday. Whether it’s a focus oncreating in 4K, managingwith cloud-computing orsharing on second screendevices, audio and videoprofessionals must continueto work in tandem to solveissues they are facing. For
RTW that means a continuedfocus on loudnessstandardisation to provideusers with crisp, clear audio,across multiple disciplines,be it TV broadcast, radio,multi-screen multimedia,corporate and education aswell. We are all in thebusiness of media and IBC isalways a good platform forthe exchange of ideas.
What do you think are thekey developments in, orthreats to, your marketsector at the current time?Budgets continue to be tight,as are personnel amongstudios. We see customersall trying to do more with
less. However, to truly domore now with an eye onwhat will continue to supportefforts in the future, it’simperative to make a soundinvestment in qualityproducts and solutions. ATRTW, our business is audioand we feel very strongly thatquality of audio should not besacrificed at the sake ofchallenges. That’s why wehave made such acommitment to offerinnovative, easy-to-use,affordable metering solutionsto customers at all ends ofthe audio spectrum.
Why should delegates visityour stand at IBC?
RTW has been a leader inaudio metering innovation fornearly 50 years, and formany, we have become theirindustry standard, a trustedcompany they turn to whennew loudness challengesarise. We have had somewonderful, positive changesso far this year and we areeager to share our newintroductions with our friendsold and new at the IBC show.Earlier this year we launchedthe RTW Masterclass PlugInsLoudness Tools software andthe TM3-Primus both ofwhich are on display for thefirst time at IBC. We will alsohave a few new introductionsand updates throughout our
software, smart andpremium product categories.RTW is very much aproponent of loudnessstandardisation and wealways welcome theopportunity to discuss ideaswith others who are close tothis issue. 8.D92
Andreas Tweitmann, CEO, RTW
Q&A
Has IBC come at a good time for the electronic media industry?Why?The broadcast, electronic mediaindustry is dynamic out of necessity.Trade shows such as IBC serve toshowcase solutions developed byforward thinking manufacturers thataddress current and future marketchallenges. Cobalt Digital isexhibiting a significant number ofnew products this year that provideend-users with solutions acrossmultiple industry applications.
What do you think are the keydevelopments in, or threats to,your market sector at the current time?At Cobalt we do not view industrychanges as threats, but aschallenges. US broadcasters haveaddressed loudness processing(although some regions may arguethis), however this is still a majorchallenge across many internationalareas. By offering both baseband andmulti-channel over IP/ASI (LMNTS)solutions, Cobalt provides a range of
solutions to suit every case. The needfor monitoring and logging was theimpetus behind our SPOTCHECK, atool that provides broadcasters withpeace of mind and evidence ofregulatory compliance. Cobalt alsoaddressed the need for fasterbandwidth transmission/receivecapabilities with multiple fibresolutions. Standard O to E, E to O,CWDM, DWDM and L-BANDproducts are now part of ourequipment catalogue.
Why should delegates visit your stand at IBC?Cobalt is demonstrating ourcommitment to the internationalmarket by launching more products at IBC than ever before!Foremost in our line-up is the 9970-QS 3G/HD/SD-SDI/CVBS Quint-Split Multi-Image Display Processor for the openGear frameformat, that provides an idealsolution for OB vehicles andproduction control rooms. Thecascading of additional cardsenables the ability to view multiple
PiDs on a single monitor.Our reputation for high-quality
down-converters grows with theintroduction of our 9902-DC-4K Quad 3G-SDI 1080p 50/60Hz (UHDTV)to HD 50/60Hz or SD 50/60Hz card(also available as a standalone BBG-1002-DC-4K unit). This card makescopies of the down converted outputTO 3G/SDI/ HDMI.
A full array of fibre products are
also on display, from simple O to E/Eto O, CWDM, L-BAND and the new Blue Box Group throwdownmodules Fibre to HDMI and HDMI toFibre. Visit us at IBC to speak withour engineers, and discuss problemsbeing incurred in today’s broadcastindustry. Your problems are ourchallenges for providing solutions,and new products for the future. 10.B44
Chris Shaw,executive vice president sales & marketing, Cobalt Digital
For the latest show news and updates follow #IBC2014
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Artel Video Systems
By Will Strauss
Reflecting one of the big themes at thisyear’s IBC, Artel Video Systems isshowing off new advances for DigiLink,the media transport platform for sendingbroadcast-quality media across IPnetworks, direct fibre and opticalbackbones.
On display in Hall 2, DigiLink now incorporates the DL4360x, a new chassis that has broadcast video over IP, JPEG 2000 compression and Ethernet switching capabilities.
The JPEG 2000 compression format,which can transport HD-SDI over
networks when bandwidth is limited, isa key subject for Artel this year as isvideo over IP, for which the companyhas “a complete set of cost-effective,reliable solutions for transporting HD-SDI, SD-SDI, and DVB-ASI over IP networks.”
Artel is also demoing DigiLink’s built-in signal routing capabilities for realtimevideo and Ethernet signals. This seesmedia switched in its original format andis said to “eliminate the need forexternal video routers and Ethernetswitches.”
Another topic of interest is theintegration between DigiLink andHARMAN Studer's A-Link, the DimetisBOSS LINK Manager and Wohler’sMPEG Series monitors.2.A20
Transport of delight: DigiLink sendsbroadcast-quality media across IP networks
Video over IP advances
Q&A
There is a lot of talk aboutbroadcasters increasinglymoving towards IT-basedsolutions. The implication is thattraditional broadcastmanufacturers are being leftbehind and will be replaced byproviders of IT-based solutionsand that traditionalmanufacturers do not have theskills to utilise the potential thatIT-based solutions can offer.
My assertion is that this is aserious misinterpretation.Manufacturers have alwaysused the best and latesttechnology; the change that hasoccurred over the years is thatgeneric PC storage andnetworking technology hasadvanced significantly in termsof price performance and cantherefore be utilised to providesolutions for our industry thatno longer have to rely onproprietary hardware-basedsolutions.
Four years ago weanticipated that as our userswere migrating from tape-basedto file-based workflows, theywould need to solve their
everyday problems in the file-based domain. We set up theideals of our company andproduct philosophy basedaround building easy-to-useproducts that were cross-platform and utilised softwarethat was written primarily in-house.
Having spoken to a numberof potential key customers wequickly realised that our expertknowledge of broadcast,relevant technology and workpractices were the key value-add. If we could implement thisknowledge so that the transitionto file-based operation waseasily achievable, we wouldhave satisfied customers and aviable business plan, based onthis allegedly difficult IT-basedsolution.
So we developed atechnology platform thatallowed us to open a file,examine its content and reporton the state of the file, and thenbased on a user-defined profile,process the file to fix to therelevant specifications. This isthe big picture for our business.
Our initial solution wasinspired by the very topical andhigh profile discussions andimplementations of audioloudness. So we chose to buildour first product, eFF, to openany media file (MXF, GXF, LXF,QuickTime, WAV, Aiff andRF64), measure the audio andreport on it, and if it did notmeet the specification, correctit. eFF can be used as a manualtool in an edit suite to performthe measurement andcorrection one file at a time, orused with watch folders orthrough an API to provideautomated, high volumemeasurement and correction.
We have been shipping thisproduct successfully for the lasttwo years and have won manyprestigious customers. It hasbeen an interesting ride – thechallenges associated with file-based processing are far higherthan the simple algorithm formeasuring and correctingloudness.
It has also led us intodialogue with our customerswho have asked us to provide
extended solutions for theiraudio workflows. Early this yearwe supplied a majorbroadcaster with an audioworkflow solution to allow themto, under MAM control,loudness correct, track map,replicate and encode MXF filesfor transmission readiness. Thesource files came in multipleaudio layouts and neededdifferent workflows applied tothem to make themtransmission ready.
So in summary, all we didwas use off-the-shelf, readilyavailable IT components and abit of software that we wrote tosolve what is a very realbroadcast technology problem.6.C28c
Broadcast and IT: The next traditionOpinion
The idea that traditional broadcast manufacturers are being left behind by providers of IT-based solutions is amisinterpretation argues MC Patel, CEO, Emotion Systems
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By Carolyn Giardina
Making its debut at IBC isVenera Technologies’ newPulsar PPU (pay-per-use) QCsoftware, which thecompany describes as asecure, cloud-based optionwith the QC functions of itsflagship Pulsar automatedfile-based QC system.
Venera asserted that withno need to install additionalnetwork infrastructure, PulsarPPU “can perform integratedQC across content types andstages in the workflow,reducing dependency onspecialised skills and usingexisting resources moreefficiently.”
The company offers arange of QC options fordifferent budgets andoperational scales, includingthe Pulsar Basic, anotheredition of Pulsar at IBC with“many of the coreaudio/video analysiscapabilities of the mainPulsar,” but recommendedfor organisations that workwith a limited content volumeand budget for QC tools butstill prefer to make an upfrontinvestment in a QC tool fortheir file-based workflows.
Venera is also highlightingthree new enhancements toPulsar. This includes HardingPSE (photosensitiveepilepsy) analysis, allowingusers to apply the HardingFPA (flash and patternanalyser) implementation toverify that their content iscompliant with Ofcom orJAPAN NAB 2006regulations; the ability toanalyse VoD content directlyusing the HTTP URL of theiradaptive bit rate asset; andDigital ProductionPartnership compliance.
“Pulsar now makesadvanced QC available toevery organisation, whateverits content volume or budget.We believe that the productenhancements and newsystems will help to eliminatefinancial barriers to the use ofQC tools and, in turn, speedthe industry’s adoption offile-based QC,” said VikasSinghal, co-founder andexecutive director ofbusiness development atVenera.7.C03
Venera Technologies
QC lineexpandedwith Pulsarpay-per-use
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As I looked forward to anotherIBC show, I found myselfthinking about many of theissues that have been weighingrecently on our collectiveminds: what does this latestwave of industry consolidationmean to our businesses andour customers? What arebroadcasters and contentcreators to do with the constantchatter about 4K and UHDTV,when at the same time they arefaced with the relentlessdownward pressure onoperating expenses?
I don’t feel that consolidationis necessarily good or bad: it’sjust a natural part of businessand as the popular sayinggoes, 'consolidation happens!'If anything, the broadcasting
business has been spoiled for along time and has managed toescape not being forced intofinding efficiencies until morerecently. I agree that if you’vebeen working the same oldbroadcasting tech job for 20years, these can be unsettlingtimes, but for manufacturerswho tailor their solutions tocreating these efficiencies,things are looking up.
The traditional broadcastingindustry has always done anincredible job withmanufacturing reliable systems,but these came with a heftyprice tag. With 'heavy iron'doing the work, traditionalbroadcast infrastructures werevery resilient.
However, because of the
high prices of these systems,broadcasters typically had towork with a limited amount ofredundancy: if failuresoccurred, the limited failoverpath would allow certainfunctions to work at partialcapacity until someone fixedthe problem. Today, modernintegrated playout systems arebuilt on off-the-shelf hardware.While some might argue thatindividual computer systemsdon’t have the reliability that'heavy iron' had in the past, it’simportant to note that what wehave instead are completelyredundant systems that allowyour failover to match the exactcapability you have on yourprimary system – for far lessthan the cost of a traditional
playout system of just a fewyears ago. So when it comes toreducing costs and comparingsystems, it’s important to lookat the whole picture, not justthe initial price tag.
BroadStream Solutions isvery involved in transitioningaway from baseband towards acompletely IP basedinfrastructure. The industry isvery comfortable working withbaseband signals, but 4K won'trealistically happen by simplymultiplying all SDI cables byfour (although I’m sure thecable manufacturers wouldlove that!).
The only way it’s really goingto happen will be with an all IPinfrastructure. We already havea number of systems in the
field that are IP-in and IP-outservers with no baseband at all.It’s a key part of our roadmapand direction. Once we all getIP enabled, we’ll have themethod and infrastructurenecessary to support 4K andmore. Besides, IP and ITinfrastructure fits nicely into thedesire to reduce costs,footprint, and complexity goingforward.
So if you are ready to startmoving away from the 'heavyiron' age, you should reallycome and chat with us on ourbooth.8.B29
Getting away from Heavy IronOpinion
Once we all get IP enabled we’ll have the method and infrastructure necessary to support 4K and more. It’s a key part of our roadmap, says Ben Wolk, president, sales and marketing, BroadStream Solutions
Since High Definition Television(HDTV) became state-of-the-artin productions and the ‘norm’,Ultra High Definition Television(UHDTV) has gained ground andarguably has become the newfavourite future production anddistribution format. AlthoughUHDTV is known over the lasttwo decades, it failed to becomemainstream. However, when thefirst so-called ‘4K UHDTV’ or‘QuadHD’ screens entered theconsumer market in 2013 theperception changed – it was abig success!
A study from Futuresourcepredicts that between 7 to 8 percent of TV sets will be 4K readyby next year, in 2015 . Thus theimmediate demand for nativeUHDTV content will increaseand productions will be underpressure to decide whatinfrastructure they will use.
Currently, several proposals –as multi-link or single-link – arebeing discussed and attemptsto standardise theseapproaches are beingundertaken in SMPTE and ITU.The harmonisation process ofthose proposals is essential inorder to build cost effective andinteroperable equipment and
workflows. However, somesolutions will be useful for theshort-term and for the earlyUHDTV productions.
While this article describesnew developments of studiointerfaces focused on the SDItechnology, more long-termalternatives are underway. FelixPoulin, EBU, tells you moreabout a flexible solution of an IP-based production infrastructurethat can also be adapted toUHDTV productions in aseparate IBC Daily article, ‘TheNetwork Studio: Here to Stay’.
And, what about High FrameRate (HFR) or High DynamicRange (HDR)? UHDTV is mostlyseen as an increase inresolution, i.e. four times HDTVresolution (or 4 x 1920x1080pixel). Early tests from the EBUhave shown that this is notenough to achieve a satisfyingincrease in image quality. At
IBC2012, the EBU alreadypresented the conclusion thatUHDTV must also include thefollowing essentialcharacteristics: HFR, HDR, awider colour gamut and animmersive audio system.
Since this demonstration,more details on the influence ofthose parameters are known.For instance, a study from theBBC has shown that in Europe120 Hz will create flicker issuesand 100 Hz is therefore needed.The higher frame rate can bealso a valuable feature for anenhanced HDTV system,1080p100.
In order to transport thosehigher frame rates for HDTV andUHDTV, the signal needs tosupport a 1080p100/120 sub-image. To do so, an appropriatemethod to map those sub-images into Serial DigitalInterface (SDI) will need to be
defined. Further studies on HFRhave been undertaken by theBTF-HFR group (BroadcastTechnologies Future group).
The EBU´s Strategic ProgramBeyond HD has started studieson a new HDR evaluationmethod together with Dolby andthe EPFL in January 2014.Those studies showed a need tore-consider the evaluationmethod, based on ITU BT.500,in regard to the environment.Even though no final conclusioncan be yet drawn on the level ofHDR from the studies theyindicate a preference towardsbrighter images with moredynamics.
Another important aspect toconsider is that more expertsagree that only a reasonablecombination of all parameterscan result in a long term UHDTVformat. This was reflected in thejoint DVB-EBU UHDTV and
HDR workshop in 2013 and2014, respectively, and is alsorecommended by SMPTE´sTC24TB UHDTV EcosystemReport. In addition, the ITUBT.2020 standard combines allof these parameters.
Tribute in a higher data rateAll UHDTV parameters togetherdemand their tribute in a highdata rate. Table 1 shows typicaldata rates in the Payload ofupcoming SDI interfaces underdiscussion/standardisation. Thistable clearly shows that only1080p images, with up to 60frames/second and 10 bit, fits inthe current 3G infrastructure.Everything beyond this wouldrequire a multiple of the datarate.
If you are more interested inmore traditional interfaces, theSMPTE is working onstandardising a UHDTVinterface, described in SMPTE2036-3 ‘Ultra High DefinitionTelevision – Mapping intoSingle-link or Multi-link 10 GbpsSerial Signal/Data Interface’.Even though 10 Gbps alreadysounds a lot for most of theformats on the table you willneed to use a multi-link option.
Another interesting group toconsider is SMPTE’s 32NF70group on UHD-SDI. This groupis in the process of developingSDI variants as 6Gbps (SMPTE2081-1), 12Gbps (SMPTE 2082-1) and 24Gbps (SMPTE 2083-1).These can either avoid theusage or at least reduce thenumber of multiple links. Forexample, if you like to produce in 2160p100 or p120 at 12 bit 4:4:4 (~48 Gbps) youcan use two 24 Gbps linksinstead of having the need for16 3Gbps links.
Those who will want to workwith formats at lower data ratescan alternatively use an interimsolution of standardised multiple3G SDI interfaces under SMPTEST 425-3:2014 and ST 425-4:2012 for dual-link, and SMPTEST 425-5:2014 and ST 425-6:2014 for quad-link.
In the end, several short- tolong-term solutions for studiointerfaces are underway. Asseen from above, everybroadcaster and productioncompany will need to definetheir long-term strategy in orderto make careful and costefficient decisions about whichinterfaces for UHDTV to use.The requirements for anyinterface, may it be SDI or fibre, are the same, such aslow latency, fast re-synchronisation low jitter, costefficient, ancillary data andembedded audio.
In the long-term the trend canbe seen in single-link interfaces,although multi-link solutionsguarantee backwardscompatibility to current 3Ginfrastructures.
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UHDTV production interfacingchallenges: is it all about SDI?With all the excitement surrounding UHDTV, the importance of having a strongproduction infrastructure is often overlooked. Yvonne Thomas, project manager at EBU Technology and Innovation, examines those challenges
TABLE 1 – PAYLOAD DATA RATE FOR NEW SDI INTERFACES IN GB/S
1080p 2160p 4320p10 bit, 4:2:2 3 12 4812 bit, 4:4:4 6 24 9610 bit, 4:2:2 6 24 9612 bit, 4:4:4 12 48 192
Up to 60p
Up to 120p
NHK SuperHi-Vision
demonstrationat IBC
Viaccess-Orca
By Ian McMurray
Boxer TV, a Swedish pay TVoperator owned by the TeracomGroup, has selected Viaccess-Orca’s end-to-end TVEverywhere solution to extendits DTT and on-demand serviceoffering into the multiscreenenvironment.
Using a combination ofViaccess-Orca’s ConnectedSentinel digital rightsmanagement and PrimeSentinel smart card-basedconditional access system,alongside the RiGHTv servicedelivery platform and COMPASScontent discovery platform,Boxer TV will be able to delivermore than 60 channels of live TVas well as personalised SVoDand catch-up TV content to awide range of mobile devicesthroughout Sweden andDenmark.
Viaccess-Orca’s TVEverywhere solution allows payTV service providers to shapethe ultimate content and userexperience for their subscribers
on multiple screens. Through theend-to-end solution, Boxer TVwill be able to protect premiumcontent through cross platformsecurity, ensure the smoothdelivery of content to users, and
increase viewer engagementleveraging unique contentdiscovery, personalisation, andinteractivity capabilities. Videocontent will be personalisedbased on subscribers’ individualtastes and preferences across alldevices.
Boxer TV’s new multiscreenservice will initially support iOS
and Android-basedsmartphones and tablets.
“Viaccess-Orca has been ourtrusted technology partner formany years,” said RolandSvensson, vice presidentproduct, Teracom Boxer Group.“By providing us with a unifiedsolution for multiscreen —encompassing content
protection, interactivity anddelivery, discovery, andpersonalisation — Viaccess-Orca will allow us to provide aconsistent television experienceto more than one millionsubscribers in Sweden andDenmark, anytime, anywhere,and on any screen.”1.A51
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Boxer extends reach
Inview
By Monica Heck
Digital STB provider Kaon(1.B16) is collaborating withInview to offer a cost-effective,free-to-air STB solution withvalue-added features such aspush-VoD, interactive services,advertising and early warningservices alongside live digitalchannels.
Inview’s client software withits advanced EPG and UIdesign, ported onto Kaonhardware, provides a solutionwhich reduces initialinvestment and generatesrevenue through advertising inthe UI, with the added benefitof quick deployment.
“Our innovative broadcastsolution combined with Kaon’scost effective set-top boxdesign provides a compellinguser experience and is an idealsolution for regions that arestill to undergo analogueswitch off and transition todigital TV,” commented JulieAustin, CEO of InviewSolutions.14.H08
Kaon VoDpartnership fordigital STBs
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IHSE
By Carolyn Giardina
Private broadcaster andentertainment group PinkMedia Group, Belgrade,recently completed a studiofor its 24/7 news programmeincorporating an on-setmultiview videowall, formedfrom thirty four 46-inchmonitors and capable ofdisplaying up to 192 separateimages.
A single multiviewer with alarge number of outputs wasruled out on cost grounds.Instead, consulting firmKompani digiTV proposedusing a 16-output multiviewersystem feeding the 34screens on the videowall viaan IHSE Draco tera compactKVM switch. “There is nobetter multi-display sourcethan a broadcast multiviewersystem, so we havecombined one with a Dracotera KVM switch. Theenormous flexibility of theKVM switch allows any input
to be connected to anydisplay. Each multivieweroutput can be connected toone or more monitors, evento every screen at once ifdesired,” said MiroslavJankovic, managing directorof Kompani digiTV.
“Control of the images onthe monitors is very simplyachieved by means of theswitch’s internal GUI, allowing
operators at Pink to instantlychange the layout so thatdifferent feeds appear in-shotbehind the newsreader,” saidPINK project manager,Sladjan Pesic. “The systemachieves the best of bothworlds: full flexibility to showmultiviewer images in full HDquality and an economicsystem that can be furtherexpanded. An 80-port KVM
switch was installed whichalso transmits multiviewercontent to 10 x 55-inch and 16x 46-inch videowalls in thenews control and MCRrooms. Remaining ports will,in the future, supplymultiviewer images to other,distant, locations in thebuilding: in offices, recreationand reception areas.”7.F33
Pink Media Group specs videowallIn the pink: A multiviewer feeds34 screens on the videowall via
an IHSE KVM switch
Motama
By Monica Heck
RTV Pink, the leadingcommercial station in theSerbian TV broadcast market,has selected Motama servers topower its new OTT platform, alive TV internet streaming servicecalled Klikpink.
The service offers a growingnumber of over 50 TV channels,which can be watched in PCbrowsers as well as within adedicated Android app.
Motama, exhibiting in Hall 14at IBC, provides solutions for thedelivery, processing, andpresentation of audio and videocontent in IP networks.
The company’s productportfolio includes DVB gateways,encoder and transcoders,streaming servers and protocolsfor content distribution. Theseproducts drive applications forIPTV, CDN, internet or OTT,telecom, mobile, hospitality andcorporate networks.14.H19
Serbian giant goesOTT with Motama
Exhibitor listand floor planCorrect as of 28th July 2014
4
Halls 1,2,3,4,5 & 6 floor plan.......................................................Page 36Exhibitor listing .......................................................................... Page 38Hall 7 Floor plan ........................................................................ Page 39Exhibitor listing ............................................................................Page 40Exhibitor Listing...........................................................................Page 41Hall 8 Floor Plan ..........................................................................Page 42Halls 9,10 & 11 Floor Plan...........................................................Page 43Halls 12 & 13 Floor Plan..............................................................Page 44Hall 14 & Outside Exhibition Area floor plan..............................Page 45Exhibitor Listing...........................................................................Page 46
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Halls 1, 2, 3, 4, 5 & 6
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For the latest show news and updates follow #IBC2014
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10EaZy - SG Audio ..................8.D7024i ............................................14.L0525-Seven Systems...................8.D4727m Group................................1.A442WCOM Systems.....................8.E783D Storm...................................7.K2142 Consulting............................3.A184EVER.......................................8.F124HM.........................................10.A304Mod Technology ...................14.F11
AAADYN Tech...........................11.G73Aaton-Digital ...........................11.F31ABC Products ........................11.G34ABE Elettronica.........................8.D23ABONAIR LTD ........................3.B20cABOX42...................................14.J13ABS................................2.A30/MS23Academy of BroadcastingScience of SARFT.....................8.F05Accedo....................................14.E14ACCESS .................................14.D14Accusys ....................................6.C10Ace Marketing Inc. ........3.B37/5.A41...........................6.A29/9.B10/11.B51Acebil.......................................11.E69Acetel Co. Ltd...........................2.C11Acorde.......................................5.C49Acousta Engineering GmbH....8.A34Actia Sodielec...........................4.C77Active Circle ............................2.A36aActive Storage..........................7.J31ActiveVideo ...............................3.A27Actus Digital ..............................7.F07AD VALEM TECHNOLOGIE..OE118Adam Audio..............................8.D70ADB Lighting Technologies....11.B10Adder Technology ....................7.C30Adobe Systems Inc..................7.G27Adtec Digital .............................1.D01Advanced Digital Broadcast SA............................5.B48Advanced Media WorkflowAssociation (AMWA)...............9.A40aAdvantech.................................9.C22Advantech Wireless..................1.A74Advantek International, Inc......8.E92AEQ...........................................8.C55Agama Technologies................4.A75AheadTek ..................................8.D02AIC.............................................8.A24Airbus Defence and Space.....2.C23AirTies Wireless Networks .......5.B33AJA Video Systems ..................7.F11Ajimi ..........................................2.A36iAkamai Technologies ...............6.A15AKFA Teknology........................8.E16AKG Acoustics.........................8.D60Aladdin.co.,ltd.........................11.E65AlanDick Broadcast Ltd. ..........8.B99Albiral Display Solutions/Pixtron Broadcast...................10.A42Albis Technologies....14.C04/14.C15Albrecht Elektronik..................10.A40ALC NetworX GmbH ................8.F57Alcatel-Lucent ...............MS40/MS41Ali Corporation..........................4.C71Allegro DVT ...............................1.F34Alpermann+Velte GmbH........10.B48Alpha Networks SA..................3.C31Alphatron Broadcast Electronics ..............................11.C36AltaSens Inc. ..........................11.F41Altech Multimedia.....................1.D40Altera Europe LTD..........1.F13/MS39Alticast Corp..............................1.F36Amagi Media Labs ...................3.C35Amazon Web Services ............3.B16Ambient Recording GmbH....8.C73aAMD..........................................7.H35AMIMON Ltd. .........................11.B71Amino Communications.........14.J20Amos - Spacecom...................1.C65
Ampegon ..................................8.D35Amplidata..................................7.A15Amptec .....................................8.D70AnaCom, Inc.............................1.C97Anevia .......................................4.B66Anhui Sun Create Electronics Co. Ltd. ................5.A41eANNOVA Systems GmbH........3.A33ANT Group SRL .......................8.C64Antik Technology....................14.C08Anton Bauer............................11.E55Anvato.....................................14.C02ANYWARE VIDEO..................8.B36cAO Technologies ......................5.C19Apace Systems Corp. ..............7.K27APANTAC ..................................8.E37Appear TV.................................1.C61Applicaster..............................3.B20kAputure Imaging Industries Co. Ltd.....................9.D12AQ Broadcast Limited...........9.B14ciAQS...........................................2.A22ArabSat .....................................1.B38Arbor Media BV .......................7.H05Arcadyan Technology Corporation...............................4.C88Archimedia Technology............7.D14Archiware GmbH......................7.G03Archwave Technologies ...........8.A03Arctic Palm Inc........................5.B46aAREPLUS...............................2.B39dARET video and audio engineering ...................OE103Argosy.....................................10.C51Arion Technology Inc................4.A81Ariston BTS SA.........................8.C19arqiva.........................................1.B61ARRI ........................................11.F21ARRIS........................................1.D31Arrow OCS & Artesyn ............14.G17Artec Technologies AG ............7.C28Artel Video Systems Inc. ..........2.A20arvato Systems.........................3.B26ASC Signal Corp ......................1.C51Askey Computer Corp .............1.A40ASPERA, an IBM company.....7.G30Associated Press/AP ENPS.....7.D30Astec Solutions.......................4.A61gAstro StrobelKommunikationssysteme GmbH .........................................................3.C41ATCI...........................................4.C65ATEME ......................................1.D71ATG Danmon Ltd....................8.B51aAtlanta DTH, Inc......................10.F38Atomos......................................9.D25ATTO Technology Inc................7.F41ATX Networks.........................14.G16Audible Magic.........................14.K03Audio Ltd ..................................8.C97Audio Network..........................7.H09Audio Wireless Ltd....................8.E98Audio-Technica.........................8.D78Audisi ........................................8.C94Autocue Group LTD................11.F45Autodesk...................................7.D25Autoscript................................11.E55Avanti Communications...........1.A50Avateq Corp. ..........................5.B46dAveco ........................................3.B67Avere Systems .........................7.G41Avid ............................................7.J20AVIION Media..........................14.J16Avitech International Corporation .............................10.F26Aviwest......................................2.A49AVL Technologies .....................5.A49AVT Audio Video Technologies GmbH.................8.E76AWOX........................................2.A27Axel Technology SRL ...............8.B81Axia Audio.................................8.D47Axinom....................................14.G04Axle ...........................................7.D07
Axon...........................10.A21/10.B21Ayecka Communication Systems Ltd..............................4.A74Azden Corporation ...................8.A08Azercosmos .............................5.B06
BB & H Photo, Video, Pro Audio ................................10.A01BABO .....................................10.D10Band Pro Munich GmbH .......11.D21Barco Silex............................10.D31aBarnfind Technologies..............2.A42Barrowa.....................................1.A32Bazhou HongXingJieTu studioLighting Equipment Co. Ltd...11.C61BB Consulting ........................2.B39gBBC Academy ........................10.F35BBC Research & Development .........................8.F18BBright ....................................2.B39aBCE - Broadcasting Center Europe ..........................7.D12Beamr .....................................3.B20bBeamshare............................8.B38diiBeenius ...................................14.E26Beijing Cycle Century DigitalTechnology Co. Ltd. .................5.B10Beijing Feiyashi TechnologyDevelopment Co. Ltd...........11.B51dBeijing Fxlion Electronic Technology Co. Ltd. ...............11.A14Beijing Hua Yuan Film Equipment Co. Ltd.................9.B10hBeijing KXWELL Technology Co. Ltd ..............11.B51cBeijing Liming Tianwei Opto-electronics co., Ltd.....11.B51aBeijing Novel-Super Digital TVTechnology Co. Ltd ..................4.B51Beijing RealmagicTechnology Co. Ltd. .................2.C17Beijing United Victory Co. Ltd .......................11.G87Beijing Wan Jiaxiang and Technology Co. Ltd.........5.C16cBEiKS BiK Machulski Sp.J. ...11.D63Beillen Battery - JIADE Energy Technology.................11.B52Belco SRL.................................8.D65Belden ......................................1.D11Belgium Satellite Services s.a. .1.F61Benchmark Broadcast Systems (S)Pte Ltd......................................7.C01Benel BV / Falcon Eyes..........11.A64Berlin Partner GMBH ...............8.D16BES .........................................10.D57Bexel........................................11.E55BFE Studio und Medien Systeme GmbH...........3.A63BHV Broadcast Ltd. ...............11.A12BIRTV ........................................6.A04Black Box Network Services ...8.E20Blackcam Systems................11.F41Blackmagic Design ..................7.H20BLANKOM ................................1.F45BLT ............................................8.B94Blue Lucy Media.......................7.A04Bluebell Opticom Ltd..............10.F24Bluefish444................................7.J07Blueshape...............................11.A20BMS Broadcast Microwave Services Europe ....1.A10Bon Electronics ......................10.D20Booxmedia .............................14.G06Boris FX ....................................7.G43Boxx TV Ltd............................10.C49Bradley Engineering................11.F41Brainstorm Multimedia.............2.B59Brexel Inc. .................................7.B01Bridge Technologies.................1.A30Brightcove.................................5.B20Bristol Vfx................................11.D43British Kinematograph Sound &
Television Society (BKSTS) .....6.B01Broadcast Bionics ....................8.D71Broadcast Electronics/Commotion..............................8.C91Broadcast Manufactur GmbH.8.C60Broadcast Partners ..................8.C81Broadcast Pix ...........................7.B21Broadcast RF............................9.A51Broadcast Solutions GmbH.....................................................8.A84/OE102Broadcast Sports...................11.G72Broadcast Traffic Systems.......2.C18Broadcom Corporation............2.C25Broadpeak ................................4.B72BroadStream Solutions............8.B29BroadView Software...............4.A65dBryant Unlimited.....................10.D15BTESA (Broad Telecom S.A)....8.B19Burli Software Inc. ...................8.B01BW Broadcast...........................8.E74
CCache-A Corporation ...............7.F05Calrec Audio .............................8.C58Cambridge Imaging Systems ..........................6.C23/MS2Camera Corps Ltd..................11.E55Camerobot Systems GmbH ....8.A19Camgear Inc. .........................11.D72Canara Lighting Industries Pvt. Limited............11.A54CANARE .................................11.A50Canford .....................................9.C01Canon Europe Ltd ..................11.E50Capella Systems.......................8.E83Carl Zeiss AG..........................11.F50Cartoni.....................................11.E30castLabs GmbH .....................14.K02CASTWIN(HoseoTelecom Co. Ltd)...........2.A29Cataneo GmbH ........................3.B35Cavena Image Products AB ....2.C32CB Electronics ..........................7.F06CCBN2015................................6.A03CCI Paris Ile-de-France...........................2.A36/2.B39/8.B36/8.D82/11.E40....................................../MS40/MS41C-Com Satellite Systems Inc ...4.C55CCPIT Electronics & InformationIndustry Sub-Council ...............5.C16Cedar Audio Ltd .......................8.C98CEITON Workflow & Scheduling.............................3.A60Celeno.....................................3.B20gChristie......................................9.D15Christy Media Solutions - BroadcastRecruitment Specialists ...........6.C29Chromatec Video Products .....3.B55CHYRO ...................................2.A36cChyronHego .............................7.D11Cine 60 ...................................11.G41Cinedeck {Cine Design Group LLC}.....................................................7.J07Cinegy ............................7.A30/7.A41Cinela ......................................8.C73aCineroid ..................................11.G27Cires21....................................14.K06Cisco .........................................1.A71Cisco - Connected Life ...........8.G11Civolution ..................................2.B41ClassX SRL...............................8.A74CLD Distribution .....................10.A08Clear-Com ..............................10.D29Clearleap ................................14.G10Cmotion GmbH......................11.G42COAX Connectors LTD ..........11.F73Cobalt Digital Inc. ...................10.B44Cobham.....................................1.F41Codex Digital ..........................11.C71Cogent Technologies .............6.C28aCollabora Limited ...................8.B38cComigo .....................................3.B61Communications Specialties Inc.........................10.F37
Compunicate Technologies Inc.1.F29Computenext..........................14.K18Comrex Corporation.................3.A48Comtech EF Data .....................1.F80COM-TECH Italia SpA .............8.C18Comtech Telecommunications 1.F80Comtech Xicom Technology....1.F80Conax........................................1.D69Concurrent ComputerCorporation...............................2.B31ContentWise...........................14.K05Convergent Design.................10.A24Cooke Optics..........................11.D10Coolech Technology Co. Ltd .5.A41dCoolux GmbH.........................11.F53Copperlan .................................8.A03Corning .....................................5.C45Coship Electronics Co. Ltd. .....1.F50Cosmolight .............................11.C30Coveloz ...................................5.B40cCP Cases Ltd..........................10.A44CPI International Inc.................1.B41Craltech Electronica, S.L. ........9.C02CreateCtrl Ag ..............................MS1Creative Network Design..........7.F06Crenova Multimedia Co. Ltd....4.C98Cryptography Research Inc...14.C17Cryptoguard AB .......................3.C61Crystal Vision ............................2.B11CSG Media, LLC....................14.H01CSTB Russia ............................6.B06CTM Solutions..........................7.B11CTP Systems............................8.A68Cube-Tec International GmbH 5.C41Cubiware...................................5.B30Cuescript.................................11.A57Custom Consoles Ltd ..............8.A20CV Support Limited................11.D72CW Sonderoptic ....................11.D21Cymatic Audio ..........................8.A03CYTAGlobal ..............................3.C44
Dd'accord broadcasting solutions gmbh.........................8.C21Dalet Digital Media Systems....8.B77Daan Dugan Sound Design.......8.C95Danmon Systems Group A/S...............................8.B51cDataDirect Networks................6.C18Datavideo Technologies Europe B.V. ...............................7.D39Davicom..................................8.B38hDAVID Project............................8.F22DAVID Systems GmbH ............3.A31Dayang Technology Development Inc. .....................7.B35dB Broadcast..........................10.A28DB Elettronica Telecomunicazioni....................8.C74DCC LABS ..............................14.L14Decimator Design.....................7.B40Dedo Weigert Film GmbH......11.E31Dega Broadcast Systems Ltd .7.G07Dejero......................................11.C21DekTec ......................................2.B40Delec Audio und Videotechnik GmbH...............10.D30Delta Meccanica s.r.l.................8.E39DELTACAST...............................7.J14DELTACAST.TV .........................7.J14Deltron Italia SRL ......................8.E17DENZ ......................................11.C88DeSisti - ILT Italy S.r.L. ...........11.B45Deutsche Telekom - BusinessDevelopment and Innovation 14.G15DEV Systemtechnik GmbH & Co. KG.......................1.B31DEVA Broadcast Ltd. ...............8.D79devolo AG...............................14.K17Dexin Digital Technology (Chengdu) Co. Ltd..................3.B37eDGQoS SRL ...........................8.D37dDHD...........................................8.A50
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DigiCAP / SELFSAT..................5.C46DiGiCo.......................................8.D70DiGiDiA......................................8.E89Digigram....................................8.C51Digimetrics ................................7.A43Digisoft.TV...............................14.E27Digispot System GmbH...........8.D74DigiTAG....................................10.F29Digital Forecast.......................11.E65Digital Nirvana.......................9.B14ciiDigital TV Group .......................5.A09Digital TV Labs Ltd ...................5.A01Digital Vision..............................6.A14Digital Zone Co., Ltd...............5.A05fDimetis ......................................1.B30DirectOut Technologies ............8.E85Disk Archive Corporation........8.B38fDivX ....................5.C10/MS47/MS48DJI .............................................9.C34DK-Technologies ......................8.E60DLNA .......................................14.L22DLP - Digital Tech Co. Ltd .......9.B19DMLite ....................................10.D20Dolby Laboratories ...................2.A11Dot Hill.......................................6.A16Doteck Digital Technologies ....2.C49DOTSCREEN..........................2.B39cDouble D Electronics Ltd..........1.F58Doughty Engineering Ltd .......11.A60DPA Microphones ....................8.D70Dracast ....................................11.F63DSPECIALISTS GmbH.............8.E69DTS ...........................................2.B50DTVKIT....................................4.A61cDune HD .................................14.D20DVB...........................................1.D81DVBControl - MediaControl.....3.B43DVEO division of ComputerModules, Inc. ............................2.A34DVLab .......................................5.C06DVMR - Openheadend..........14.H14Dynamic Drive Pool..................7.H15Dynaudio Professional ............8.D56Dyvi Live ..................................10.F30
EEagle Kingdom Technologies (EKT)...................5.C28Earda Electronics Ltd...............4.C67easyDCP GmbH......................8.B80Easy Media Suite......................9.A45Easyrig.....................................11.A46EBS Group Scrl ........................8.C74EBS New Media Ltd...............14.C01EBU (European Broadcasting Union)...............10.F20ECHO ......................................10.F42EchoStar....................................1.F76Eddystone Broadcast ............8.B38bEdgeware................................14.B20Editshare...................................7.G37EDL-REC...................................7.A05Egatel ........................................8.D40Egripment BV..........................11.A21Elber SRL................................8.D37aElecard......................................3.C19Electrosys S.R.L ......................8.C41Elemental Technologies ...........4.B75Elements.tv | Syslink GmbH.....3.A23ELETTRONIKA........................10.F41Elite Antennas Ltd ...................4.A61fElliptic Technologies...............5.B40aELTI d.o.o..................................8.C25EMC Isilon.................................7.H10EMEA Gateway.....................9.B14ciiEmerson Network Power.........8.C12Emotion Systems...................6.C28cEMS technical personnel Ltd...1.B09ENCO........................................8.B15Encompass Digital Media ........4.B54Enensys.....................................2.A31Ensemble Designs, Inc.............8.B91Entone .....................................14.L10Entropic.....................................5.C28
Envivio, Inc................................1.D73Equinix ......................................3.B21ERECA......................................9.C47Ericsson ....................................1.D61ERLAB ....................................14.D02ERSTREAM.............................14.J04Es'hailSat ..................................4.B74Espial.........................................5.A07ETC - Electronic Theatre Controls .....................11.A62Etere ..........................................8.B89Etilux .....................................10.D31bETL Systems.............................1.A33ETRI ..........................................8.G08Etribez.....................................14.D30Euro Light System ..................11.E38Euro Media Group .......8.D11/OE110Eurotek S.R.L............................8.A59Eutelsat SA ...............................1.D59Evertz ........................................8.B40EVS.................................8.A96/8.B90Excitem.....................................8.E91Exir Broadcasting AB...............8.D28Exterity ....................................14.H13Extron Electronics ....................9.C30Eyeheight Limited.....................8.B97eyevis GmbH............................9.B24
FF&V Europe B.V. .....................11.G50F.A.Bernhardt GmbH, FAB.......2.A21Fabrix Systems Ltd..................3.B20lFacilis Technology Inc. .............7.E08Factum Electronics AB ..........8.D90dFairlight .....................................7.H17Fal Systems Ltd ......................OE117farmerswife ...............................9.C25Farseeing Co. Ltd...................11.D65Fast Forward Video................10.D20Fiberfox...................................11.G59FileCatalyst ...............................7.H40Film and Digital Times ............11.F31Fiilmgear ..................................11.A61Filmlight .....................................7.F31FIREFLY CINEMA.................11.E40bFis Blue .....................................5.C23Fischer Connectors ................11.F32Flanders Scientific, Inc. ..........10.A12Flanders/ Belgium...................10.F42Floatcam...................................9.B51Flowcine..................................5.B22aFocalPoint Server ...................7.K01aFOR-A .......................................2.A51Forbidden Technologies plc...8.B38eFORTIS......................................4.B82Fortium Technologies LTD......14.J06Fraunhofer Digital Cinema Alliance........................8.B80Fraunhofer FOKUS...................8.B80Fraunhofer Gesellschaft...........8.B80Fraunhofer HHI .........................8.B80Fraunhofer IDMT ......................8.B80Fraunhofer IIS ...........................8.B80Freefly Systems .......................9.B23Freesun (Beijing) Technology Co.,Ltd. ................9.B10fFriend Mts...............................14.B30Front Porch Digital....................7.D14FTV project of MPEG................8.F45Fujian Newland CommunicationScience technology Co.Ltd .....1.C91FUJIFILM Europe - Recording Media .................11.C20Fujifilm Europe GmbH............11.C20Funke Digital TV .......................3.C60Furukawa................................11.G25
GG. L Optics..............................11.A68GatesAir ....................................8.B10Gazprom Space Systems........4.B71GB Labs ..................................7.J15bGear Cam ...............................11.B65Gearhouse Broadcast10.B39/10.E50
Gefen.........................................7.B30Genelec.....................................8.D61General Dynamics Mediaware.1.A06General Dynamics SATCOMTechnologies.............................1.A41Genius Digital and GFK..........14.F37Geolink Satellite Services / CETel......................2.A36bGeritel Giomar...........................8.E33Ghielmetti AG ...........................8.C77GIGABYTE Technology ..........14.J02Gigatronix Ltd ...........................9.A06GkWare e.k. ..............................2.C51Glensound Electronics Ltd.......8.E72Global Distribution ....................7.J31Global VSAT Forum..................6.B05Globecast..................................1.A29Glookast Technology................7.D03Gold Best Limited.....................4.C74GoMax Electronics Inc.............2.C41Good Mind Industries...............5.A20GoPro........................................9.C40Gorgy Timing ..........................8.D82cGOSPELL Digital Technology Co. Ltd. .................3.A61Gotech International Technology Ltd.......................3.B37bGracenote .................14.G13/14.H20Grass Valley ...................1.D11/1.E02GraVue Co., Ltd........................8.A25GREAT Britain Pavilion ..4.A61/8.B38GreenPeak Technologies.........1.C90GRUS........................................2.C29Gsertel.......................................8.A11GT - SAT International..............5.B18Gulfsat Communications Company ..................................4.B70Guntermann & Drunck GmbH.4.B60Guramex .................................10.B31
HHamlet.......................................9.D10Harmonic Inc ............................1.B20Harris Broadcast......................7.G20HDMI Licensing, LLC...............5.C25HEXAGLOBE ..........................14.L19HGST ........................................7.G15HHB Communications Ltd ......8.D56Hi Tech Systems Ltd ................8.C92Hibox Systems........................14.L12HidashHi....................................3.A16Highlands Technologies Solutions .................................10.B20HighPoint Technologies, Inc. ...5.C11HilKOM Digital GmbH...............1.F45Hillrigs......................................11.A75Hiltron GmbH............................4.B89Hisilicon Technologies co. Ltd.2.C30Hispasat ....................................1.A46Hitachi Data Systems...............7.K31Hitachi Kokusai Electric Europe GmbH ........................11.D39Hitachi Kokusai Electric Turkey, Inc. ................................4.A71Hive Streaming ..........................MS2HK Sunrise TechnologyDevelopment Co. Ltd...............9.B02HMS GmbH..............................8.C21Homecast Co., LTD..................1.A27Horizon Teleports......................5.B15HP................................14.H02/MS21HTTV .........................................4.B77Huawei Technologies Co. Ltd..5.B17Huaxin Antenna........................1.C95Hubee .....................................14.H17Humax Co. Ltd .........................1.C27HwaCom...................................4.C50Hybrid TV..................................9.C33Hybris Software - An SAP Company................................................14.D10
IIABM ..................8.F51a/8.F52/8.F54IB/E OPTICS Eckerl GmbH ...11.D21
IBAS - Italian BroadcastingAdvanced Solutions .................8.D41IBM............................................MS22IdeasUnlimited.TV ....................8.A54IDX Technology ......................11.C21IEC Telecom.............................3.B29IEEE Broadcast Technology Society ....................................8.F51bIET - The Institution of Engineeringand Technology.......................8.F51ciFootage International (HK) Limited ............................9.B10cIGP b.v. .........................1.F58/OE107IHSE GmbH...............................7.F33Ikegami Electronics (Europe) GmbH..11.A31Ilionx ..........................................3.A22Image Engineering GmbH & co. KG......................11.E16Image Matters ......................10.D31cImagine Communications........7.G20Imagine Products Inc ...............9.D14Imagineer Systems...................7.K29I-MOVIX...................................11.E43INA - Institut National del'Audiovisuel..............................6.A20Indiecam GmbH .....................11.E75IneoQuest .................................MS38Inetsat........................................3.A24Infivision ....................................6.B07Infomir GmbH .........................14.L09Inmarsat ....................................2.B19Innowave Technologies..........14.K14InstaDigital...............................14.E05INSIDE Secure ...........................MS2INSIDE Secure.........................MS25Institut für Rundfunktechnik (IRT) ............10.F51Integra PDU............................8.B38gIntegrated Design Tools Inc. ....9.A02Intek Digital, Inc........................5.A05iIntel Corporation..........14.L20/MS42Intellicore Services..................14.L16INTELLIQUE............................2.A36hIntelsat Corporation..................1.C71International DatacastingCorporation...............................1.C29Interra Systems.........................7.B13Interxion ...................14.GM7/14.H18intoPIX SA.............................10.D31dInventos ..................................14.D01Inview......................................14.H08IO Industries Inc. ....................11.D67IPE Products.............................9.A31IPV Limited................................8.A33Irdeto.........................................1.D51IRIS GATEWAY SATELLITESERVICES LTD.........................3.C44Irom Tech inc..........................5.A05dISOVISION ..............................2.A36eItelsis..........................................8.E19ITS Electronics........................4.A65bIttiam Systems ..........................1.F27IWEDIA S.A...............................5.B01
JJ&W TECHNOLOGY LTD......3.B37dJBL Professional......................8.D60J.L. Fisher ...............................11.C40Jampro Antennas, Inc. .............8.B96Japan Radio............................OE116JK Audio .................................11.G11JLCooper Electronics ...............7.J43JoeCo Limited...........................8.E97Junger Audio ..........................10.A49Jutel...........................................8.A26JVC Professional Europe Ltd.11.G30
KK5600 Lighting........................11.E28Kaltura ........................3.B20m/3.C67Kantar Media - Audiences........1.F75KAONMEDIA ............................1.B16Karlsruhe Institute of Technology...............................1.D61
KATHREIN TechnoTrend GmbH .................1.A58KATHREIN-Werke KG..............8.C29KenCast, Inc .............................2.C39Kino Flo/Cirro Lite (Europe) Ltd.............................11.E33Kintronic Laboratories, Inc. ......8.E41Kizil Electronics ......................14.H07KOBES.Co.Ltd........................11.E65Konka Group Co. Ltd...............3.B39KONOVA KOREA. Co. Ltd.....11.E65Konvision ..................................9.B19Korea Pavilion................4.B78/5.A05Kratos Integral Systems Europe .......................1.A01Krensel Industries UG ............8.D16aKupo Grip Ltd.........................11.G69Kvant-Efir...................................8.E75KWS-Electronic GmbH............3.C41
LLacie..........................................7.G17L'AIGLE Stabilizers.................11.A40Lambda Antenna Technologies.............................8.C81Lanparte..................................11.A34LAON Technology...................10.F22Lasergraphics, Inc.....................7.F01LATTO.....................................3.B20qLAWO AG .................................8.B50LEADER INSTRUMENTSCORPORATION......................11.A38Lectrosonics, Inc....................8.C73bLedgo Co., LTD ......................11.C75LEMO Connectors .................11.D42Levels Beyond..........................MS44Leyard Opto-Electronics Co. Ltd ......................................5.C09LG Electronics...........................2.A41LGZ Broadcasting Tech .......11.E40aLibec........................................11.A53Liberty Global plc. ....................1.D39Lightcraft Technology ...............7.J01Lightequip GmbH + Co.KG....11.F71Lightstar (Beijing) Electronic Co. ltd ....................11.E67Limecraft .................................10.F42Limelight Networks...................3.B15Linear Acoustic.........................8.D47LinkedTV ...................................8.F42Litepanels................................11.E55Lith Technology Co. LTD..........9.A14LiveU .............................3.B20j/3.B62Livewire Digital Ltd ...................4.C83LMP Lux Media Plan ..............10.F21LockCircle...............................11.G35Loft London Solutions.............8.B38iLogicKeyboard - BSP...............7.F49Longway Broadcast Technology USA, INC...............2.A14LS telcom..................................8.E43LSB Broadcast Technologies GmbH.................8.B35LSI Projects Ltd ......................11.E35LTO Program ............................9.B25LUCI - Technica Del Arte BV....7.A33Luma Tech ..............................11.B65Lumantek..................................3.B51Lund Halsey (Console Systems) Ltd.............2.B30Lupo Light SRL.......................11.F59Lupo Lux SRL.........................11.A65Luso Electronic Products Ltd. .5.C19Lynx Technik AG.......................8.C70
MMagma ......................................7.F06make.tv // SMT - Streaming MediaTechnologies GmbH.................3.B40Mandozzi...................................8.A48Mariner ....................................14.L02Mark Roberts Motion Control Ltd ..............................11.F11Marquis Broadcast Limited......2.A58
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Marquis Media Partners...........2.A58Marquise Technologies ............7.H03Marshall Electronics...............11.D20Mart, JSC..................................8.A01Marvell.......................................5.C33Masstech Group Inc................8.C30Masterclock, Inc. ......................9.B12Masterplay Digimedia...............8.A16MathEmbedded......................14.A12Matrox Electronic Systems......7.B29Matthews Studio Equipment Inc ........................11.G71Maxon Computer GmbH.........7.H39MEDIAWEN..............................2.B39Media Broadcast Technologies (MBT)................8.D82aMEDIA ENGINEERING .........8.B38hMedia Excel ............................14.D27Media IT Profy...........................9.A10Media Links systems GmbH ...1.C31Media Logic..............................7.H17Media Utilities, a DNMS brand..........................8.A50media.net berlinbrandenburg e.V. ............8.D16fMedia-Alliance..........................8.B71MediaGeniX NG .......................3.C59MediaGuru..............................10.A41Mediamano ............................14.G05Medianet Vlaanderen..............10.F42MediaPower ..............................7.J42Mediapro...................................8.A47Mediaproxy Pty Ltd...................7.J07MEDIATHAND.........................14.K04Medienboard Berlin-Brandenburg GmbH...............8.D16eMegahertz ...............................11.F20Memnon Archiving Services....8.C85Merging Technologies ..............8.E96MeteoGroup .............................2.C48Metrological ............................14.E25METUS......................................7.A02Microdolly Hollywood.............11.A28Microsoft............................MS1/MS2Microtech Gefell GmbH ...........8.D77Mier Comunicaciones S.A........8.E36Miller Fluid Heads (Europe) ltd..............................11.D30Mindspeed Technologies.........8.C01Minerva Networks ..................14.H10miniCASTER® c/o TV1 GmbH...........................1.A80/OE108Minnetonka Audio Software.....7.J40MIRAD Microwave AG.............5.C02Mirada .......................................5.B08MiraVid.....................................14.L04Mirror Image..............................1.A03Mistserver.org/DDVTECH ......14.K13MISTV........................................2.A16MITEQ Inc .................................1.A18MIT-xperts GmbH.....................2.A44Mobile Viewpoint ....................14.F21Mode-AL.................................10.A38Modeo......................................5.C01MOG - Technologies ................7.K28Mogami Cable For Life............8.D56Mole - Richardson Company.11.F57Monarch Innovative TechnologiesPvt. Ltd......................................7.H37Moso Power .............................8.B23Motama GmbH ......................14.H19Motion Plus MEDIA ................14.L13MOVCAM ...............................11.D21Movicom, LLC........................11.G63MovieTech AG........................11.G34MPP Global Solutions............14.K01MSA Focus International Ltd...3.B56Mstar Semiconductor, Inc........2.C33MTF Services LTD..................11.B66M-Three Satcom Srl...............8.D37cMTS - Media Technical System....................................11.G34mufin GmbH...........................8.D16bMULTICAM SYSTEMS.........11.E40a
Multidyne Video & Fiber Optic Systems........................10.D46Murraypro Electronics ............10.F23Muxlab......................................8.E44MW Video Systems Ltd ...........2.A32MWA Nova GmbH....................7.E30Mware Solutions ....................14.C30
Nnablet GmbH............................7.G05NAB Show................................6.A09nac Image Technology Inc.....11.G75NAGRA .....................................1.C81Nagra Audio ..............................8.E96nangu.TV .................................14.L18Nanguang Photographic Equipment Co. Ltd. ................11.E10Nanjing Dynacore Technology Co. Ltd................11.D62Nanuk By Plasticase ................9.A47Narda Test Solutions ................8.E35Nativ........................................7.K01bNautel........................................8.C49Nautilus Studio.........................7.G05ncam..........................................7.F31ND SatCom ..............................5.C31NEC Corporation......................8.B37Neotion......................................4.B53NET INSIGHT............................1.B40Net Mobile AG...........14.H09/14.H11Netgear....................................14.F10Netgem .....................................5.B45NETIA .......................................1.A29NETIA (Globecast Group) ......8.D82dNetrange .................................14.E13Netris.........................................5.C21Netsweeper ............................5.B46bNetUP ......................................14.J18Network Innovations ................4.C83Neutrik AG ................................8.C90never.no.....................................7.A09Nevion.......................................1.B71New Japan Radio Co. Ltd .......4.C73NewFace TV Ltd.....................5.B40bNewphoria ..............................14.J17Newtec......................................1.A49NewTek .....................................7.K11Nexeven..................................5.B22bNexidia ......................................3.A54Nexstreaming ...........................5.C03NEXTO DI ...............................11.G37NEXTO DI UK LTD .................11.G37NHK ..........................................8.G21Nikon Europe B.V....................11.A69Nila LED Lighting ....................11.E38Nimbus, Inc.............................11.E65Nine Tiles ...............................8.B38diNingbo Eimage Studio Equipment Co. Ltd.................11.C51Ningbo Jie Yang TelevisionEquipment Co. Ltd.................9.B10bNINSIGHT.................................7.B11NKK Switches...........................8.A70NOA Audio Solutions ...............8.D91NOBLURWAY.........................2.B39hNordija A/S ..............................14.L06Norigin Media .........................14.H16North Telecom ..........................4.B79Norwia.......................................9.C19Novella SatComs Ltd................1.F58NovelSat...........................2.A10/MS3Novotronik GmbH ....................1.A54NPTV............................5.B19/14.G07NSM Initiatives LLC..................3.A30NTP Technology A/S..............8.B51bNTT Electronics Corporation ...3.C11NTT Group................................2.C50NTT Network Innovation Labs .8.F25NUGEN Audio...........................8.A76Numedia....................................3.B55NVIDIA Ltd.................................7.J39NyeTec Limited.........................2.C31
OObject Matrix Ltd ...................6.C28bOcean Blue Software .............4.A61bOcilion IPTV Technologies GmbH ................4.C61OConnor..................................11.E55OCTOPUS Newsroom Trading Limited.........................7.G11Omnia Audio.............................8.D47Omnitek.....................................6.A18ONE CONNXT ...............1.F31/MS44One For All ................................1.C41Onetastic SRL ..........................8.C20Ontario, Canada..4.A65,5.B40,5.B46OOYALA..................................14.F32Open Broadcast Systems Limited.....................4.A61hOpentech Inc............................5.C34OpenTelly.................................10.F42Opera Software.......................14.E20OPERATORSKIE TECHNOLOGII .......................11.B69Optical Cable Corporation .....10.E59Optocore GmbH.......................8.C60Optoway Technology Inc..........8.E25Oracle........................................9.C17Orad Hi-Tec Systems...............7.B27Orban Europe GmbH...............8.D93ORCA......................................11.D21OSEE.......................................10.D59Osprey by Vario Systems.........3.A26Oticom.....................................11.E65OVERLINE - Systems...............8.E94Ovide Smart Assist.................11.A73
PP+S Technik ...........................11.G35Pace plc ....................................1.B19Packet Ship Technologies......4.A61ePals Electronics Co. Ltd. ........OE101Panaccess Systems.................3.C20Panasonic Marketing Europe GmbH ...............9.C45/9.D40Panodic Electric (Shenzhen) Limited...................3.A40Panther GmbH........................11.E20Paradigm Communications .....1.F33PARALINX LLC.........................9.D18PayWizard ..............................14.G14PBI.............................................3.A52PCCW Global.........................14.E07Peak Communications Ltd. .....1.C33Pebble Beach Systems............8.C71Perceptiva - Labs ...................2.A36dPercon.....................................10.E51Perfect Memory......................8.B36bPesa ..........................................8.C03Phabrix ......................................8.E40Philips Home Control ...............1.A81Philips uWand................5.B02/MS45Phoenix7 Ltd ............................3.C21Phonak Communications AG ..8.E95Photon Beard Ltd...................11.D43Piksel.........................................1.C30Pixel Power LTD........................7.A31Pixellot Ltd ...............................3.B20fPlaber S.r.l. - HPRC Cases ......9.B43PLAYBOX Technology Ltd. (Sofia).................................8.C30Plisch GMBH ............................8.E10Plura ..........................................8.B73Pluxbox .....................................8.A12Polecam..................................10.C49Pomfort GmbH .......................10.F39Popyoular ...............................14.C01Portabrace ..............................11.B65Portaprompt Ltd .......................8.A90Postium Korea Co. Ltd. .........10.D20Prime Focus Technologies .......7.J16Primestream .............................7.D21Prism Sound .............................8.E34Prismahub.................................8.B01Prismcube.................................5.B09ProConsultant Informatique.....2.B21
Prodys .......................................1.A39Professional Sound Corp.........8.C96PROFITT Ltd.............................7.A07Progira Radio Communication 8.D44PROJECTBUILDERS..............OE110ProMAX...................................7.K01aPromise Technology.................6.C11Pronology................................10.A26ProSup/Casu ..........................11.E73ProTelevision Technologies AS.......................8.C48Providius Corp. .......................4.A65eProvys .......................................2.B49PRO-X CO., Ltd ......................11.E42Prysmian Group (Draka Comteq Germany)......11.C31PSI Audio .................................8.E96Portabrace ..............................11.B65PTEK .........................................6.B04
QQbit GmbH................................8.E49Q'ligent......................................8.D03Qt by Digia..............................14.H05Quadrille..................................2.B39bQuadrus Technology ................7.K25Qualifyle.....................................8.E04Quantel......................................7.A20Quantenna Communications.....................................................2.A08/MS36Quantum 5X Systems Inc......5.B40dQuantum Corporation ..............7.B26Qube Cinema............................7.F45Quicklink ...................................3.B29Quintech Electronics /DEV Systemtechnik ................1.B31Qvest Media Dubai...................3.B40Qvest Media Singapore ...........3.B40
RR.V.R Elettronica .......................8.E30Rabbit Labs...............................3.A44Radica Broadcast Systems Ltd............................8.B38hRadio Frequency Systems.......8.B28Radioscape.............................8.D90aRAIDIX.......................................2.C27RaLex Solutions .......................8.D73RAMI .......................................8.B36aRapid I&C...............................5.A05bRascular Technology Limited ....................................8.B38aRed Digital Cinema.................10.A10Reelway Gmbh .........................3.A28RelayTV....................................14.J14Remote Solution Co. Ltd.......5.A05hResearch Concepts Inc............1.F58RF-Design .................................1.F49Riedel Communications GmbH & Co.KG......................10.A31RIZ - Transmitters Co. ..............8.B02RJS Electronics Ltd ...............6.C28dRME/Audio AG .........................8.E05RO.VE.R Laboratories S.P.A ....8.B67Rockwell Collins .......................1.A11Rohde & Schwarz.....................7.E25Roland Systems Group ............7.J38Root6 Technology.....................7.E21ROSCO...................................11.G21Rosenberger - OSI GmbH + Co - OHG.............................11.E39Ross Video Ltd...9.B08/9.C10/9.C23Rotolight..................................11.D69Rovi Europe Limited .................5.A31RRsat Global CommunicationsNetwork Ltd. .............................1.B24RSG Media Systems...............6.C22RT Software Ltd........................6.A21RT-RK Computer Based Systems ........................5.B32RTS .........................................10.D25RTS (Royal Television Society)8.F51dRTW GmbH & Co. KG .............8.D92Ruige China ............................11.D47
Russian Satellite Communications Company.....4.B84Ruwido ......................................1.F68RYMSA RF................................8.C65
SS&T (Strategy & Technology) ...1.B22S3 Group...................................3.B18S3 Satcom Ltd..........................1.B91Sachtler ...................................11.E55SAF Tehnika..............................9.B06Saffron Digital .........................14.C11Sagemcom ...............................1.D41SALZBRENNER STAGETECMEDIAGROUP .........................8.C80Sam Woo Electronics Co. Ltd....................................11.G29Samim Rayaneh Co. ................5.C15Samjin......................................5.A05jSamsung...................................1.D35SanDisk...................................11.C65Sanken Microphone co. LTD...8.C93Sans Digital ...............................7.F04SAPEC.......................................1.F90Sat-Comm Broadcast LTD ......................................................1.A95/OE105Satlink Communications ..........5.A17Satmission....................1.A91/OE106SatService GmbH.....................1.F47Savas Live Subtitling..............14.H06SCALITY....................................8.A98ScheduALL...............................1.D30Schill GmbH & Co. KG...........11.E41Schneider Kreuznach.............11.A41Schoeps Mikrofone ..................8.E90Schulze-BrakelSchaumstoffverarbeitungs GmbH .......................................8.D75SCISYS Deutschland GmbH...8.B61Scottish Development International ............................9.B14aScreen Subtitling Systems.......1.C49SCTE .......................................8.F51eSDNsquare..............................10.F42SeaChange................................1.F70SED Systems............................1.A52SELEVISION ...........................2.A36gSematron...................................1.A78Semtech Corporation.............10.F46Sencore .....................................1.F56Sennheiser Electronic GmbH & Co. KG.......................8.D50Servicevision...........................11.C45SES............................................1.B51SGL..........................................7.J15aSGO...........................................6.A11SGT ...........................................8.B22Shaanxi Tianyi Antenna Co. Ltd .....................5.A41bSHANGYU HENGFENG OPTIC-ELECTRONIC INDUSTRY CO. LTD ..............5.C16bShape ......................................11.F61Shenzhen (China) C&D Electronics Co. Ltd...................1.C93Shenzhen Anycon Electronics Tech. Co.LTD.......3.B37cShenzhen Aoto Electronics Co. Ltd...................9.B29Shenzhen BestView Electronic Co. Ltd...................9.B10dShenzhen Createled Electronics Co. Ltd ...................9.A01SHENZHEN DONGZHOUJUNTECHNOLOGY CO. LTD........6.A29eShenZhen Geniatech INC,LTD...................................5.A41aShenzhen Justek Technology Co. Ltd.................14.J01Shenzhen Mele Digital Technology Ltd...........5.C16eShenzhen New Glee Technology Co. Ltd. .................2.C45
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Shenzhen Newme Digital Tech Co. Ltd .................5.A41fShenzhen Nicent Electronics Co. Ltd .................6.A29cShenzhen SDMC Technology co. Ltd.................14.C07Shenzhen Seneasy Industrial Co. Ltd.......................1.F93Shenzhen Skyworth DigitalTechonlogy Co. Ltd. .................4.A77Shively Labs..............................8.E81Shotoku Broadcast Systems .11.F40SHOTOVER Camera Systems..................................11.B72SI Media....................................8.B93Sichuan Changhong NetworkTechnologies Co. Ltd..............6.A29aSichuan Jiuzhou Electric Group Co., Ltd..........................3.C56Sichuan Video Electronic Co. Ltd...................3.B37aSielco SRL ................................8.A58Siemens ..................................14.A30Sigma Designs .........................2.C35Signiant....................................14.L08Signum Bildtechnik GmbH......7.D31SILIGENCE...............................2.A36iSingycon pte ltd.......................8.B89Single Malt Audio GmbH.........8.D74SintecMedia..............................2.B32SIRA-SISTEMI RADIO..............8.C31SIS LIVE ....................................1.C55Sisvel Technology.....................5.B37SKB CASES............................11.F65Skeed & Newphoria................14.J17Skylark Technology Inc ............8.A07Skyline Communications .........1.A23skypix ......................................11.E65Skyware Global.........................4.A95Skyware Technologies .............4.B90Slik Corporation......................11.A30Slomo.TV, Inc. ...........................8.A21SmallHD.................................11.G64SMARDTV.................................1.C81SmartLabs...............................14.E30SMiT ..........................................1.F86SMK EUROPE..........................5.C40SMPTE .....................................8.F51fSNELL.......................................8.B70SNL KAGAN .............................4.C89SoftAtHome ..............................4.A51Softlab - NSK............................7.A08SoftNI Corporation ...................1.B28Softron Media Services ...........7.G12SOFTVALLEE ...........................2.C21Solectrix GmbH......................11.C80Solid State Logic ......................8.D83SOLIDANIM..........................11.E40dSommer Cable GmbH .............9.B32Sondor Willy Hungerbuehler AG ...................7.H01Sonifex Ltd................................8.E61Sonnet Technologies................7.G02sonoVTS gmbh (former sonostuditechnik gmbh)...................8.B68Sony ........................................12.A10Sotal.........................................14.F19Sound Devices, LLC ................8.B59Sound Ideas............................5.B46eSoundminer Inc. .....................5.B46cSpacepath Communications Ltd ...............4.A61iSPB TV....................................14.E17Spectra Logic............................7.J30SPI International/Filmbox .......14.J03Spinner GmbH .........................8.C28Square Box Systems (CatDV) 7.J15cSTAGETECEntwicklungsgesellschaft ........8.C80Stanley Productions ...............10.A03Stardom storage solutions ......7.G09Starfish Technologies Ltd.........8.A45Starline Computer GmbH........7.H05Step2e Broadcast AG..............2.B29
Stereo Tool / Audisi ..................8.C94STiNO eyevis GmbH ...............9.B24Stirlitz Media ............................8.C91STMicroelectronics...................1.F40Stoneroos..................................2.A46StorageDNA..............................7.B42STORDIS GmbH.......................7.E10STP SA System Technology Partner ......................................8.C85Stream Group..........................14.L15Stream Labs .............................7.G47Streambox, Inc. ........................7.D01STRYME GmbH........................7.J03Studer by Harman....................8.D60Studio Network Solutions.........7.J05Studiotech.................................8.A28Stypegrip ................................11.B68Suitcase TV Ltd.............2.C10/2.C15Suman Satellite TechnologyCompany ................................5.A41cSumavision Technologies Co. Ltd ...............1.B10SumoLight ..............................11.A77Surface Heating Systems.........1.F59Suzhou Duozheng Electronics Co. Ltd.................5.C16aSVP Broadcast Microwave......2.C55SVS Telekomünikasyon HizmetleriSan. Ve Tic. Ltd........................5.C01Sweden at IBC..........................5.B22SWE-DISH by Rockwell Collins1.A11Swedish Microwave AB ...........1.F71swissaudec .............................10.F45SWIT Electronics Co. Ltd.......11.A39Switchcraft, Inc.........................9.C49Synapse TV..............................1.B22Synaptop .................................5.B46fSystem House Business Partners ..................14.C20Systembase Ltd........................8.E93
TTac Systems..............................7.F06TAG V.S......................................1.F94TAKTIK SA ............................10.D31eTalia Limited............................4.A61dTandberg Data GmbH ..............9.A04Tango Wave..............................4.C87Tata Communications...1.B20/MS24Tata Elxsi Limited......................3.A32Tatung Technology Inc ...........14.B24TC Electronic ...........................8.D56TDF............................................1.B79Teamcast...................................2.B51TECH4HOME ...........................3.C46Techbid Auctions....................10.A05Technicolor.........................MS5/MS7Technocrane S.R.O................11.D36Techwave, Inc. ........................11.E65Tecsys Video Networks Ltd. ..3.B20aTedial .........................................8.B41Tektronix Inc............................10.D41TELECAST TECHNOLOGY CO., LTD .................................6.A29bTeleidea.....................................4.C80Telekom Austria Group ..........14.C16Teelemetrics Inc. ......................11.D35Telenor Satellite Broadcasting .1.A59TelergyHD & Mware solutions14.C30Telesat.......................................1.C39Telespazio .................................4.A70Teleste .......................................4.B61Telestream.................................7.C12Television Research Institute ...5.C43TELIKOU TECHNOLOGIES CO. LTD...................................11.A10Telmaco S.A. .............................8.E47Telos ..........................................8.D47Telos Systems...........................8.D47Telsat Srl .................................8.D37bTelstra......................................14.B01TEM ...........................................8.E45Teracue eyevis GmbH IPTV & IPVideo Systems..........................9.B24
Teradek....................................11.E55Terrasat Communications, Inc. 1.F81Thales Angenieux ...................11.F34The Good Life Co. Ltd..............9.B04The Israel Export & InternationalCooperation Institute................3.B20The Pixel Farm Ltd ...................6.C19The Video Point........................3.B20iThe Weather Company.............7.F39The Wireless Works..................9.A51TheLight ..................................11.A48thePlatform.............................14.H15ThinkAnalytics Ltd....................1.D92thinklogical..............................14.B36Thomson Broadcast................8.C35Thomson Video Networks .....14.A10Thum+Mahr GmbH..................8.A50Thuraya TelecommunicationsCompany ..................................2.C23TIANCHANG LIMINGELECTRONICS CO. LTD. ......5.C16dTieline The Codec Company ...8.E73Tiffen International Limited ....10.C49Tiffen MPTV Filters .................11.D21Tiger Technology ......................7.C10Tight Video................................4.C78Tilta Technology Co., LTD ......11.A71Timecode Systems Ltd..........9.B14bTiVo Inc....................................14.L03TIXEL.........................................8.A97TMD Ltd....................................2.C58TMG.........................................14.F11Toner Cable Equipment UK Ltd....................4.B91ToolsOnAir Broadcast Engineering GmbH...................7.G45Top Format ...............................8.C81TQ - Systems GmbH................8.E11TRACT.......................................8.D74TRANSRADIO SenderSystemeBerlin AG...................................8.D35Transvideo...............................11.F31TRedess....................................8.A11Triada-TV...................................8.D32Trilogy Communications Ltd..10.A29Trimaran Georacing................14.G02TriVis Weather Graphix .............3.A58True Lens Services.................11.G65Truen co. ltd ...........................5.A05gTSF.be SA...............................10.d31fTSL..........................................10.B41TTI .............................................4.C69Turbosight (TBS) Technology Co.Ltd...................4.C81TV Skyline GmbH...................11.C50TVC (TELEVIZIJOS IR RYSIOSISTEMOS, UAB) ...................OE109TVLogic Co. Ltd .....................10.D26TVStorm....................................4.A91TVU Networks ..........................2.B28TW Electronics (Newbury) Ltd .4.B63Twist Cluster .........................10.D31h
UUbertweek GmbH ..................8.D16cUltimatte Corporation...............7.C27Ultra Electronics GigaSat.........1.C57Uniclass Technology Co. Ltd. ..2.A24Unidis co. ltd ..........................5.A05aUnified Streaming ...................14.F33Unique Broadband Systems Ltd..............................8.A40UNITRON ................................10.F42Universal Electronics bv...........1.C41UPnP Forum ...........................14.L17Utah Scientific...........................2.B20Utelisys...................................14.E09UXP Systems Inc....................4.A65a
VVANGUARD VIDEO .........1.F90/MS4Varavon...................................11.C11VariZoom ................................11.G54VBOX COMMUNICATIONS ..3.B20p
Vcodes....................................3.B20eVdB Audio ................................8.C93VDL..........................................8.D90cVDL Deutschland ...................8.D90bVector 3.....................................7.C01VECTRACOM.........................8.D82bVenera Technologies ................7.C03Verimatrix ..................................4.A55Verizon ....................................14.G08Versatile ...................................11.F41Veset..........................................8.A14Vestel.......................................14.A20VEYGO..................................11.E41bViaccess....................................1.A51ViaLite Communications ..........1.A21Vianeos....................................2.A36gViblast ....................................14.G01VidCheck...................................8.A30Videlio - Preview.......................8.C61Video Clarity..............................2.C57VIDEO STITCH.....................11.E40cVIDEO-FLOW .........................3.B20dVideolicious.............................14.K16Videomenthe............................2.A36fVideoplaza ..............................5.B22cVideoPropulsion........................6.A05Videosolutions Group...............7.A06Videssence .............................11.B12VidiGo B.V. ................................7.H30VidMind LTD. .............3.B20o/14.K20Viewz ......................................5.A05eVigiglobe.................................14.G03Vigintos Elektronika ..................8.E27Vimmi Communications Ltd. .3.B20hVimond Media Solutions......................14.H04/MS34Vimsoft ......................................9.A38Vinten.......................................11.E55Vinten Radamec .....................11.E55Visio Light Inc. ........................11.G45Vision Research......................11.B42Vision247 ................................14.H12Visiware...................................2.B39eVISLINK.....................................1.A69Visual Research Inc. .................7.D05Visual Unity..............................14.F34Vitec ..........................................7.G16Vitec Videocom.......................11.E55VIXS Systems Inc. ....................3.A12Vizrt............................................7.A10VJU iTV Development GmbH ..8.E83Vocas.......................................11.E34Vodience .................................3.B20nVoice Technology ...................8.C73aVoiceInteraction....................14.H06aVolicon ......................................7.G23Vonetize ..................................14.C19Vortex Communications Ltd..11.G11VOWOS Ltd..............................3.C30VRT ............................................8.F02VSN (VIDEO STREAM NETWORKS, S.L.)....................7.C21VT3...........................................2.B39fVTQ Videotronik GmbH............1.F11VTX Technology Ltd...............11.G11VuTV .........................................1.B22
WW.B. Walton Enterprises Inc.....1.A62Walimex Pro ...........................11.G68Wallonia Export-Investment Agency (AWEX).......................10.D31WASP3D ...................................7.K30Wave Science Technology.......8.A44WeatherOne..............................7.D11Well Buying Industrial Co. Ltd..8.A64WellAV Technologies Ltd..........5.B47Wellen+Noethen .......................3.B40West Media Systems ...............2.C32Wheatstone Corporation..........8.A86Whisper Power........................OE115Wide Orbit.................................8.D71Wildmoka .................................2.B39iWINEGARD COMPANY...........4.A60
WINJAY S.R.L. ........................10.F41Winmax Industry Co. Ltd.......9.B10gWinmedia................................8.B36dWisi Communications GmbH & Co. KG.......................4.B50Wisycom SRL...........................8.D89Witbe.........................................4.B81Wiztivi ......................................14.L01WNM SA...............................10.D31gWohler Technologies, Inc. ......10.B10Wonderlamp Industries GmbH .....................................8.D16dWooden Camera.....................11.E71Work Microwave GmbH ..........4.C60World DMB ...............................9.D30WorldCast Systems..................8.B60Wowza Media Systems............3.B17WTS Broadcast Systems.......OE114wTVision....................................7.A45Wyberry Technologies............5.B22dWyplay.......................................5.A11
XXCRYPT, INC. ........................5.A05cx - dream - media .....................8.E83XenData ....................................7.H47XeusMedia Technology............4.C59Xiamen Came PhotographicEquipment Co. Ltd. ................9.B10aXiamen RGBlink Science &Technology Co. Ltd ..................7.K40Xilinx Inc. ...................................6.A18X-SQUARE TECHNOLOGY CO. LTD ..................................6.A29dXstream ...................................14.F15Xylostream Technology Ltd......2.A48Xytech Systems........................6.C22
YYamaha Commercial Audio .....8.D15Yangaroo.................................4.A65cYegrin Liteworks.....................11.G77Yellowtec...................................8.A51Yospace...................................14.E10Yuan High-Tech Development Co. LTD ..............8.E15YUYAO LISHUAI FILM &TELEVISION EQUIPMENT CO. LTD. ...............................11.B51eYuyao Sinor International Trading Co. LTD. .......................9.A34
ZZacuto.....................................11.G64Zappware..................................1.A81Zattoo TV Solutions ................14.J05Zaxcom Inc.............................8.C73aZebraOTT..................................5.C35Zenterio.....................................4.C56Zentrick....................................10.F42Zeticon.....................................10.F42ZHANGZHOU LILLIPUTELECTRONIC TECHNOLOGY CO. LTD ................................11.B51bZHANGZHOU SEETECPHOTOELECTRIC TECHNOLOGY CO.LTD .......9.B10eZhengzhou Generalink LightingEquipment Co. Ltd. ................11.A66Zhengzhou Taiying VideoEquipment Co. Ltd ...................9.B49Zhuhai Jili Development Co. Ltd. .....................................9.B41Zixi...........................................14.C05Zlense........................................8.E02Zoo Digital PLC ......................9.B14dZukunftsAgenturBrandenburg GmbH ..............8.D16gZylight......................................11.E38
Correct as of 28th July 2014
For the latest show news and updates follow #IBC2014
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The media consumptionlandscape is becomingincreasingly complex, and canprove overwhelming anddifficult for users who oftenhave to contend with a widerange of devices, cables andplugs. In order to best connectwith the diverse range ofoptions on offer, a multiplicity oftechnologies can be used:infrared, BLE (Bluetooth LowEnergy) or Wi-Fi are thepreferred methods.
For the user, there arevarious methods tocommunicate their intentions –touch and speech arebecoming increasinglyprevalent, but for many, theprimary method of navigationremains manually usingbuttons.
In terms of searching forinformation and browsing,there is a variety of screensavailable to consume content.Our research shows thatseveral of these connecteddevices are used most often inparallel to the main TV screen,but not for navigation. When itcomes to the big screen theuser wants to control thisexperience without complexity.
To come up with a solutionthat really supports this basicneed, the right combination oftechnologies is a necessity. Buttechnology is only a means toachieve a goal. It is the set oftools applied that every TVprovider or technologyproducer has to manage andknow.
Contrary to today's common
business practice of combiningas many technologies,protocols and input modalitiesas possible to enable users tocontrol their TV experience,ruwido is introducing its‘thinsizing’ design anddevelopment approach.
To combat the growingcomplexity of TV, the‘thinsizing’ approach allowsruwido to support its partnersand clients in offering uniquelytailored interactionmechanisms that truly putusers back in control of theirIPTV ecosystem. The methodallows us to carefully removethe unnecessary componentsfrom the mass of technologicaloptions, to focus on theessentials of how users want tonaturally interact in and with
their TV environment. By applying the fundamental
principles of ‘thinsizing’, wehave succeeded in designingand developing a set of
interaction concepts thatdirectly focus on human needsand wants and are beingdebuted at this year's IBC.1F.68
‘Thinsizing’: New approach to interaction
Opinion
To combat the growing complexity of television, we wantto put users back in control of their IPTV ecosystem, says Ferdinand Maier, chief executive officer, ruwido
By Michael Burns
A new version of easyDCPsoftware is being showcasedat IBC, incorporating IMFcapabilities.
The software suite,developed by the FraunhoferIIS Department of MovingPicture Technologies, createsDigital Cinema Package (DCP)files suitable for all playbackdevices that work reliably onall digital cinema systems.Thesoftware was developed inorder to ensure that digitalfilm copies comply with thespecifications of the DCIstandard. It enables not onlythe largest studios, but alsoindependent producers,individual filmmakers and film
festivals to create their owndigital cinema packages.
With the InteroperableMaster Format (IMF) in thefinal steps of standardisationat SMPTE, Fraunhofer hasdeveloped full IMFfunctionality for easyDCP. Thisenables IMF master packagecreation, playback andtranscoding in the familiarlook and feel of easyDCP. Thenew version of easyDCPsoftware showcased at IBCalso comes with hybridCPU/GPU JPEG 2000 codersand a significant extension tocontrol subtitles.
Dr. Siegfried Foessel andHeiko Sparenberg ofFraunhofer IIS recentlyreceived the Joseph von
Fraunhofer award foreasyDCP, while the GermanBroadcast Motion PictureSociety (FTKG) recentlyselected Dr. Foessel as its newpresident.
“While developing easyDCP,we really concentrated onkeeping operation simple andclear,” said Dr. Foessel. “That’sa concept that users foundpersuasive. In very little timeeasyDCP became the marketleader; more than 1,000customers already use thesoftware. Meanwhile largecompanies have startedintegrating easyDCP softwareinto their products includingQuantel, Drastic, andBlackmagic Design.” 8.B80
Fraunhofer Digital Cinema Alliance
Mission to expand digital cinema possibilities
Screen test: Dr.Siegfried Foessel(left) and HeikoSparenberg (right)continue to lead thedevelopment ofeasyDCP By Michael Burns
The new EX-60 StorageExpansion for the ALTOArchive and Content Library isbeing demonstrated for thefirst time at IBC2014,alongside a new monitoringsystem.
DAC said the EX-60 meetsa growing demand for largercapacity and more denselypacked media storage. ALTOis a Cold Storage solution thatcan accommodate up to 300TB of storage in each 4RUmodule, with a low powerdissipation of around 1 wattper Terabyte. ALTO users canpopulate the EX-60 withlocally sourced off-the-shelfdisks on a buy-as-you-gobasis with any mix of disk sizeand vendor in any slot. Thecompany said such flexibilitymakes ALTO competitive andfuture-proofed for large-scalestorage of infrequentlyaccessed material in contentlibraries or archives.
Also released anddeveloped in conjunction withtechnology partners ASTECIT Solutions, the iBroadcastmonitoring system has thecapability to monitor andmanage large scale disk-
based storage systems downto individual disk drive level.
With hundreds orthousands of disks in a typicalALTO archive or contentLibrary, DAC said iBroadcasthas the power to providevisibility and exceptionreporting at the most granularlevel.
“Demand for storage isgrowing exponentially, drivenby new high resolutionformats, multiple versioning,the greater number oforigination sources, highershooting ratios, and the desireto keep more of the originalpre-edit content,” said DACmanaging director AlanHoggarth. “DAC is changingthe storage landscape byoffering the enormousbenefits of a completelytapeless solution for archiveand content library storage.8.B38F
Expansion boost for content storage
Expanded storage: ALTOusers can populate the EX-60 with any mix of off-the-shelf disks
Disk Archive Corporation
It’s probably happened to youand probably more than once:you buy a piece of technologyonly to find it so overburdenedwith features that actuallyusing it in anger becomes anightmare of screens andbutton clicks. You may wellhave bought it for one or twospecific jobs, jobs that youoften need to alternatebetween, but to move betweenthem is a Herculean task.
This is an issue in ourindustry and a growing one.The problem ofovercomplicated and/orunderdeveloped manufacturercontrol systems – and the factthat an operator could well befaced with working withseveral of these controlsystems to achieve a singletask – is real and has cleareconomic ramifications. Iteither requires more staff, ortakes the same number of staffmore time, to achieve results.This is inefficient.
Another major side effect ofthese complex controlsystems, that have been builtup over the years, survivedvarious mergers or acquisitionsand become bloated, is thatthey constrain the wayengineers and operators think.At the moment too many usersare having to think in straightlines, and as simply aspossible, rather than beingable to say: I can use all thistechnology in an easilyrepeatable way to achievecomplex tasks at the touch ofa button.
As Stuart Parkinson, directorof project engineering withDiscovery Networks Europe,has said, “(Rascular’s) Helmallows you – encourages youeven – to think in differentways and means that youaren’t locked in to buyingequipment from a singlemanufacturer.”
Using a PC-based, fullyuser-customisable control
system – the aforementionedHelm – is one answer; morespecific PC-based applicationslike RouteMaster another.These solutions allowengineers to set up workflowsthat are as simple or complexas they like, to extend existingproduct life or to createautomated time-of-day eventsthat never need worry anengineer or operator again.
Let’s take just one, real-world customer application. Abroadcaster required a cost-effective system to createcustomised router controlpanels that could be deployedacross its internationaloperations. In addition, thebroadcaster wanted a robustapplication to control therouters automatically at keytimes of the day on a repeatbasis.
For example, a channel inArabia might takeprogramming from a channelin the Far East from midnight
to 5am. Helm Clockwork –a Helm application – allowsthe broadcaster to achievethis without humanintervention. Helm’s easy-to-use panel designer canbe used to create purpose-built control panels for theapplications.
This project allows thebroadcaster’s US andSingapore offices to beable to route video signals around the world with the minimum of effort. Using Helm hasallowed the creation ofcustomised panels to suitthe needs of operators andtheir specific locations.Solutions from othermanufacturers looked at bythe broadcaster were eitherfixed in the way that theyoperated or were cost-prohibitive.
Visit us at IBC andexplain your technologycontrol problems to us andwe can talk you through thesolution. You can also takea look at our new website(www.rascular.com) andexplore other applications.8.B38a
Jampro
By Michael Burns
New DAB combiners,bandpass filters, and maskfilters are being showcased.
Jampro describes itsRCCC-DT4-DAB filters andcombiners as extremely stableand easy-to-tune units thatmeet all the requirements ofthe Eureka 147 specification.Filters with up to eightsections in constantimpedance and reflectiveconfigurations have beensupplied, with Jamproclaiming that units are ideal forcombining with existing TVtransmitters in an existing VHFantenna.
The RF System SeriesRCED-XXX-DAB reflectivebandpass filters provide highmask performance for low andmedium power DABtransmitters. Passbandinsertion loss is minimised bythe use of high-Q aluminiumcavities. Temperature stabilityis maintained through tightmanufacturing techniques andInvar tuning rods. These maskfilters are designed for inputpower levels up to 4.5kW. The6-section cross-coupled filtersare shipped fully tested.
The RCBC-D06-DAB
bandpass filter features Invartuning rods to createtemperature stability andhigh-Q aluminium cavitieswhich provide low passbandinsertion loss in a compactpackage.
The JVD dipole side-mounted antenna is aimed atDAB Band III and TVbroadcasting applicationswhere low wind loadings arerequired. Designed for verticalpolarisation, the antenna’srugged galvanised andstainless steel construction isintended for many years ofperformance, even in theharshest environments.Protective lightweightradomes can be added toprotect against heavy icebuild-up, and custommounting brackets areoptional.
“Jampro has built areputation on accommodatingthe exact specifications ofevery individual broadcaster,”said Jampro president AlexPerchevitch.
“As Digital AudioBroadcasting continues togrow in popularity, especiallyin Europe, we are respondingby bringing filters andcombiners to a market which has embraced it rightfrom the start.” 8.B96
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New filters lendDAB a helping hand
Control, yourself
Opinion
Overcomplicated and underdevelopedmanufacturer control systems are areal problem, says Roddy Pratt,technical director, Rascular
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dB Broadcast
By Heather McLean
An upgraded version of dBBroadcast’s intelligent mainsdistribution unit is beingshowcased. The latestCardinal iMDU is now capableof handling inrush currentsthat could rise to 200A atswitch on and 60A per
individually switched output.Both dual input and singleinput versions of the CardinaliMDU now benefit from thisimproved design.
Modern high efficiencyswitch mode PSUs can exhibitvery high inrush currents eventhough their steady state loadmay be just a few amps. dBBroadcast recognised thatequipment manufacturers areincreasingly making use of
switch mode power suppliesand that customers needinrush current protection intheir equipment rack mainsdistribution design. It hasresponded by incorporatingan inrush limiting circuit thatrestricts the current at switchon to 40A and by fitting highinrush rated relays for the 12individually switched mainsoutputs.
In addition to the new
inrush current capabilities, theCardinal iMDU providesintelligence for mainsdistribution with features suchas an intuitive web-based userinterface to remotelyconfigure and control outputs,SNMP traps and emailmessaging that can sendalerts when faults occur,including loss of supply power.The units have an error log torecord events and an optional
external temperature andhumidity sensor to monitorenvironmental conditions inthe equipment rack.
“The upgraded specificationof the Cardinal iMDU rangemeans it can now cope with agreater range of modernbroadcast equipment. It is agreat choice for systemmanagers wanting to makesure their installations areready for the demands madeby current and futureequipment,” said Tom Swan,sales and marketing directorat dB Broadcast.10.A28
Screen Systems
By Ian McMurray
Recent research indicates thatusers would be happy withcomputer generated speech foraudio description if it leads tomore provision, according toScreen Systems. Whereprovision is being increasinglymandated, the economics may
suggest that text to speech is aviable alternative to using voicetalents, particularly for non-premium channels.
As part of its work withspoken subtitles, ScreenSystems has extended thetechnology’s potential toproviding what the companysays is cost-effective audiodescription. It has developed anoutput driver for its Polistreamsubtitle and caption
transmission system whichconnects internally in the sameway as all other outputencoders. This specialistPolistream module receives‘subtitle texts’ and renders themusing SAPI 5 to drive a text tospeech engine to produce anaudio snippet. If the duration ofthe rendered audio is too long, itwill be re-rendered with a fasterspoken rate, up to a maximumconfigured speed increase. The
audio snippet is then presentedfor output when the ‘subtitletext’ goes ‘on-air’. If an audiosnippet is queued for output butbehind more than four secondsof existing audio data, then theprevious audio snippet will becut with a fade over 50ms sothat the audio does not getprogressively late in abnormalconditions.
Screen has also developed amodule for its MediaMate offline
processing framework. Thespoken subtitles module allows‘subtitle text’ files to be renderedto 48 khz stereo .wav files, withor without a control track, andbehaves in a similar way to thePolistream implementation interms of timing of audio and useof audio files. The generatedaudio file may then be attachedto the media and played outalongside existing audio.1.C49
Mains distribution product showcased
Cost-effective audio descriptionComputer speech: A new driver has been developed for Polistream
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By Adrian Pennington
The moment when LukeSkywalker replays aholographic recording ofPrincess Leia from thememory banks of R2D2 hasbecome a culturaltouchstone for future media.Lately it has been replacedby the holodeck virtualreality from Star Trek: TNG,but standards body MPEGstill clings to the LucasFilmoriginal and at IBC willpresent advances in itattempt to create an 360-degree image for viewing ona portable 3D display.
Free Viewpoint Television(FTV) is seen asrevolutionary by MPEGwhich is coordinatinginternational standardisationefforts. The concept is toenable users to view a 3Dworld by freely changingtheir viewpoint as if theywere actually present.
“FTV has two major targetapplications: supermulitiview and freenavigation,” explainedspokesperson MasayukiTanimoto. “In the supermultiview application, userscan enjoy immersive 3Dexperience, viewing glasses-free 3D displays with very
wide viewing area. In the freenavigation application, userscan enjoy walk-through orfly-through experience ofnatural 3D scenes. TheseFTV applications willrevolutionise the viewing of3D scenes.”
Demonstrated in theFuture Zone is a 360-degreeviewable 3D display, a Holo-Table and a Holo-Deck. 8.F45
Holo-projection Star Wars this is
Fujifilm Europe
By David Fox
The new PL-mount FujinonZK12x25 Cabrio lens has theoptical performance to support4K cameras with Super 35mmsensors, and is claimed to offeran industry-leading zoom ratio of12x to cover the most frequentlyused 25mm wide angle to300mm on the telephoto end.
The ZK12x25 uses high-precision large-diameteraspheric elements, and the useof the three moving zoom groupsystem minimises aberrationfluctuation during zooming,
controls image distortion acrossthe zoom range, and deliversedge-to-edge sharpness. ItsMacro function lets usersapproach objects as close as59cm.
Like the rest of the Cabriorange, it will be compatible witha detachable servo drive unit forzooming, focusing and iris.
“The range of the ZK12 makesit ideal for sports and wildlifeproductions,” said Stefan Czichof Fujinon distributor Pyser-SGI.Although the lens is new at IBC,it has already been used onsome high profile events,including the CommonwealthGames.11.C20
4K PL-mount zoom lens
Free Viewpoint TV Project
Holo or hollow?:What wouldProfessor BrianCox make of thisHolo-Deck?
Fit for 4K: Fujinon’snew PL-mountZK12x25 Cabrio lens
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Broadcast is no longer what itused to be since theintroduction of radiotransmission 90 years ago. Inthe digital age besides thetraditional broadcastcompanies many new playershave entered the arena offeringcontent creation and delivery.
New IT-based channels areserving multiple devices fromPCs to tablets andsmartphones. Smart TV setsopen up to web basedservices, media archives andpay-per-view or VoD. Inaddition the success of socialnetworks offers opportunities toshare homemade content;everybody can be broadcaster,every content can bebroadcast. The challenge forthe traditional broadcastindustry is crucial and aquestion of surviving,competing with faster andmore cost effectivetechnologies.
Responding to newperformance levels andtechnical progress demandsregular change and upgrade ofexpensive hardware, but this isno option when budgets aregetting tighter, so existinghardware is always below theideal configuration. IT-based
technology where technicalprogress can be handled bysoftware updates could be thesolution, but in the past thistechnology has been limited byprocessing power andtransmission capacity. This haschanged dramatically and thebroadcast industry can benefitfrom the rapid progress. Thefully IT-based solution by DYVIis a stunning alternative.
Today such fully IP-basedworkflows are offering solutionsto expand content offerings ata faster pace and reduce costssignificantly. At the same timethe processing operations inproduction and post productionare getting simpler and offereasy integration of new creativefeatures or smooth adaption ofchanges in technicalparameters.
Major advantages can beseen in high-end liveproductions as advanced ITtechnology in combination withfibre connections enable thetransmission of uncompressedhigh resolution video in realtime to and from any location.Specialised software solutionscombined with state-of-the artbroadcast and IT technologylike DYVI allow remote controland access so all operations
can and will be controlled fromone studio, the master studioor any other studio in thenetwork.
Vice versa, a productionteam in the field can havecontrol and access to live feedsfrom the main broadcaststudio. These options havebeen demonstrated in variouslocations already and will besoon changing the productionenvironment around the globe.
These advantages of fully IT-based production will be thesurvival kit for broadcasters:faster and more efficientcontent production with amuch more creative processand significant cost reductions.
Editing hardware can besituated in different studios,different buildings or differentlocations, but they arenetworked and scalable, savinginvestment for redundanthardware tools. Another majorcost reduction lies in thesoftware based upgrading oradjustment of studios to newtechnologies without majorinvestments. Operational costsin the field will also be reducedthanks to the networkingcomponents as less hardwareand a smaller workforce will beneeded.
IT-based distributed liveproduction as presented byDYVI live in future will
strengthen the position of majorbroadcasters.10.F30
IP workflow: survival kit for broadcasters
Opinion
End-to-end IP-based workflows can expand contentofferings at a faster pace and reduce costs, saysPhilippe van Walle, general manager, DYVI Live
Thinklogical
By Monica Heck
Demonstrations of a full-resolution, low-fibre-footprint4K-ready post productionworkflow are taking place atthe Thinklogical stand duringIBC.
The demos aim to highlighthow the company’s fibre-based video and KVMswitching and extensionsolutions address many thesignal managementchallenges facing today'sbroadcast and video post-production professionals.
Thinklogical’s signalmanagement products areoptimised for broadcast,mobile production trucks andpost production applicationswhere quality, performanceand security are paramount.
With Thinklogical’s KVMextenders and matrixswitches, broadcast and postproduction organisations canback rack and centralisecritical computing resourcesin a secure climate-controlledmachine room. They canextend video and computersignals up to 80km over multi-mode or single-mode fibreoptics, at 6.25Gbpsbandwidth.
Thinklogical KVM extendersfully support DVI (single linkand dual-link), SDI, HDMI,VGA, RGB, 4K/2K, USB 2.0,USB 3.0, USB-HID, FireWire,DisplayPort 1.2, PS/2, RS232/422, keyboard, mouse,audio and 10/100 networkextension.
Demonstrations anddisplays at the Thinklogicalstand will include thecompany’s systemmanagement portfolio,Advanced ConcentratorTransport 10G (ACT-10)extender module and digitalcinema-ready 4K products.14.B36
Signal extension for post
Acting up: Thinklogical’s ACT-10 provides 10G Ethernet extension across service provider WANs or dark fibre
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Neotion
By Ian McMurray
Enabling broadcasters andoperators to allow their viewers— via a mobile app — toautomatically synchronise theirsecond screen devices with thelive content on the main TVscreen is the design goal ofNeotion’s BlueBridge Synchro!Technology which the companyis demonstrating at IBC.
According to Neotion, thesystem allows the application onany mobile device toautomatically recognise thecontent being viewed on themain TV screen without requiringthe user to manually enter orsearch for websites or appslinked to the programme.
While BlueBridge Synchro!fingerprints TV streams inrealtime and enables tablet orsmartphone applications toidentify automatically and
quickly which TV channel theviewer is watching on, itsstablemate, BlueBridgeSynchro! Spot, enables mobileapplications to recognise
advertising, a TV programme, atheme tune, music clip video orany short audio contentbroadcast through the TVchannel.
Neotion says that these twoautomatic recognition
solutions enable awealth of use cases
in which mobileapplication will
synchronise with Live TV toactivate specific content,
enhance advertisingthrough interactivityor incentivisedadverts, instantvoting, programme
recommendations andmeasurements.
The company claims thatBlueBridge Synchro! finallybridges the gap between themain screen TV and the socialmedia world, allowingadvertising and many otherservices to be extended fromthe main screen to social media. 4.B53
Bridging the gap betweentelevision and social media
By Heather McLean
The latest addition to CSI’sFiberlink line of broadcastquality fibre optictransmission products isbeing introduced. The SDIFlex series of productscombines the transmissionof five different bi-directional basebandsignals: 3G/HD/SD-SDI,audio, data, contact closureand Ethernet in a compactbox using only one fibre.
“IBC is the perfect showto introduce SDI Flex to themarket and we are excitedto be exhibiting inAmsterdam this year withsuch a unique and timelyproduct,” said Paul Seiden,CSI’s director of sales.
SDI Flex is available invarious versions to supportsingle mode and multimode
fibre, as well as a throw-down box or as a card forthe Fiberlink card-cage. Itcan also be ordered withoutSDI support for applicationsneeding only Ethernet, data,contact closure and audiofunctions at a lower cost. Itis powered by CSI’sstandard Fiberlink powersupply or from a customer’slow voltage AC or DCsource.
CSI is demonstrating itsFiberlink 3500 Series for thetransmission of up to fourindependent 3G/HD/SD-SDIsignals or 4K/60 with nocompression or latency.Variations of the productare available for both one-way and bi-directionaltransmission of multiple SDIsignals over both singlemode and multimode fibre. 10.F37
Communications Specialties Inc (CSI)
Where’s that bridge!: BlueBridgeSynchro! can enhanceadvertising with incentives
Fiberlink SDI FlexSeries introduction
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Porta-Brace
By David Fox
Vermont-based Porta-Bracehas introduced a new range ofprotective field monitor casesfor some of the newestmonitors and video recorders,such as the Atomos Blade,Convergent Design Odysseyand Sony’s VFM058.
The cases are made usingwater-resistant materials andare custom-fitted for eachmonitor. Fold out anti-glarevisors improve screen visibilitywhile using the monitor
outdoors. Also new is the MO-LH1850
carrying case and viewingstand for Panasonic’s BT-LH1850 monitor. The body ofthe case is made of durableCordura, with soft paddingand a semi-rigid frame forextra protection duringtransport. Interior nylon andVelcro straps secure themonitor within the custom-fitframe. A deep fold out anti-glare visor improves visibilityin bright light. The visor iscovered in a soft nylonmaterial to protect the screenwhen folded down. 11.B65
Monitors go under cover
It’s a cover up: The Atomos Blade in oneof Porta-Brace’s new monitor cases
Vonetize
By Monica Heck
The SmartVOD platform, onshow at the Vonetize stand,was chosen by Brazilian giantTIM to deliver exclusive majorHollywood studio content forthe telco’s new Live TIM BlueBox service.
SmartVOD by Vonetize is acustomisable turnkey solutionfor mobile operators andTelcos, manufacturers and
retailers. SmartVOD is pre-installed on all Live TIM BlueBoxes and available to all boxusers. This collaboration withTIM, the second largest telcocompany in Brazil, bringsSmartVOD's services to over 70million potential customers.
The service offers hundredsof new releases from majorHollywood studios such asDisney, Warner Brothers, Sony,Fox and more. Additionalcontent comes from indiemovie studios and local filmproducers. All content is offered
in premium full HD quality andavailable for rental or purchase.
“TIM is a great partner andhas demonstrated a unique andinspiring vision for offering anaffordable entertainmentoffering to all Brazilians,” saidNoam Josephides, CEO ofVonetize. “Based on Brazil’shigh-quality free-to-air channelsand on the rich OTT offering inthe TIM Blue Box, we arecertain that this service isheaded towards greatsuccess!” 14.C19
Bringing Hollywood to Brazil
The Brazilian job:SmartVOD cooperation forVonetize and TIM Brasil
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Fairlight
By Carolyn.Giardina
EVO.Live, Fairlight's new digitalaudio mixing system designedfor on-air and live productions, ismaking its European debut atIBC.
The first console has alreadybeen installed at Catholic TVNetwork in Boston, where it is
broadcasting live TV to morethan 14 million homesworldwide.
Based on Fairlight’s audioprocessing and control surfacetechnologies, the EVO.Liveconsole offers integrated HDvideo and multitrack audiorecording.
Fairlight also reported that ithas the ability to easily switchbetween live and postproduction modes so that staff
engineers can use the desk foraudio sweetening when it isn'tneeded for on-air applications.“EVO.Live is truly unique,” saidFairlight’s CTO, Tino Fibaek.“EVO.Live customers will get amuch better return on theirinvestment because they areeffectively getting two consolesin one.”
The console — with amodular design and a dual-operator configuration — uses
Fairlight's integrated controlsurface technology featuringPicture Keys that self-labelinstantly for each taskperformed. It also incorporatesFairlight’s FPGA-based CrystalCore engine.
Features include surroundsound mixing capabilities, off-line preparation via laptop, abuilt-in sound effects cartmachine and control extensionsto lighting systems, third-partyDAWs and sound library
databases.EVO.Live is available in
different stand-alone chassissizes, as well as surface-mounted and tabletopconfigurations, from 12 to 60faders. 7.H17
Kathrein
By Michael Burns
Two sophisticated antenna projects arebeing showcased at IBC, revealing thetechnology that helped enable thebroadcast of the FIFA World Cup.
The Berlin fan mile dominated the17th June Street between theBrandenburg Gate and the VictoryColumn during the 2014 championship.Coverage was guaranteed by 20antennae for 20 sectors on 10 streetlantern sites, all set up in a cell radius ofless than 100 metres for the smallestpossible cells.
Roughly 700 metres in length, the areaaccommodated 100,000 fans, who inturn were able to connect with the rest ofthe world thanks to Kathrein's mobilecommunications infrastructure.
On the other side of the Atlantic, thedigital TV broadcasting equipment onthe new Brasília TV tower was evenlarger. A Kathrein broadcast antenna
system was installed at the top of the224 metre tower, also known as the Flordo Cerrado.
The steel concrete construction islocated in north-east Brasília on thehighest point of the metropolitan area.The system was delivered in late 2013and installed in mid-March 2014, tocoincide with the Rio Carneval.Installation and commissioning wascarried out by Kathrein engineers on site. 8.C29
Score of antennae transmit victory
EVO.Live debuts in Europe Top of the table: The EVO.Livetabletop console makes its
European debut
Has IBC come at a goodtime for the electronicmedia industry? Why?The global pay TV marketcontinues to be a growingopportunity. According to arecent ABI Research report,the total pay TV subscriberbase is expected to surpass936.4 million at the end of2014, generating $280.4billion in service revenue andreach 1.1bn subscribers andgenerate $33bn in 2019. Withthis expected growth, eventslike IBC present anopportune location to shareand showcase the next biginnovations across the pay TV
ecosystem.
What do you think are thekey developments in yourmarket sector at thecurrent time?We see more global pay TVoperators deployinggateway/client architecturesand transitioning from atraditional set-topbox/personal video recorderset-up to a single gatewaythat handles the heavy liftingof decoding, distributing andstoring content and thenfeeds peripheral clientsthroughout the homenetwork. Recognising this
trend early, Entropicdesigned an end-to-endvideo distribution solutionthat leverages its Multimediaover Coax Alliance (MoCA)2.0 solution to offer thehighest MAC throughput andmost reliable whole-homeconnectivity backbone fromthe gateway to each clientdevice in the home.
Why should delegates visityour stand at IBC?Entropic provides advancedsilicon and softwaresolutions for the distributionof broadcast and IPstreaming video
entertainment into andthroughout the home. At IBC,Entropic is highlighting the'Evolution of the ConnectedHome,’ showing solutionsthat (1) deliver content intothe home with its second-generation digital ChannelStacking Switch andbroadband access products;(2) ensure a reliableconnection to shared contentthroughout the home with itsMoCA technology; and (3)enable the secureconsumption of contentacross multiple screens withits advanced set-top boxsystem-on-a-chip solutions
that range in small formfactor packages to RDK-based offerings. G106/G107
Matt Rhodes, SVP Global Marketing, Entropic
Q&A
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Egripment
By David Fox
When RTL Netherlands was planning itsnew virtual and augmented newsstudio, it wanted to have flying cameramoves, but the ceiling height didn’tallow it to use a crane, so it approachedEgripment to install a ceiling-mountedsystem to keep the studio floor clear.
Egripment already had some of whatRTL needed in its Virtual/ AugmentedReality Encoded System, but additionalfeatures were needed to ensure:smooth on-air movement of the dolly,head and telescopic column; integrationwith a Vinten Radamec controller; allaxis encoding to integrate with Orad’sHDVG graphics platform; and fullautomation, so that presets or pre-recorded moves could be dropped intoSony's ELC studio automation software.
It meant that Egripment had toenhance its Generic Tracking System tolink up with other vendors’ systems. “Toaccomplish this we have used a fully IP-based platform, and through ourcustom designed Trackmen softwarewe were able to build a bridge betweenEgripment, Vinten Radamec and Sony,as well as the graphics engine of Orad,”explained Richard Villhaber, Egripment’ssales director.
As RTL wanted to control the VintenRadamec pedestals and Egripment’sTracking System using a singlecontroller, “Trackmen wrote customised
software for this special application sothat we could easily integrate within theVRC infrastructure through their EPIunit, making it possible to control allrobotic cameras by one singlecontroller. The most important reasonfor this implementation was to keep theworkflow with Sony’s ELC as simple aspossible. Sony’s ELC can now easilyconnect to the network and drag anddrop stored presets and moves to aplaylist that will be used for RTL’s newsbroadcasting.”11.A21
RTL augmented for news
The ceiling speaks: Setting up the newEgripment Tracking System in RTL’s newaugmented news studio
Hipasat
By Ian McMurray
UHD/4K continues to be a topic ofsignificant interest to the industry, andexhibitor Hipasat is showing its channeldesigned exclusively for UHDbroadcasting, Hipasat 4K.
The company says that its aim is tocarry out tests and to foster thegeneration of content using thistechnology, in order to speed updevelopment and make it available toviewers as soon as possible. Hipasatbelieves that satellite is the perfectplatform for UHD services due to itslarge bandwidth, which is essential forhigh-quality transmission of such largeamounts of data, and notes that itssatellites can transmit this contentthanks to a design focusing on DTHservices.
Not long before IBC2014 opened itsdoors, Hipasat announced that it hadcontracted with SSL to build Hipasat1F, which will be located at orbital
position 30º West. Hipasat 1F willreplace Hipasat 1D and will give thecompany additional Ku band capacityin the Andean region and in Brazil. It willalso expand Hipasat’s transatlanticcapacity in Europe-America andAmerica-Europe connectivity. Ka bandcapacity with European coverage willalso be incorporated, in order to enableHipasat to continue expanding itsbroadband service offer in the region.
The new satellite will be built on theSSL 1300 satellite platform, with 11.5kW power and a multi-mission payload. 1.A46
UHD via satellite is the industry focus
4K provider: Satellite is the‘perfect platform’ for UHD
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Clear-Com
By Heather McLean
The launch of the FreeSpeak IIwireless intercom system, anenhanced DECT-basedoffering that operates inmultiple license-free DECTbands from 1.897-1.933GHz,has been announced by Clear-Com.
FreeSpeak II deliversimproved roaming capabilityfor reliable wirelessconnections, superior digitalsound for intelligibility andaudio comfort, and intercom features that make
it a high performance wireless option.
The system is ideal fordeployment across the largescale, multi-zone productionareas typically required in liveevents, broadcast and sportsproduction.
FreeSpeak II allows largenumbers of wireless beltpackusers to simultaneously roamacross an expansiveproduction area withoutcompromising onperformance. Similar to itspredecessor, FreeSpeak II canbe implemented as astandalone base stationwireless system or as anintegrated wireless solution
within Eclipse HX matrices,known as FreeSpeak IIIntegra.
When using the basestation, up to 20 full-duplexwireless beltpacks can beconnected; in an integratedmatrix setup, as many as 50full-duplex wireless beltpackscan be used at the same timeby strategically placing 10 ormore distributed remoteantennas to create anexpansive coverage zone.These beltpack users are thenable to directly communicatewith any other remote or localmatrix panel or other wirelessor wired beltpack user who ison the Eclipse HX Matrix
System network.FreeSpeak II uses the
existing base station from itspredecessor that has beenupdated to work with the newbeltpacks and new activeantennas.
Ergonomically positionedcontrols, intuitive operation and rugged housing make the beltpackideal for extended use underharsh conditions.
Beltpacks are IP-65 rated forwater and dust resistance formobile productions and the Li-Ion battery for the beltpackcan last over 18 hours on a fullcharge. 10.D29
New wireless intercomsystem
Speak easy: TheFreeSpeak II Dect-
based duplexwireless intercom
system
ATX Networks
By Monica Heck
A licence-free professionalquality transcoding platform,which is described asdelivering high quality video atminimal bit rates, is making itsIBC debut.
The non licence-basedVersAtivePro aims to addressthe challenges associatedwith switching functionalityfrom HD to SD transcoding orvice-versa, migrating fromprimary to redundant units orcompletely reconfiguringtranscoders.
VersAtivePro devices canbe managed through ATX’sVideo Management System(VMS), which provides userswith centralised, clusterablecontrol of video services runthough VersAtivePro units.The VMS provides a single UIfor managing multiple unitsand enables the operator toimplement multipleredundancy schemas,automated system backupsand secure systemadministration to northboundmanagement systems.14.G16
Introducing licence-free transcoding
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As the convergence of mediaand telecoms drivesfundamental change across TVand media, today’s industryplayers have a uniqueopportunity to succeed in anew TV landscape. By 2020,the age of the NetworkedSociety will be marked by 50billion connected devices, ofwhich 15 billion will be video-enabled, plugged into a globalIP network.
This exciting era will bedefined by consumer demandfor content anywhere, any timeand on any device. It’s nolonger about solely viewingcontent; consumers areexperiencing content instead.
Through our Media Vision2020 research, an illustration ofthe future of TV and media over
the next six years, we knowthere will be 9 billion people,over 8 billion mobile broadbandsubscriptions and 1.5 billionhomes with digital television.
To respond to the challenges these changes will bring, content owners,broadcasters, TV serviceproviders and networkoperators will need to leverage and execute newmonetisation models. We arealready seeing a concerteddrive towards making allnetworks video-centric andhighly efficient.
The future of TV Anywherewill be pay TV at web speedand this will require the industryto build new and innovativetechnologies to redefine theviewing experience. These new
platforms will incorporate theinherent benefits of pay TV(quality of service, depth andbreadth of content) with theopportunities available from theOTT space (personalisation,interaction and multi-screenexperiences).
The global TV market of2020 is estimated to be worth$750 billion, and if contentowners want a share of thatprize, they need to find newways to differentiatethemselves and create higherquality media experiences.Premium, exclusive content isbecoming an ever increasinglyvaluable commodity whichconsumers are prepared topay for.
But while content wastraditionally the TV industry’s
primary asset, today thecuration of content isimperative to the future online viewing experience, as it enables service providers to offer enhanced,personalised methods ofdiscovery andrecommendation. Consumersare expecting greater on-demand access to video, andthis means that aggregationand the re-use, re-formattingand re-distribution of contentwill be the TV service provider’sgreatest asset in the future.
Ericsson’s commitment todriving this vision has beenunderlined by our award-winning technology and serviceinnovation in the TV space andour acquisition of three majorindustry specialists in the last
12 months; MicrosoftMediaroom, Azuki Systemsand Red Bee Media. As a resultof our continued investment,we have extended our globalpresence and taken ourbroadcast and media business to a higher and morestrategic level.
This increased scope andcapability is enabling us tosupport an extended andillustrious portfolio of TV andmedia customers, making themmore flexible, responsive andable to adjust to thisunprecedented rate of change.We are looking forward tomeeting with our customersand the industry at IBC2014and sharing our vision for TVand media in 2020. 1.D61
Opinion
Connectivity and consumer will dictate evolution of future TV Anywhere experience, says Ove Anebygd,VP and head of TV Solution Area Media, Ericsson
The Networked Society is coming
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Ericsson
By Ian McMurray
IBC sees thelaunch ofwhatEricssonclaims is theindustry’smostinnovativelive subtitlingsolution. The
realtime speech-to-text platformis designed to respond to theneeds of major broadcast clientsby supporting live subtitling invarious languages. EricssonBroadcast and Media Services
is showing how it believes thisenterprise-level, schedule-drivensoftware platform facilitates ameasurable increase in qualitythrough best-in-class speechrecognition and stenographyapplications, enablingbroadcasters to find new waysto enhance their services andbenefit from previouslyunavailable real-time metadatafeeds.
Ericsson Broadcast andMedia Services is alsopresenting the latest updatesfrom its OTT service strategies,featuring an end-to-end solutionscope including pay-as-you-grow commercial modelling,integrated DRM and CDNselection technology. The
company is also showcasing itslatest global playout servicestrategy, featuring hosted andremote technology managementand flexible operations modulesfor global and domesticbroadcasters.
“It is ever more important tohave the flexibility andnecessary level of infrastructureto deliver world-leadingmanaged services that connectthe world’s content to audienceseverywhere,” said ThorstenSauer, head of EricssonBroadcast and Media Services,“and that is what EricssonBroadcast and Media Servicesis demonstrating at this year’sIBC.” 1.D61
Live subtitling platform announced
Piksel
By Ian McMurray
Just in time to be available forIBC, Ginny Taane has rejoinedthe Piksel team as senior servicedelivery manager in the Middle
East and North Africa. The focusof her role is serving MENAcustomers such as OSN fromPiksel’s Dubai office whileassisting Piksel’s commercialteam to develop newopportunities.
The MENA region presents aunique opportunity in terms of
its current ecosystem anddemand for OTT services, Pikselbelieves. The population is vastand highly advanced when itcomes to technology, withsmartphone ownership boomingand 40% of consumerswatching at least one video aday. Free OTT video services are
already gaining popularityamong internet users, and theabsence of international giantssuch as Hulu and Netflix in theregion leaves a propitious spacefor regional players to grow.
“We are so pleased that Ginnyhas returned to Piksel at such anexciting time,” said SianHodgson, SVP GlobalInfrastructure Services. “She is aseasoned professional who hasworked consistently to put the
customer at the forefront of ourservice. We have tremendoustechnological heritage and havedelivered a range of firsts in theonline video space, including thefirst commercial OTT platformsin Europe and the Middle East.The Middle East is an emergingregion of great importance toPiksel, and positioning Ginny inDubai signifies our commitmentto providing a great service tocustomers in the area.” 1.C30
Taane returns to develop MENA
Smooth Cineline Fluid HeadMiller Fluid Heads
By David Fox
The new Cineline 70 FluidHead offers “smooth,advanced precision fluid dragcontrol and perfect diagonaldrag transition,” claimed MikeLippmann, Europeanmanager, Miller Fluid Heads.
It is constructed fromcorrosion-resistant alloy anddesigned for film and digitalproduction cinematographersworking on productions thatrequire heavy payload (from4.5kg to 37.5kg), frequentre-rigging and a diverserange of lenses andcameras.
For easy setup changes, itseight-position counterbalancesystem uses all-in-onelocation rear-mountedcontrols, with illuminatedpan/tilt drag, counterbalancecontrols and bubble level. Thefluid head also features anextended sliding range(150mm) for quickerrebalancing after lens oraccessory changes.
It features an Arri-compatible side-loadingcamera platform, with anoptional, easy-to-fit 1225Mitchell Base Adaptor to suittraditional Mitchell Flat Base
tripods. It also has dual sidemounts for monitorsand accessories.
11.D30
Matrox Video
By Carolyn Giardina
Matrox Video isdemonstrating its supportfor the latest releases ofthe Adobe Creative Cloudand Avid Media Composer8 content creation toolswith the Matrox MXO2 I/Odevices and the MatroxMojito MAX I/O card.
“Our customers wantthe freedom to work easilyand efficiently withwhatever app is best foreach task they encounter,”said Wayne Andrews,product manager atMatrox. “These unifieddrivers, with support forpopular software from
Adobe, Apple and Avid, givethem maximum versatilityto create and deliver theirstories their way.”
Matrox I/O productsprovide broadcast-qualityvideo and audio input,output and monitoring toenable tape-basedworkflows. They also letusers encode H.264 filesfor delivery to the web,iPad and iPhone.
MXO2 devices providecross-platform Mac andWindows support andconnect anywhere, Macand PC, via Thunderbolt,PCIe or ExpressCard/34.
Matrox MXO2 devicesstart at €382. MatroxMojito MAX is priced at€799.7.B29
For the latest show news and updates follow #IBC2014
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Adding Adobe support
By Will Strauss
An audio router with embedderthat is available as a separatecard for the BarnOne range ofsignal transport frames isamong the innovations fromBarnfind Technologies.
BarnOne is a multi-functionalsignal neutral platform that isused for standard SDIconversion, E/O and O/E,routing, embedding,distribution and ASI to IPconversion.
Available in a single rack unitsized chassis, it features 32ports including a built-in 32 x
32 router and works with data,broadcast video, MADI and4K60p as well as KVM, HDMI,Ethernet and AES.
BarnOne frames areequipped with differentcombinations of electrical andoptical BNC and SFP ports andCWDM multiplexers with everyBNC and SFP port being bi-directional (both input andoutput).
Other innovations at IBCinclude BarnMini units offeringany SFP to HDMI and HDMI toany SFP and a new openGearinterface. 2.A42
Audio router for BarnOneBarnfind Technologies
Has IBC come at a goodtime for the electronicmedia industry? Why? IBC comes at a good time forSpacecom as we move furtherin becoming a global satelliteoperator. In 2015 we arescheduled to launch AMOS-6 tothe 4W orbital position where itwill provide pan-Europeancoverage by adding WesternEurope as well as Africa, CEEand the Middle East. WithAMOS-5 offering coverage overAfrica, AMOS-4 providingservices to Asia, China andRussia and the AMOS 4W 'hot-spot' for Eastern/Central Europeand the Middle East, Spacecom
has expanded coverage areasand services to our customers.IBC is time to meet existing andpotential clients and makenews.
What do you think are thekey developments in, orthreats to, your marketsector at the current time?Overall, we see positive markettrends for growth in thebroadcast, broadband andtelecom areas as well emerginghybrid cellular-satellite solutions.The continuing developmentand expansion of digitalbroadcasting technologies aredriving forces for the satellite
industry. As we expand theAMOS brand around the globeand work closely with telecomand communications operatorsto ensure their services are topnotch, Spacecom is continuingto capitalise on new trends byexpanding our offerings toenhance our clients' values. Theemerging hybrid broadbandsolutions as DTH platforms forpay TV are promising, especiallyas they increase the number ofpotential players in the DTHmarket. We are already seeingsuccess with hybrid solutionsand are looking forward to addmore of these solutions into ourbusiness.
Why should delegates visityour stand at IBC? The biggest news fromSpacecom is AMOS-6. Thissatellite, larger than AMOS-2and AMOS-3 combined, isscheduled for launch in 2015 to4W. The satellite’s pan Europeancoverage and High ThroughputSatellite (HTS) spot beams willbring multiple times morethroughput than traditionalsatellites to enable broadcastersand service providers to re-thinktheir business opportunities inproviding various data services,including mass marketbroadband services.1.C65
David Pollack, president & CEO, SpacecomQ&A
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Canford is exhibiting in thefamiliar location of stand 9.C01at IBC this year. Highlightsinclude a preview of theupcoming Canford IP MDU’s,boasting some never seenbefore features and a sleekintuitive user interface. A smallselection of Canford’s blackboxes, cables, high qualitypanels, wall boxes andbroadcast configured racks willalso be on show. Fischer &Senko connectors and theQ5X, which is the world’ssmallest wireless transmitterswill also feature.
Canford’s all new IPaddressable MDU (mainsdistribution unit) offers a widerange of consumer
configurable features such as;MDU current (Amps)monitoring, MDU powermonitoring (volts, amps, powerfactor & KW/hrs), per socketcontrol (on, off, time delayedand sequential start up), persocket monitoring andenvironmental sensors(temperature and humidity).
The IP MDU’s will alsofeature simultaneous XMLoutput; allowing easyintegration into third partydatabase/SQL software forautomatic logging and dataprocessing, automated alarmswith thresholds for High/Lowvalues of each monitoredcomponent can be sent viaemail and SNMP. Web
browsing across multipleplatforms, including iPads andother tablets is fully supported.One of the more uniquefeatures is the ability to controldoor locks remotely. Thisallows off site personnel togrant access to engineers orsupport teams on site to eitherserver rooms or locked racksand cabinets. A demo model ison our stand to showcase thefull range of features, which arecrammed into this compact 1Upackage.
We are also showcasing ourexclusive UK distribution dealfor Fischer’s new rugged fibreconnection range. Available ineither two-fibre (FO2) or four-fibre (FO4) configurations;
FiberOptic Series cables aresuitable for point-to-pointaudio, data or camera-connection use inenvironments such as studiofloors, touring, rental andoutside broadcasts. The IP68rated connectors retain thefamiliar push-pull connectionsystem found on the Fischer1051 Triax HD Pro+ productrange and offer the innovativefeature of being simply cleanedby running under clean wateror in a sonic bath.
The world’s smallest buthugely innovative Q5Xbroadcast quality audiotransmitters are on the stand.The Q5X range are the firsttransmitters to be unobtrusive
enough to be worn byprofessional athletes andactors. At roughly the size oftwo AA batteries they are easyto conceal and comfortable towear. A fully submersibleversion is also available, furtherincreasing versatility.
A selection of Canford’s highquality broadcast standardvideo and audio cable are onshow, and our industry leadingrange of interconnection panelsand stage boxes. All aremanufactured in the UK andhave the option to be suppliedpopulated and screen printedto the customer’s design andspecification.9.C01
Opinion
World’s smallest broadcast quality audio transmitters are among the highlightson its stand, says Paul Vickers, marketing manager, Canford Audio
The smallest wireless transmitters
SKB Cases
By David Fox
SKB has expandedits iSeries injection-moulded waterproofhard cases with anew lens andaccessories model.The 3i-13096LENScase has space forthree lenses, a lenshood, and anaccessory pocket.
The lens hoodcompartment hastwo half-inch
removable rings to fit a varietyof lenses. The longest lens slotcan fit a 70-200mm or 100-400mm lens.
The case isconstructedfrom high-strengthpolypropylenecopolymer resinand uses agasketed,waterproof,submersibledesign (IP67)that is resistantto corrosion and
impact damage. 11.F65
A watertightcase for lenses
Digigram
By Michael Burns
The full release of Codec FleetManager has been unveiled atIBC. The web-basedapplication, which can behosted privately on any virtualmachine or operated as SaaS inthe cloud, enables structuredmanagement of all deployedaudio-over-IP contributioncodecs.
Accessible from anywherethrough the web browser ofinternet-connected devices, theapplication automaticallysynchronises phone books,connection profiles, and
'favourite' groups of codecs tosimplify deployment and day-to-day operation of the full codecfleet.
The release of the CodecFleet Manager is the first step inDigigram's larger rollout ofcloud-based AoIP solutions.
Another is the addition ofRavenna/AES67 connectivity tothe IQOYA range of AoIPcodecs.
Digigram said this would allowusers to get audio programmesdirectly from an in-studioRavenna network andsubsequently encode andstream them over IP totransmitter sites via a WAN, incompliance with EBU ACIP.
Users can also decode EBUACIP streams from a WAN totheir in-studio Ravenna network.The company said thesecapabilities allow radio stationsto easily migrate towards theuse of IP audio within theirstudios. 8.C51
Enablers for IP-based audio
The Codec Fleet Managersimplifies management of AOIPcontribution codecs
ATEME
By Ian McMurray
Telefonica del Sur (Telsur), atelecommunications companyin the south of Chile, hasselected ATEME’s TITAN Live toincrease its market share byoffering a new streamingservice for iOS devices and
enhance video quality for itsexisting IPTV subscribers.
Founded in 1893 andheadquartered in Valdivia,Chile, Telsur is the fourth-largest telecommunicationscompany in Chile and was thecountry’s first to introduce anIPTV service in 2006. It hasmore than 300,000 clients and an IPTV subscriber base of 150,000 in
major cities throughoutsouthern Chile.
To support its ambitiousbusiness expansion efforts,Telsur has undergone asignificant transition from atraditional, fixed, telephonyprovider to a multi-producttelecommunications operator,offering wireless localtelephone, internet, IPTV and more.
TITAN Live is ATEME’scarrier-grade softwareprocessing solution for next-
generation TV head-end. Itreceives IP video sourcescoming from satellite receptionand supports variousencapsulation formats toenable the repurposing ofcontent over numerous devicessuch as TVs, smartphones,tablets, or web players. Bydeploying TITAN Live, Telsur isnow able to offer a newstreaming service for iOSdevices that rely on MPEG-4video and adaptive bitratetechnology.
Telsur’s installed base of first-generation set-top-boxessupports only MPEG-2decoding. With TITAN Live,Telsur is able to broadcastcompatible MPEG-2 videostreams for its existingsubscriber base,simultaneously with MPEG-4,with what ATEME says isenhanced picture qualitycompared with the MPEG-2hardware encoders previouslydeployed. 1.D71
Telsur deploys TITAN Live
By Douglas I Sheer
By every important metric thesports video equipment markethas had a great year in 2014.Major events like the World Cupand the Winter Olympics havebeen key drivers.
It was a year that saw massivebuilding projects underway orcoming to completion in everyregion of the world.Synchronously, sales of sportsrelated video equipment invirtually all categories were up,more professional andeducational stadia were gettingbuilt, more OB trucks outfittedand more TV sports studioscreated.
Even where new facilities werenot being built, a lot ofupgrading was underway,especially where the recessioneconomics had previously heldthem back. An increasingnumber of new, more esoterictypes of sports are finding theirway onto small screens, rangingfrom TVs to mobile phones, aseven the most exotic of sports isfinding an audience.
Among newer sportcoverages are: more women’sevents, more children’s andschool-sourced events andmore esoteric interests such asfencing, chess boxing,synchronised swimming,dressage and bocce. To allintents and purposes the sportsmarket is filled withoverwhelmingly good news.
And the grumblesEverything is great, so, whyworry? Well, there is a growingconcern in the sports market,specifically among respondents,that perhaps stadia are beingoverbuilt, that schools aredevoting too much of theirincome and assets to sports.Sports spending in the US, forexample, is averaging about51% of total budgets atcolleges, trumping every othercategory. This while studentsand their parents have beenstruggling under mountains oflong term loan debt and dubiousjob prospects.
Public outcry in places likeBrazil over rampant profits goingout of the country to FIFA whilethe favelas continue to sufferdrove tens of thousands into thestreets have been in the news.US college athletes arebeginning to organise unions toenable them to press for a shareof bountiful college sportsearnings, even at risk of theiramateur status, a factor that canstart impacting equipment
spending.Could these mean that there
is trouble brewing in paradise? Itcould if such pressures caused ashrinking of sports budgets.That could lead to less money tospend on equipment.
The D.I.S. Consulting annualsports video report, published inJune, called Sports Video World2014 captures the dichotomythat is emerging in themarketplace. Overall, from theperspective of the purchasing ofsports video products it’s still agenerally pretty picture oncemore. I say once more becausethe sports market has been aconsistent bright spot eventhough the worst days of therecession that started in 2008.
With the possible exception ofthe European market, which washit particularly hard, sportsspending and sports videoequipment acquisition hascontinued to outperform virtuallyany other market application, aswe reported in previous studies.And, even for Europe, it wasoften the strongest market areaamid many weaker ones in theregion.
Near demise of 3DTalk about the light that failed.3DTV channels fared miserablyand fizzled. That represented amajor setback in an otherwiseseemingly boundless growth
spurt among sports cablechannels, globally. This causedmajor sports content players likeESPN and Sky to scale back 3Dplans and curtail deployments orcancel services outright.
But, that false start has beenamply made up for and is beingreplaced by Ultra High Definitionand mainly by 4K technology.Sports venues and teams haveenthusiastically embraced themove to higher definition andwhere 3D was intended andthwarted UHD is stepping in totake its place.
Not all sports related productsare seeing growth at the samerates, and a few are even in aminor decline or running flatagainst recent years. Of the 12sports related equipmentcategories tracked in the study,the healthiest growth is beingseen in cameras, camcorders,D-SLRs, robotic camerasystems, lenses, audio consolesand displays. The productscovered in the study were: 1)cameras, 2) camcorders, 3) D-SLRs, 4) robotic camerasystems, 5) lenses, 6) audioconsoles, 7) displays, 8) tripods,9) sports servers & still stores,10) production switchers, 11)instant replay and 12) creativesoftware.
Of the weaker reportedcategories were instant replay,where something of a saturation
situation has been reached. Alsokey is that within categories likecameras, specific subsets likehigh-speed models representpricey niche areas of spending.
Sports video budgets aregenerally looking up. In fact, ofthe total 1,669 surveyrespondents, worldwide, 1,176stated they expected to seeincreases in the coming year,while only 296 said they expectdeclines and 197 said theyexpected that their budgetswould remain the same.
In Europe, where there were412 respondents this year, ahealthy majority, 234, expect tosee increased sports videobudgets in the next year, only 49expect to see declining sportsvideo budgets and only 13expect to see their sports videobudgets remain the same. Therewere 116 who didn’t answer.
Year-on-year this indicates astrengthening in buying plans.That optimistic forecast speaksvolumes about the prospects for
improved spending on sportsvideo kit in Europe in the comingyear.
Despite the highly optimisticcustomer predictions, the resultsof the study also suggest thepotential that a glut of facilitiesand overbuilding in OB vehiclescould slow growth in the outyears. That combined withominously building pressures onbudgets could also spell atighter less ebullient sports videomarket in the next decade. Thatsaid, European countries have abit of catching up to do whencompared to other geographicregions in facilities terms, sothere may be a bit moreheadroom here than elsewhere.
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Sports video market hasbig year, despite grumbles
Douglas I Sheer is CEOand Chief Analyst of D.I.S.Consulting Corporationand can be reached [email protected].
The sports video equipment market has had a great year in 2014
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Aret
By David Fox
The Italian systems integratorAret has just completed twoprojects for RAI: a news studioin Milan; and a large project inRome consisting of twoproduction studios, two maingraphics rooms, a teleport, astar centre apparatus room,two documentary rooms, 48editing and post productionrooms, and 24 graphicsstations.
The installation includedsome 100 rack cabinets, 168modular rack frames, about390 audio and video patchpanels and around 280 UTPpatches. The whole centre isinterconnected using fibre, withmore than 160 fibre patchbays.
Aret took care of the designthrough to the turnkeyinstallation andcommissioning, and had tocomplete the project in verylittle time, as RAI wanted to goon air six months after theinitial meeting.
The company worked withRAI to carry out detailedactivity planning, and spent alot of time working on thedesign and projectmanagement to try to preventproblems once the installationwent on air, which both studiosdid over the summer, withoutany delays.
Aret was also working onseveral other projects,including RAI’s news studio inMilan, and several OB vansdestined for the Middle East,Switzerland and the Far East.OE103
Tight turnaround for RAI studios
SintecMedia
By Will Strauss
A new “sleeker” version ofSintecMedia’s broadcastmanagement platform OnAiris making its Europeandebut.
OnAir provides support formanaging advertisingrevenue streams, includingad sales, traffic,programming, scheduling,promotions, and rightsmanagement.
Key improvements inversion 4 include a “sleekertechnology footprint” thatpromises a reduction inimplementation and systemmaintenance costs, and anew optimisation tool kit formanaging promos and ads.
OnAir 4 also features aredesigned screen layoutwith ‘intelligent interface’that gives operators anoverview of the broadcastbusiness environment,access to critical operations
and makes suggestions forwhat might be done next.
It works withSintecMedia’s standaloneOnRights and OnRequestmodules for nonlinearcontent management anddelivery.
SintecMedia CEO, AmotzYarden, said: “OnAir 4 isdesigned not only toenhance efficiencies forexisting users, but also tohelp new users master thesystem quickly and easily.With the new version, we’vepackaged all of the robustcomponents of OnAir into asingle unified userexperience that provides asingle screen and a singletouch-point foraccomplishing the mostcritical management tasks.”
Also featured are theIntegrated BroadcastManagement System, theMediaPro advertising salessystem, CloudOnAir and theOTTilus OTT deliveryplatform.2.B32
‘Sleek’ update for OnAir
Newly built: RAI’sMilan news studio,
installed by Aret
Bridge Technologies
By Ian McMurray
Newly available in both L-band or IF versions, theVB273 Intelligent SatelliteRedundancy Switch modulefrom Bridge Technologies isdesigned for the company’snew carrier-grade intelligentredundancy switchingsolution for satellite uplinks.The VB273 works in aredundant chassis tomonitor two signals fromdual production chains andswitch to the backup chain ifthe main chain fails.
Bridge Technologies is alsoshowcasing Version 5.1 ofthe system software for itssystems, introducing what itsays are important advancesin graphics capability, a freeVBC Elements Manager foreasy management andupdating of probe networks,and new graphical statusoverviews of RF data, amongmany other new features.
Visio drawings can beimported into the optionalVBC graphics editor andusers can tag specificobjects or areas in thedrawing with markers thatshow realtime status on anyselected monitoring entity.
This capability allows usersto create entirely customisedways of displayingmonitoring data on maps ornetwork diagrams. Statuscan be displayed on objectssuch as individual probes ina network diagram, or bygeographical designationsuch as individual headendson a map, or individualservices or groups ofservices on a block diagramto show each channel’sstatus. Extremely easy touse, this capability can beexploited by any engineer,without requiring specialistskills.1.A30
L-Band and IF now available
Switch hit: NewVB273 functionalitysupports satelliteuplink switchingAlan Dick Broadcast
By Michael Burns
A new range of economic andspace efficient DAB antennashas been released, sharing anIBC spotlight with the newVHF BIII Mask filter/combinerand a range of UHF and FMunits and towers.
Two types of antennas havebeen specially produced forsome of the world’s mostrenowned broadcasters andbroadcast signal providers, inthe form of the SharedAperture FM Crossbow andthe FM Spearhead.
DAB antenna elements havebeen designed to be fittedonto the existing FM antennaswithout disturbing installationor performance.
“Environmentalconsiderations coupled withzoning and planningrestrictions forced the BBC toseek an antenna that could befitted into the space occupiedby existing FM units,”explained ADBL president,Alex Perchevitch. “ADBLembarked on a developmentproject to provide a solutionthat didn’t impact negativelyon the FM antenna and metthe specification for DAB.”
Perchevitch claimed the FMCrossbow antenna wouldprovide an excellentomnidirectional horizontalradiation pattern from an arrayof four panels mountedaround a square structure. TheFM Spearhead meanwhileprovides an omnidirectionalradiation pattern from an arrayof three panels mountedaround a triangular structure.
ADBL said the systemswere range tested to optimisethe RF performance of thecombined DAB/FM antennas.8.B99
DAB hand at FM space
Squarial: ADBL’s shared aperture FM Crossbow antenna was designed for square structures
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Wellen+Noethen
By Will Strauss
Rundfunk Berlin-Brandenburg(RBB) will move to a completelyfile-based TV production set-upin 2015 after signing a deal withCologne-based systemsintegrator Wellen+Noethen.
Following a EU-wide tender,the German multi-platformbroadcaster has commissioneda 14-month long project that willsee Wellen+Noethen takeresponsibility for planning,realisation of the overalltechnical concept, installationand integration, launch andmonitoring of the initialoperational phase.
RBB chief engineer and headof systems planning, WolframKlemmer said: “The installationof an entirely file-based TVproduction [set-up] is one of thebiggest technology projects inthe history of RBB. We defined a
range of criteria that areparticularly important for theinfrastructure, such as uniformityand speed of workflows andproduction processes, highaccessibility of the overallsystem and a coherentredundancy concept.Wellen+Noethen combinedthese and also other aspects ina technically compelling and atthe same time economicallyviable concept.”
Implementation of the newAVC-Intra based infrastructurewill take place at RBB’s currentbuilding in Potsdam whilebroadcasting duties continue.The project will be divided intothe areas of ingest, media assetmanagement (MAM),production, “outgest”, editorialand network technology. Acentral MAM will be installed toaid collaborative workflows andproduction processes.
A second stage of thecontract will see centralisedingest and outgest, central
archiving and video and audiopost merged into a single file-based infrastructure. A six-yearservice agreement is alsoincluded.
Wellen+Noethen generalmanager Daniel Url added: “Itwill be our job to optimise theworkflows to be implemented
for the bandwidth of AVC-Intraand integrate the interfaces inclose collaboration with theinvolved vendors andmanufacturers.”
Installation should becompleted by the second half of2015.3.B40
RBB plans file-based transition
DTVKit, the not-for-profit organisationwhose aim is to providethe core building blocksof a broadcast DVBstack, has announcedthat EKT has joined as amember. EKT, an STBdeveloper andmanufacturer, is said tohave been one of thefirst companies todeliver set-top boxsolutions in the field ofIPTV/OTT and hybrid.Early on, EKT and itssolidTV group identifiedthe need for a pan-European and globalDVB solution that ismaintained and updatedto the latest standard:DTVKit says thatmembership providesthis and will enable EKTto further accelerate thetime-to-market for itscustomers. 4.A61c
EKT joinsDTVKit
Klemmer: file-basedmove is one of thebiggest technologyprojects in RBB’s history
Cinedeck
By Carolyn.Giardina
The new Cinedeck ZX, amodular 4K/UHDTV-1/HD/SDplatform for camera to postworkflows, is debuting at IBC.
This latest addition to theCinedeck family of record,ingest and transcode systems has three hardwareoptions to which a range ofCinedeck-developed plug-inworkflow packages can beadded, enabling the custom-building of pipelinecapabilities. The idea is toavoid “forklift” upgrades andthe financial outlay on unused functions, but to have the advantage of being able to add extra
capabilities when workflowschange.
Starting at $21,995, thebase level Cinedeck ZX20provides two channels of 2K,HD or SD, with optional 4Kplayback. The mid-levelCinedeck ZX40 supports fourchannels of 2K, HD or SD,and, when fully-loaded withplug-in packages, is equivalentto the 4K-capable CinedeckMX, according to thecompany. The Cinedeck ZX45adds even greater processingpower to support 4K andUHDTV-1 at 60P and fourchannels of 2K, HD or SD at60P, including visually losslessJPEG2000, Cinedeckreported.
Workflow packages can beadded to each of the threemodels; and additional plug-in
packages cover optionsincluding formats, networkingand connectivity, codecs andwrappers, deck and telecinecontrol. Pricing on theseoptions have not yet beenannounced.
For networking andconnectivity, Cinedeck ZXsystems can be fitted witheither 10Gb Ethernet or 8GbFibre networking, or customadapters for high-bandwidthlocal storage. Customers canalso choose a package tosupport many mediaenvironments, includingeditorial platforms from Avid,Apple and Adobe.
Cinedeck ZX systems,scheduled to ship in Q4, willfeature Cinedeck’s v5 64-bitnative software.7.J07
Camera to post workflow
ZX 14:Cinedeck ZXcomes in threemodels andwith a range ofoptions.Eyeheight
By Michael Burns
A major update to theBroadcastSafe complianceplug-ins for Avid's MediaComposer and Adobe'sPremiere Pro post productionsoftware has been released.
The BroadcastSafe plug-inoffers a complete legaliser,safe-area generator andgraphic measurement toolset.
Version 1.5 ofBroadcastSafeMC (for MediaComposer) andBroadcastSafePP (forPremiere Pro) bothincorporate a new BroadcastEvaluate display indicatingwhich parts of a video imagerequire adjustment in order tobe fully broadcast compliant.
Non-compliant areas ofcontent are displayed in auser-definable colour with theoption of manual or automaticcorrection, giving editorsgreater choice in the way theywork. Previously, this was anauto-only function.
BroadcastEvaluate supportsall common compliancestandards. Users canalternatively define their own
compliance standard as anXML file.
Also new forBroadcastSafeMC andBroadcastSafePP isBroadcastSafeArea. Thisallows a wide range of safe-area markers to besuperimposed over the videomonitor display.BroadcastSafeArea supportsa multitude of standardsincluding SMPTE, EBU andDPP, in 525/625 standarddefinition, 720/1080 highdefinition and 2K line formats.Also included is a centremarker plus a measurementutility to ensure minimum textheight conformance incommercials. Any markercolour can be assigned by theoperator.
BroadcastSafe allows usersto verify and conform contentprior to submission to any file-based quality control system.It can perform composite,RGB, RGB-plus-Y andsimultaneous composite-plus-RGB legalising, all with user-adjustable soft clipping at highand low thresholds.
Editors can select from anextensive range of presets, orwork in custom mode whichgives full access to 15configurable parameters.Precise chroma-spaceconversion and accuratelimiting ensure compliancewhile keeping the full gamutavailable for creative use.8.B97
Plug-in power-up ensurescompliance
Plura Broadcast
By Michael Burns
An updated range of 3Gmonitors, enhanced withintegrated audio loudnesslogging and V-Chip decodingfeatures, are being showcasedat IBC.
Plura Broadcast said the newsoftware-defined features for itsSFP-3G and PRM-3G monitorswould aid quality control acrossbroadcast and productionworkflows without addingcomplexity or increasing form
factor.The company currently offers
standard live monitoring ofdigital audio loudness LFKSlevels, but will introduce newtimeline-centric features that
allow broadcasters to quicklyreview and troubleshootfluctuations in audio loudnessover a given time period. Themonitors log all LKFS activity ona continuous basis, and provide
graphical representations onscreen via a built-in HDMIoutput. The company said thiswill enable broadcasters tobetter understand when andwhere fluctuations take place,and troubleshoot issues toprevent further occurrences.
The integration of V-Chiptechnology is of special interestto North American broadcaststations and networks, whichmust transmit ratings data forcontent that specifies suitableviewing audiences. Plura saidthe integration of this technologyinto its monitors would deliverthis sensitive data on screen
without hiccups, as well as savebroadcasters from purchasingseparate units and integratingthem within existing workflows.
“Plura has blazed the trail forall-in-one monitors, eliminatingthe confusion and complexity ofmix-and-match modules andoptions that many vendors stillrequire of their customerstoday,” said Plura president RayKalo. “Our vision for broadcastand production monitoringremains integrated functionalityof rich feature sets within sleek,easy-to-manage platforms. Thisultimately minimises costs forour customers while increasingthe reach and power of theirmonitoring environments.”8.B73
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Nextscape is a leading OTTbusiness solution provider inJapan. We have helped mobiletelcos, animation distributorsand TV stations exploit internetentertainment and educationbusinesses by providing a one-stop shop solution fromingestion to content delivery
through CDN. Our solution,Media Delivery Suite (MDS),smoothes the painful path todeploying an OTT platform withlow cost and ready-to-usePaaS modules.
How do you stream HD and4K videos on reasonable costof bandwidth consumption?
The answer is HEVC. HEVCdrives bandwidth efficiencygains by as much as 50%compared to its predecessor,H.264, by introducing highcomputing complexity.Nextscape's cloud basedHEVC transcoder can provide apay-as-you-go, unlimited
capacity high-quality HEVCvideo stream for smart TV andmobile devices.
Content protection is anotherkey to success for OTT, VoDand live services. Nextscape’sPlayReady Solution and clientDRM Agent SDK provide aflexible, efficient certificated
solution for protecting premiumcontent and HEVC assets. Wealso help DRM porting tobranded connected devices.MS2
Smoothing the path to OTT
Opinion
For media and broadcasters OTT entertainment is not the future,it is a challenge today says Satoshi Kosugi, CEO, Nextscape
Alphatron
By David Fox
Alphatron’s EVF has beenupgraded with new firmware(V0.66) that allows it to do ananamorphic de-squeeze sothat it can be used withanamorphic lenses.
The new setting de-squeezes the anamorphicimage, to make the imageappear normal in theelectronic viewfinder, andallows the operator to select
three de-squeeze modes: 1.3x,1.5x and 2x.
Also new is the option toview images pixel-to-pixel justby hitting a function key ratherthan having to scroll throughall the options.
The EVF has both HDMI andHD-SDI input, with loopthrough, and such functionsas waveform and vectorscope.
To complement the EVF,there is the new AlphatronElectronic View Finder ENGBracket, which mounts theEVF to ENG style shoulder-mount cameras. Thelightweight aluminium bracket
includes a detachableuniversal shock mount
microphone holder,and has anadjustable frictionhead.11.C36
EVF gets anamorphicde-squeeze treatment
Alphatron’s EVF mounted on therecently-introduced EVF-ENG Bracket
Loudness and V-Chip enhancements boost 3G range
Monitoring the situation: Plura’s 3G monitor familyhas gained new quality control features
BroadStream
Solutions
By Michael Burns
News production systemCurrent, the Harbor mastercontrol automation system,and Armada, designed to helpbroadcasters handlespecialised tasks such as timedelay and localisation of feeds,have all been unveiled at IBC.
BroadStream Current allowsnews teams to begin workingwith incoming content directlyfrom their desktops themoment it arrives and playimmediately to air withouttranscoding delays. By offeringcontent viewing and cliptrimming inside the NewsRoom Computer System(NRCS), Current adds certaintyto content selection andrundown accuracy.
Harbor Master Controlenables precision switching oflive events while allowing
broadcasters to make use oftheir existing investment inmaster control switchers andgraphics systems. It offersintegrated automation withclosely coupled mediamanagement, and centralstorage with ingest andplayout.
Harbor is built on the samecomputer platform asBroadStream's OASYSintegrated playout system, so itcan easily be reconfigured asan OASYS system withoutswapping out any componentswhen broadcasters wish tomigrate.
“Successful broadcastersknow the future revolvesaround live shows andevents to drive viewershipand generate revenue,” saidBroadStream president ofsales and marketing BenWolk. “Broadcastersdelivering live content
depend on their master controlsolution to deliver dynamicschedule control, acceleratedcontent workflows and high-end event-driven graphics.”
Also released, Armada is afleet of apps that can becombined and configured tohandle specialised tasks, suchas time delay applications thatcan be used for live eventproduction and time zonedelays. It also offerslocalisation apps that can beused to create solutions for theregionalisation and localisationof feeds, as well as mediaingest solutions to manage therecording of live video feeds.8.B29
New raft of production utilities set sail
Port in a storm: Harbor is intendedto help broadcasters deliver morecompelling live content
By Monica Heck
A shared vision around the‘big data dilemma’ in thebroadcast world is at the heartof the Genius Digital and Gfkdemonstrations taking placein Hall 14 this year.
In May this year, GfKbecame the majorityshareholder in Genius Digital,a move which brings to thefore the synergies betweenGfK’s market researchbusiness and Genius Digital’s
realtime data analysistechnology.
At IBC, both companies are
addressing the difficultieslinked to handling the vastquantities of data generated intoday’s broadcast world. Thisdata is an invaluable source ofcapital for operators, enablingthem to analyse audiences,monitor churn rates andoptimise their services, yetcollecting and managing it
often requires the use ofdisparate analytics tools.
Together, Genius Digital’sInsight Platform and Gfk’smarket research businessenable pay TV operators tomake sense of relevant data.
Using realtime datacollection technology, theInsight Platform integrates
multiple data sets for a singleview of the customer acrossall platforms. It delivers atailored solution aroundcontent and subscriberinsights, personalisedtargeting and retention, adoptimisation, UX insights andrealtime QoE monitoring.14.F37
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Analytics for big data
Exterity
By Monica Heck
A new range of AvediaStreamTVgateways, designed tosimplify the delivery of DVBtelevision content over enterpriseIPTV networks, is on show forthe first time at the Exteritystand.
The gateways enableorganisations to receive andsecurely distribute multiple videostreams simultaneously. Thenewly launched TVgateways caningest DVB-C/C2/T/T2/ S/S2broadcast streams from eightmultiplexers via eight tuners inone blade, saving rack space inserver rooms, reducing powerconsumption and making themthe highest performing andcompelling, professional livebroadcast acquisition productavailable.
The TVgateways are primarilyaimed at businesses that want toprovide live TV as part of theirenterprise IPTV offering,including corporate, hospitalityand governmental organisations.
Other on-standdemonstrations will show howbroadcasters presently useExterity solutions to distributevideo around television studiosand production galleries,enabling peer review of contentvia individual or shared screens.
Commercial and marketingteams can monitor competitoroutput and track live andbreaking news at their desktopswith tailored Artio Portal andMultiview screens.
Exterity systems are currentlyused by broadcasters, contentproducers and operatorsincluding the BBC, Canal+,Endemol, ESPN, Etisalat, ITV,NPR and Warner Bros. 14.H13
Gateways forlive TV capture
Genius Digital and GfK
CueScript
By David Fox
Prompter startup CueScript isshowing two ranges of monitorsaimed at high-end and no-frillsbuyers. Built from a blankcanvas, its CSM line of LEDHigh Brightness HD-SDIPrompter Monitors is claimed tooffer “all of the features that arenecessary for modern broadcastproductions, resulting in a majorleap forward in promptingtechnology and displays.”
There are three models: the15-inch CSM15, 17-inch CSM17and 19-inch CSM19. Eachboasts low energy consumptionand a low power start up, two ofbroadcaster’s top requirements.Their three-mode adjustablepower input includes low (26W),medium (30W) and high (38W)(dropping to 17W, 19W or 24Wfor the CSM15).
The models also feature: abuilt-in mounting system
(including integrated On-AirTalent Monitor mounting rails –CueScript also offers the 19-inchCSTM19 Prompter TalentMonitor); low profile design; andan increased viewing angle(170x16 – or 160x140 for theCSM15) for easier screenreadability.
Built-in LED cue lights comeas standard (something that isoften an option in this productcategory), and feature LEDadjustable brightness and 180ºviewing.
CueScript is also launching itsEducation, Media and Corporate(EMC) line of prompter displays,which are aimed at productionsthat don’t need the highlevel features ofthe CSM range.The EMC15-inchand EMC17-inchdisplays will beoffered withlightweightmounting optionsfor all fluid heads. 11.A57
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Digigram
By Michael Burns
The new LX-MADI PCIe soundcard has been released,designed to provide radio and
TV broadcasters with reliablemultichannel synchronousaudio PC connectivity.Digigram said it was intendedfor high-density audioproduction and automationapplications.
Equipped with an opticalMADI interface, the cardsupports a 64/64 I/O channelcount with low roundtriplatency down to 3milliseconds. Embedded 64 x64 routing gives users direct
monitoring capabilities, alongwith record and play functions.
The company claimed that because the LX-MADIcard is a hardware solution, it offers high stability. This isregardless of thecomputational load presented by otherapplications, such as editing,processing, ingest andplayout, being supported bythe host system. 8.C51
Hubee
By Monica Heck
Canal+ group has chosenHubee to redesign the latestversion of the CanalPlayapplication on Freebox andAndroid both visually andtechnically.
Offering internet users a“simpler, more fluid andmore practical access” to
the Freebox platform, newfunctionalities will beavailable. These includepersonalisedrecommendations, astreaming system for thecontinuous watching ofseries episodes, a system that allows viewersto pick up viewing wherethey left off, morecomprehensive descriptiveprogramme sheets andCanal Play Kids, a
secured interface dedicated to children.
Since April, the CanalPlayapplication developed byHubee for Androidsmartphones, phablets andtablets supportsChromeCast technology,making it possible toremotely view videos usingWi-Fi from the CanalPlayapplications. Subscriberscan now start playing aprogramme on smartphoneor tablet to finish on the TVscreen.14.H17
New look for CanalPlay app
Much like the move fromanalogue to digital, thetransition from SDI to IP isanother landmark change forbroadcasters. A large numberof TVU customers are fullyembracing the change, and forgood reason. IP opens upopportunities for broadcastersto improve the efficiency oftheir workflows, consolidateredundant legacy equipment,and expand operations in acost effective manner.
At TVU, our focus is onenabling our customers toleverage the promise of IP onboth the acquisition and thedistribution end. Since ourearliest days, TVU has beenfocused on how to deliver high
quality video over IPconnections. We havecontinued to innovate andintroduce new solutions thathelp our customers embrace IP.
For example, at theacquisition end, we offer theTVUPack family of IPnewsgathering transmitters thatare capable of transmitting HDvideo over multiple cellular,microwave, satellite, Ethernetor WiFi connections at sub-second latency. On thedistribution side we havedeveloped TVU Grid, ourinnovative IP switching, routingand distribution solution. Sinceits introduction one year ago,many of the biggest broadcastorganisations in the world have
begun deploying TVU Grid toaccelerate their move to IP.
It’s clear that cellular ENGhas become an essential toolfor broadcasters. We work withhundreds of broadcastcustomers around the world ona daily basis to help ensure thatthey can deliver successful,high quality transmissions. Thatsaid, TVU has moved our focusbeyond just transmitting overcellular networks. Broadcastersdemand flexibility andresiliency, and as a result it isvital to not only optimise videotraffic over cellular networks,but to also facilitatetransmission over other IP linksto ensure maximum bandwidthfor each transmission.
To that end, our TVUPacktransmitters can aggregatemultiple cellular, satellite andmicrowave connectionssimultaneously – and can addor drop any type of connectionwithout disrupting thetransmission. Broadcastersdemand that everytransmission be successful,and we are working closelywith our customers to meetthat goal. We have alsodeveloped strategicpartnerships with a number ofsatellite and microwaveproviders, such as Vislink, thatenable us to deliver a completesolution to customers. In thefuture, broadcasters shouldexpect to see more of these
type of robust solutions.At IBC2014 TVU is
displaying a number of newsolutions that helpbroadcasters embrace IPnewsgathering. We areintroducing a number ofupdates to our TVUPack familyof solutions that willdramatically improve theTVUPack’s flexibility and theresiliency of each transmission.We are showcasing our TVUGrid solution and demonstratehow broadcasters can utilise itto speed their transition to IP.And we are introducingsolutions developed inconjunction with strategicpartners. 2.B28
Leveraging the promise of IP Opinion
IP newsgathering has come of age. TVU Networks CEO Paul Shen gives hisview on the future of IP in broadcasting and what to expect at IBC2014
Prompter displays arrive on Cue
CreateCtrl
By Adrian Pennington
“Today's market requirementsindicate that broadcastorganisations work more and
more inter-divisional on topics,which are distributed only at theend of the production processthrough the various mediachannels like TV, radio, and theinternet,” explains Dr. KlausRolshausen, founder and CEOof CreateCtrl. “Our software
solutions support journalistsfrom the initial idea through tobroadcast."
The company focuses on thenew, HTML5-based EditorialPlanning System (EPS), which isbeing used today with greatsuccess at Deutschlandradio. It
is designed for cross-mediaproductions.
“From concept to completedplanning process, the entireeditorial staff can access theproduction process anytime –independently of location anddevice,” says Rolshausen.“Thanks to the HTML5technology, the workflow-based
EPS permits flexible editorialcollaboration.”
The EPS has been used atDeutschlandradio since thebeginning of this year. Platformindependence in particular wasa crucial factor for themanagement of the public radiostation.13.MS1
Web technology for editorial planning
MADI card stableunder pressure
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Telestream
By Carolyn Giardina
Telestream is demoing thelatest features of its Vantageversion 6.3 platform fortranscoding and file-basedworkflow automation. It isalso showing how it aims tosimplify the integration of theplatform alongside systemsfrom vendors such as Avid,Adobe and Apple.
Using Telestream’s PostProducer — a product thatwas introduced in 2013 andruns on the Vantage platform— Vantage 6.3 editors candesign automated productiontemplates in various editingsystems, and then PostProducer will mass producehundreds of customisedoutputs automatically.
In another development,Vantage 6.3 includes moretranscoding format support.Full 4K support and HEVCencoding are now available inVantage TranscodeMultiscreen and Vantage
Trancode IPTV VoD. Inaddition, XAVC decoding andProRes 4444 encoding havebeen added to VantageTranscode Pro.
Vantage is now able to readCSV files to automatesubmission of multiple jobs. Italso includes a new proxyviewer for the web workflowportal, improving frameaccuracy and adding featuressuch as title safe guides,
captioning, and hot keycontrol (JKL-style).
Commented Paul Turner, VPof enterprise productmanagement: “What you seefrom Telestream is a platformthat represents severaldecades of investment anddevelopment, combined witha willingness to work withother leading technologyvendors in the industry.”7.C12
New features for Vantage 6.3Intelsat
By Ian McMurray
African pay TV providerMultiChoice has signed a 15-year service agreement withIntelsat on a new satellite to beadded to the Intelsat network.
The new satellite, Intelsat 36,is expected to launch in late2016 and will be co-located withIntelsat 20 at 68.5˚E, Intelsat’sdirect-to-home (DTH)neighbourhood in Africa.MultiChoice has been theanchor customer at the 68.5˚Elocation since 1995.
“Our agreement withMultiChoice is a cleardemonstration of our mission topartner closely with the leadingmedia and enterprise customersin each region, to understandtheir network requirements andthen create the infrastructurethat will support their growthgoals,” said Intelsat’s SVP ofglobal sales, Kurt Riegelman(pictured). “Since 1965, Intelsathas committed to and investedin Africa’s communications and
broadcast infrastructure. Thishas resulted in robust satellitecoverage and Intelsat’s positionas the leading provider ofsatellite services in the region.”
The Intelsat 36 design willfeature Ku- and C-bandservices. The MultiChoice DTHservices will use the Ku-bandpayload. The C-band payloadwill provide services to othercustomers using the Intelsat68.5˚E video neighbourhood,which also distributes content toSouth Asian cable communities.1.C71
MultiChoice signs up
‘Intelsat has invested in Africa’
Vantage point:Vantage 6.3
includes moretranscoding and
format support
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Lighting for film and televisionhas a long-standing history oftraditional equipment andprocess that have only recentlybeen so transformed by theemergence of LED lighting.Bringing their obvious benefitsof energy savings, long bulblife, and heat reduction, LEDlighting fixtures are now anestablished part of theillumination arsenal for film andtelevision.
However, not all LEDluminaires are created equal.Measuring and quantifying lightquality has become as much ofan art form as the creation ofcontent itself. New
measurement standards andtechnological breakthroughshave allowed for solid statelights to advance quality andmeasurement to be on par withtheir traditional brethren. Twoareas of note are quantum dottechnology and the TLCIstandard.
Quantum dots are siliconnano-particles layered overLED chips to help themgenerate light of a morecomplete spectrum. Thesenano-particles vary in size andare tuned to create specificcolours of light when excitedby their ‘host’ LED; onespecific size silicon nano-
particle represents red (650nm),while another can representgreen (532nm).
The nano-particles are thengathered in proprietary ratiosand mixed in with the standardphosphor that is layered overLEDs to produce white light.Why do we do this? Becausetypical white LEDs withoutQuantum Dots can be deficientin areas of the visible spectrumthat can be critical to theaccurate representation of skintones when capturing imagesfor film and video.
In the development of theQuantum Tuned F8, ourextensive head to head testing
with competitive fixturesconfirmed noticeableimprovements in skin tonesand the red portion of thespectrum, usually found to bedeficient even when using highCRI LEDs.
The subjective ColorRendering Index (CRI) hasbeen proven unreliable evenwhen used for its originalintended purpose, industrialand architectural situations. Anemerging standard, TLCI(Television LightingConsistency Index), is specificto the film and video industryand provides a more accuratemeasurement of the spectralpower distribution andperformance of a fixture as it
relates to television production.Operating on a scale of 0 to100, the results tend to portraya more accurate scale oflighting as it relates toproduction.
We have many installationsthroughout Europe and theAmericas utilising QuantumDot technology and IBC allowsour customers to see first handthe advantages of quantumtuned fixtures and their abilityto accurately replicatetraditional lighting sources froma light quality perspective. 11.E38
Measuring light with nano-precision
Opinion
Not all LED luminaires are created equal which is whereQuantum Dot technology and the TLCI standard come in, explains Jim Collias, engineering director, Zylight
Canare
By David Fox
Canare has launched what itclaims is the first four-channelcoaxial connector for linking4K-related equipment. Thenew connector will enable thetransmission of four 3G-SDI4K signals with a singleconnector and one cable.
The connector plug iscomposed of four 75-ohmconnector units, which can beplugged in simultaneouslywith an easy push, pull and
lock system.The connectors are
compact, solid andlightweight, and are suitablefor outdoor use. Thereceptacle connector units arecompatible with IEC’s DIN1.0/2.3 connector plugs. At3GHz, the return loss is20dB or greater.
The
connector should be availableshortly after IBC in threemodels: one connector plug,one connector jack, andone receptacle.11.A50
Four-channel 4K coaxial connectors
Atomos
By David Fox
SDI has ruled the professionalvideo space for more than 25years, built on a backbone ofdependability and control, butHDMI, the main consumerconnection, is increasinglyimportant for professional use,particularly for DSLRs.
However, many of SDI’sadvantages have been missingfrom HDMI, such as autotriggering and timecode
communication betweencameras and external deviceslike monitors and recorders.Atomos has implemented thesefunctions in conjunction withcamera manufacturers, and nowwants to make it an open, freeand available standard.
“We love HDMI, but as it getsmore popular on the cameraside we need to help make itwork in the pro world,” saidJeromy Young, CEO andfounder of Atomos, “Historicallythis has only been achieved inthe tech industry by creating anopen standard... which is what
we've done.”Atomos initially developed
auto HDMI start/stop andtimecode communication withSony’s FS100 in 2011, thenCanon’s 5D Mark III, 1DC andC100 last year. Currently, almostall professional Sony and CanonHDMI cameras employ thisprotocol. Now it is open to allcamera manufacturers.
Another SDI advantage hasbeen a firmer connection, asHDMI is easily pulled out. Tocounter this, Atomos developedits own HDMI cables with tightfitting connections and coiled
cable to lessen clutter andreduce pulling at the HDMIconnection.
“Initially we developed thesecables purely to support theNinja Star, our lightweight,pocket-size ProRes recorder,”said Young, “but after consultingwith our user base we soondiscovered no one had yetdeveloped a complete range ofHDMI cables purely for ProVideousers in our space.”
Its cables include a right-angled HDMI micro-to-micro/mini and fully coiledcables in lengths of 30cm (45cm
extended). HDMI mini-to-full andfull HDMI-to-full HDMIconnections in lengths of 30-50cm (65cm extended), priced$19.95- $29.95.9.D25
Towards making HDMI a professional video standard
Shogun wedding: The Atomos Shogunachieves auto HDMI start/stop andtimecode with Sony’s A7S
Nvidia
By Carolyn Giardina
A virtual camera technologydemonstration showcasesthe potential of Nvidia’supcoming line of QuadroGPUs.
The position of the“camera”—a Google ProjectTango tablet with trackingcapabilities that uses the Tegra chip—is streamed to a 3D renderer or contentcreation application (in this case, Autodesk’s Maya) where CG elements are
rendered using Nvidia QuadroGPUs, video-encoded byNvidia GRID technologies,and streamed back to thetablet combining live actionand CG with low latency.
“It allows filmmakers andcontent creators tointeractively visualise CGIassets composited into a live-action set, enabling effectiveshot placement. This newtechnology enables the virtualframing of a shot, compositedwith realtime CGI, on a live-action set,” said WilBraithwaite, senior appliedengineer, VFX, Nvidia.7.J39
Virtual camera demonstration
4x4: Canare’s newMDM-V4C25HW plugand MDF-V4C25HW
jack for 4K use
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LinkedTV
By Adrian Pennington
The big brains at theFraunhofer Institute haveturned their attention toimagining how a convergedweb search and TV contentmight be experienced in theliving room of the 2020's.
Visitors to the IBC FutureZone can make themselvescomfortable in a living roomsimulation and, whilewatching a TV programme,explore more informationand content about conceptsand topics via a companionapp. The technology, whichmakes this programmeenhancement possible, istargeted at broadcasters andOTT content providers andruns under the nameLinkedTV.
“We will show this for twogenres where furtherinformation exploration is atypical interest of viewers: anewscast by Rundfunk
Berlin-Brandenburg and adocumentary series of theDutch TV station AVRO,”explained Lyndon Nixon ofthe Institute's IntelligentAnalysis and InformationSystems (IAIS) department.
“We think that viewerinterest is sometimes lost orfrustrated because it is notpossible to easily findeverything we see on TV:how do I Google for thepainting I just saw on thewall behind the presenterwhen I don't know the nameof the artwork nor theartist?”
The institute is workingwith 11 partners from sevencountries on the project.Software scans the contentsof a show prior to itsbroadcast via speechanalysis and imageprocessing for topic-relatedcontent from the web. Sincethe software provides a greatnumber of unfiltered hits andsemantic links, theresearchers have developedmethods to narrow down the
results according to certaincriteria.
“For example, content willbe displayed only if itcomplies with laws for theprotection of minors and forwhich the copyright is noproblem,” said projectmanager, Heike Horstmann.The editorial team adds thefinal touches, checkingsuggested content forrelevance and eliminatingany duplications from the hitlist.
“Unlike one-size-fits-allsecond screenenhancements, LinkedTVincorporates viewer profilingto enable personalisedenhancements, highlightingconcepts they are interestedin and adapting theadditional information andcontent to them,” said Nixon.The automated LinkedTVworkflow permits a lowercost scaling up of TVprogramme enhancementfor broadcasters and OTTproviders.”8.F42
Semantic TV comes home
Marshall Electronics
By David Fox
The new V-LCD71-MD 7-inchmonitor from MarshallElectronics is claimed to be thefirst camera-mount monitor tooffer full HD resolution. It uses ahigh-brightness 700-nit, backlit1920x1080 LCD panel, andinput/output modules that canbe easily swapped to give thespecific I/O combination usersrequire.
The base model, known asthe V-LCD71 MD comes withHDMI input and pass through,while the V-LCD71MD-O**comes with a preinstalled MDO-3G module providing dual 3G-SDI outputs converted from theHDMI input. The V-LCD71MD-
3G includes the base unit with apreinstalled MD-3GE moduleproviding a 3G/HD/SD-SDI inputwith loop-through.
Features include: a widevariety of formats and markers;waveform display; dual audiobars; front panel headphoneoutput; variable pixel-to-pixelfunction; and a peaking filter infour colours for easier focusassist. Also new are: multipleDSLR presets; six User presets;adjustable IRE clip guide; andbacklight control.
All the new MD seriesmonitors come with an HDCPcompliant HDMI input withpass-through, a selection of 10battery adapters, and a choiceof one input or output module.11.D20
Full HDcamera-mountmonitor
Dejero
By David Fox
Dejero is demonstratingversion 3.0 of its Live+ Core
Software, which powers itsmobile transmission systems,with multiple new features. Ithas also launched a Macversion of its Live+ NewsBooksoftware.
The update to the Core
Software includes: enhancedmodem connectioninformation showing carriertransmission mode and signalstrength; a wider range ofoptions for configuring andmanaging how live video feeds
are sent to Live+ servers;monitoring of availablebandwidth with automaticadjustment to the optimaltransport resolution to providethe best possible video qualityfor the current networkconditions while keepingoutput resolution constant;and tools for users in the field
to import edited video clips viaEthernet or Wi-Fi into thetransmitter for transfer to aserver.
Live+ Core Software 3.0 alsoincludes enhancements to theDejero Live+ Portal cloud-based transmissionmanagement tool to enableconfiguration of differentdistribution routes for videosand files.
Also updated is its Live+NewsBook software, whichnow enables Mac and PCusers to transmit live HD videofeeds or recorded and editedfiles, making it suitable forforeign correspondents orsolo video journalists thatneed to travel and transmitwith as little gear as possible.It bonds multiple cellular, Wi-Fi, and Ethernet connectionsto enable the transmission ofhigh-quality, high-reliability,and low-latency video.11.C21
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Live+ updates Core for cloud
BBright
By Will Strauss
Realtime HEVC encoding ofUHD content can be seen inthe French Pavilion during IBC.
BBright's SLED-4K encoderhas been designed specificallyfor UHD, is based on ascalable hybrid hardwarearchitecture and is said tohave “a flexible softwaredesign.”
It supports various licenseoptions for 4K/UHD, full HDwith high frame rate, such as60p, 100p or 120p, andmultiple channel HEVCencoding.
BBright chief executive,Guillaume Arthuis, said: “Ultra-HD promises to be the nextbig challenge for thebroadcast industry. Thisflexible and scalable product isdesigned to help ourcustomers to quickly move toUltra-HD workflows andsatisfy both technical andbudget requirements.”
BBright is also showing atest 4K-UHD playout serverthat can be connected to any4K-UHD realtime encoder.
Called the UHD-Play it iscapable of ingesting variousfile and containercombinations and thennatively playing back the bestpossible Ultra-HD picturequality, in 10-bits – 4:2:2 –60fps, via quad 3D-SDIoutputs.2.B39a
HEVC videoencoder forUltra-HD
Panasonic
By David Fox
The modular new PanasonicVaricam, which can shoot either4K/Ultra HD or high-speed HD,ships next month. “We had a lotof people who loved theprevious Varicam, and we havebeen out of that market for toolong,” said Rob Tarrant,European product manager.
“We are in an industry ofcreating beautiful images, andwe want to get back to that. Butthat’s not enough. Thepracticalities are you have to
handle this huge amount ofdata. The recorder is about thepracticalities and the workflow –Its ability to do multiple formatssimultaneously. It’s a bigadvantage, as [the recorder,developed with Codex] can doup to four at once”: Raw, up to120 frames per second, 4Kcompressed using AVC Ultraonto Express P2 cards, and 2Kand 1K proxies on to the samemicroP2 card. Similarly, for abroadcast workflow, it will douncompressed Ultra HD,compressed UHD, HD and960x540 proxies at once.
The Varicam 35 (Super 35mm)head costs €24,000, while the
recorder module is €15,000 andthe new OLED viewfinder (whichdoesn’t suffer colour shifts asyou move viewing angle) is€6,200. It will also release anumbilical cord, so that users can
separate the head from therecorder by up to 30m, useful forcrane or jib use. The 240 framesper second Varicam HS head(costing €16,000) is targetedprimarily at natural history.
“The beauty of being able tochange the camera head anduse very long lenses, with 2/3-inch chips, with the same in-camera grading,” will, he hopesmake it very appealing to usersand rental companies.
One of the first testers, Light Iron CEO Michael Cionisaid: “Images are not just aboutthe pictures, but about theworkflow. We want productsthat match both high qualityimages and efficient workflow,”and he believes the Varicam 35does both.9.C45
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DVB pushes forward with DVB-S2DVB
By George Jarrett
As with DVB-T2, the enablingpower of HEVC is workingtechnical wonders for DVB-S2X,to the extent that four UHDchannels are being transmittedover a 36MHz channel at a datarate of 102.67 Mbit/s.Modulation is 16 APSK.
“This content-to-screenachievement took three monthsto plan, and features a number ofpieces in the chain that are quitenew and not stable yet,” saidDVB executive director PeterSiebert. “The satellite people
have the advantage of a very bigrange of capacity, wider thanterrestrial TV, and I am sure thatthere are pay TV operators thatwill start UHD services soon.”
This one-off demo set-upfeatures content from Hispasat,SES Astra, Rai and the EBU,encoding by Thomson andmultiplexing by Rohde & Schwarz,modulators from Newtec andWork Microwave and receiversfrom Creonic and Ericsson. Whatwas the trickiest bit?
“The UHD set-top box fromPace. These have only just beendeveloped, so we are at thebeginning of that technology,”said Siebert. “And in this casethe STB gets an IP stream.”
The advances from DVB-S2come in Direct to Home (DTH).VSAT and DSNG.
“Everything you see istechnically proven, but the
question is will UHD TV becomea commercial success? HEVC isthe enabler for bringing UHDacross the whole broadcastworld,” said Siebert.
Varicam bigger and faster
In BriefOBPod lighterand more flexibleGearhouse has launched itsnew lightweight, expandableOBPod portable productionsolution. Building on theconcept of the flyaway podthat Gearhouse Broadcasthas supplied to Sky Sportsfor the past three F1 seasons,the new OBPod has beendesigned with weight andexpandability in mind. Working closely with UKcoachbuilding partner, A SmithGreat Bentley, and using thestandard air freight AMPrectangular containerfootprint, Gearhouse hasreplaced the previoushoneycomb casing with lighteraluminium. The new facilitymakes extensive use of thefibre infrastructure, removingthe need for traditional heavycopper cables. A compactGrass Valley NVISION 8500Hybrid router has beeninstalled, with HD and SDI I/Oon both copper and fibre.“This is the first time anyone’sever made an expanding podwith a very small footprint;everything that has gone intoOBPod has got to be able tocope with the demands of itbeing transported around theworld multiple times, so wehad to be mindful with theinfrastructure and workflowthat we’ve designed,” saidKevin Moorhouse, COOat Gearhouse Broadcast.”10.B39
Five fold increasefor multiscreen STB2014 is proving to be a bigyear for Comigo with adoubling of its customer baseand five times more set-topboxes having been sold thanin 2013, the company hassaid. The Israeli multiscreenpay TV platform company hasalso announced that it isexpanding into Asia, the USand Latin America and that ithas launched an Android-based set-top box. “Pay TVoperators today are keen ondelivering an engaging TVexperience on every screen,and are looking for innovativeways to generate additionalrevenue streams from their TVservice,” said Comigo chiefexecutive Dov Moran. “Tomeet this demand, we arepartnering with a variety ofsystem integrators globally,we’ve opened our backendcapabilities to solutionpartners, and we offer ourAndroid-based STBmiddleware to several STBvendors.” 3.B61
Peter Siebert: “Will UHD TV become a commercial success?”
Flexible filmmaking: Tarrant with themodular Varicam 35 camcorder
Fast portable storage and backup:The new Nexto Media Storage ND2901is an affordable way to quickly and safelybackup video and other files fromCompact Flash and SD/SDHC/SDXCmemory cards, on location. It is ideal foruse with a wide range of cameras, fromthe GoPro, through to DSLRs or digitalcinematography cameras like the SonyNEX-FS700. It can also be used withmicroP2 cards, and with microSD (using an adapter). It takes 14 minutes to both copy and do a full verification of data from a 32GB CF card. Users can also check video information or view the still images on the built-in LCDscreen. Pictured: Nexto CEO LarrySeong demonstrates the new ND2901.– David Fox 11.G37
Conference Analysis
By Chris Forrester
Ferdinand Kayser, CCO atLuxembourg-based satelliteoperator SES, said he firmly
expects some key Europeanbroadcasters to have 4Kchannels on air during 2016. “The catalyst willundoubtedly be the UEFAsoccer and that year’sOlympics from Brazil.”
Kayser also announced that
SES would be showcasing the world’s first fully end-to-end 4K live encryptedtransmissions on its stand(1.B51) in conjunction with Samsung (1.D35) and Conditional Access specialistsKudelski’s SmarDTV module(1.C81). He added that while there would be plenty of 4K technical trials anddemonstrations meanwhile,the core ecosystem for 4K was now in place. “Everythingis more or less ready. We still need set-top boxes and their key 4K chipsets to be available, but this will happen well ahead of time.”
Kayser said that SESexpected that by 2020 therewould be some 200 UHDchannels on air around theworld, and being viewed onabout 100 million screens. “By2025 that will grow to 1,000UHD channels, and more than500 million displays in use.And congestion-free viewingof Ultra HD is a ‘sweet spot’for satellite.”
“First European 4Kchannels in 2016”
Tektronix
By Heather McLean
Manufacturers must stay on topof codec standard developmentin order to make the advent ofnew technologies an evolutionfor customers, not a revolution.
Tektronix CTO for videoproduct line, Paul Robinson, toldThe IBC Daily that although thereis the perception that all theunderlying technology changesfor 4K are new, there was in fact
a lot of advanced warning thatthese changes were imminent,with UHDTV first demonstratedat NAB back in 2006.
Robinson commented:“Obviously the availability of 4Ksensors and display panels hasaccelerated the drive towards 4Kimplementation, but we had priorwarning of the development ofhigher resolution than HD video.Indeed, when developing theTektronix WFM and WVR8000series waveform monitors theinternal architecture wasimplemented to handle 4K data
rates, which has allowed us toimplement 4K/UHD support asan existing product upgrade,rather than requiring a completelynew product.”
He added that the biggestchallenge of making 4K a realityfor customers was not 4K itself,but staying on top of the ever-changing IP-based workflowstandards.
Robinson explained: “Thereare quite a few differentstandards being developed, soit’s about monitoring thosedevelopments and making surewe deliver the right products atthe right time.”10.D41
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In BriefiSAT Africa choosespartners for free-to-air deliveryiSAT Africa has selectedEutelsat Communications topartner on free-to-air deliveryof African and internationaldigital channels in Kenya andacross East Africa in order toaccelerate the move towardsa fully digital broadcastingenvironment. iSAT andEutelsat will use the Africanservice area of the EUTELSAT70B satellite to broadcast aplatform of channels to digitalheadends and on a DTH basisto homes beyond range ofterrestrial reception.
The first channels werelaunched by iSAT on 1 September . They includeFamily TV and K24 which aremultiplexed on a DVB-S2platform and uplinked fromiSAT’s teleport in Nairobi toKu-band capacity onEUTELSAT 70B.
iSAT Africa has also agreedterms with Eutelsat for use ofC-band capacity on theEUTELSAT 3B satellite forcontributing channels to theNairobi teleport where theycan be aggregated into theplatform. The C-band footprinton EUTELSAT 3B embracesAfrica, the Middle East,Europe and South America,covering a vast catchmentarea of broadcasters.1.D59
Sound check on fly TC ElectronicIn a move that the companydescribes as a new approachto loudness adjustment, theaNorm algorithm has beenlaunched at IBC.
TC Electronic said thenormalisation technologylearns the incomingprogramme on the fly andadapts to hit user-definedtargets for Program Loudnessand Loudness Range (LRA).At the same time, it deliversuncompromised audio thathas not been dynamicallyprocessed unless requested.aNorm applies dynamicloudness processing only ifnormalisation by itself is notenough to hit the Targets forProgram Loudness andLoudness Range.
TC Electronic has alsodebuted a new LoudnessProcessing Meter as part ofaNorm. The Butterfly Meterdisplays content pre and postloudness normalisation usinga graph that instantly providesan overview of how and whyincoming audio is adjusted. 8.D56
Conference Analysis
By Chris Forrester
Ken Morse, Cisco’s CTO, alongwith his colleague Guillaume deSaint Marc, senior director, newinitiatives, updated IBCdelegates on the huge growth inconnected devices – not leastthe ‘Internet of Everything’ andMachine to Machine – in termsof bandwidth demands.
“It’s explosive growth,” saidMorse. “As we extrapolatewhat’s happening now, we cansee a future with 50 billionconnected devices by 2020.That’s about eight for everyperson on the planet. Combinethis with the growth we areseeing in video delivered tomobile devices, where we seetwo-thirds of the world’s datatraffic expected to be video –
and that’s by 2015.”Morse cut through much of
the jargon associated with thetechnology, and helped translatethe forecasts into what delivers“ease and convenience for us as consumers, and howservice providers will managethe demand and monetisewhat’s available.
“We are also seeing theimpact of the Cloud, and whatwe are now calling the ‘Inter-Cloud’, and how operators cantap into analytics to really benefitfrom the assembled data andmanage the exponential growththat we expect.”
Morse delivered a list of thelikely impacts, both in terms ofgrowth opportunities but alsopotential cost savings that couldbe achieved in operatingprocesses and improved yields“and ultimately making thingsbetter for everyone down the
value chain. Even last year it hasbeen estimated that $500 billionhad been left on the table interms of lost opportunity in this space.”
‘Explosive growth’ in IoE and M2MKen Morse: “We can see afuture with 50billion connecteddevices by 2020”
Shotoku Broadcast Systems
By David Fox
Madrid-based broadcasterAtresmedia has bought arobotically-controlled camerasystem from Shotokucomprising seven TG-18robotic pan and tilt heads andtwo 16-camera TR-T controlsystems, which will be used inAtresmedia’s re-launched andrefurbished studio.
“Since the first test, we weresatisfied with the overallcapability of Shotoku'ssystem, both operationally andtechnically,” said FernandoGarcía del Rey, head of studiooperations, Atresmedia. “Thesystem works well, operatorsfind it easy to use, and the
support we get from Shotoku,with Datos Media [Shotoku’snewly-appointed regionalreseller], has been excellent.”
The Datos team workedvery closely with theAtresmedia crew duringinstallation and provided fulltraining on-site once thesystem was integrated.
The TG-18 takes a 56kgpayload, ideal for any ENGcamera/lens combinations in
typical studio configurationsincluding the usualaccessories such asviewfinder, hand controls andteleprompter/preview monitor.It offers complete freedom foron-air adjustments from thecontrol systems.
The completely configurablescreen layouts of the TR-Tsystem supports 16 cameras,controlled by a single operator.11.F40
Atresmedia receives robotic refurbThe TG-18 robotic pan and
tilt heads in Atresmedia’srevamped studio
New Kahunais “going to nail thecompetition”
No excuse for 4K confusion Paul Robinson, Tektronix CTO,says manufacturers have noexcuse not to be ready with 4K
Snell
By Michael Burns
An all new Kahuna switcherlineup has been introduced,with added flexibility and 4Kcapabilities across the range.Snell said the Kahuna 4800,Kahuna 6400 and Kahuna 9600offer more firepower andflexibility than ever before.
Combined with Snell’s newflexible switcher controlsurface, Kahuna Maverik, thebolstered feature set of the newKahuna switchers includesproviding more power for MixEffects (M/E) functionality andenhanced DVE resize engines.This enables chroma keycapabilities on all keyers and2.5D DVE on all models in therange. The Kahuna 4800 offersup to four M/Es and 16 keyers,the Kahuna 6400 offers up to12 M/Es, 24 keyers while theKahuna 9600 has up to 24M/Es, 48 keyers.
“We’re going to nail thecompetition,” claimed RobertRowe, Snell’s managingdirector of Live TV. “Theseproduction switchers will beavailable at the beginning ofOctober and are ready to buyat the show. There have beenbig jumps in processingtechnology, such that we canget much more power into amuch smaller space, for a moreaffordable price point.”
Further enhancements toproduction workflows for socialmedia are also now supported,allowing user-generatedcontent to be directly uploadedto the switcher’s internal storeand made ready for air.8.B70
Zixi
By Monica Heck
Live video specialist Zixi LLC hasannounced a partnership with liveevents producer All Mobile VideoDigital Media (AMVDM), formerlyAEG Live. The partnership aimsto offer enhanced services forcustomers using Zixi to deliverlive productions over IP.
Zixi and All Mobile Video havebeen delivering Ultimate Fighting
Championship fights, withclosed captioning and slateinsertion added by All Mobilevideo to the Zixi stream from the event.
In this workflow, the contentgets delivered live to All MobileVideo for processing and isdelivered back to a Zixi cloudbroadcaster platform, where thefiles are transmuxed andtranscoded into differentformats, protocols and bit ratesfor delivery to multiple end points.
Zixi says this partnership wasa key piece that was missingfrom its delivery. 14.C05
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Is DRM anti-consumer?Conference Analysis
By Kate Bulkley
“I worry about the Europeanbroadcasting community notmoving fast enough to embracethe digital world for the newgeneration of consumers,” ErikHuggers told the 2020 TVsession. Huggers, whospearheaded the launch of theBBC iPlayer, has spent the lastseveral years in California workingfor Intel and most recently forVerizon, creating connected TVdevices and services in responseto a world that isn’t about purelylinear TV anymore.
“There is an opportunity for apure OTT, IP-only, live, linearcatch up and any flavour of VoD
all combined nicely into oneexperience,” said Huggers. “Atthat point the broadcasters willhave a chance to compete withthe coming onslaught of globaldigital companies like Google,
Amazon and Apple who thinkglobally and can bring to bearinnovations faster.”
In terms of what 2020 TV willlook like, Huggers thinks therewill still be room for “aggregatorbrands to present a curatedplaylist of linear programming forpeople who just want to sit downand relax,” but he thinks that by2020 the number of channels willfall. “All these channels makeless and less sense.”
Huggers also had somechoice words for DRM, thestandard for protecting content.“DRM is an evil technology thathas held the industry back. It isanti-consumer in every wayimaginable and it has held backuse cases and portability. Iwould like to see DRM go theway of the dinosaur.”
Spanish OTT deal: François Moreau de Saint-Martin, CEO of Viaccess-Orca(front left), and Tom Mohler, CEO of Olympusat (front right), signed a deal at IBC that will see Viaccess-Orca provide a turnkey end-to-end OTT IPTV solution forOlympusat’s Spanish language offering. It will include VoD and linear channels. “We placed huge importance on Viaccess-Orca’s stability and the maturity of theirproven solutions,” said Mohler.1.A51
MPEG TS release: Wohler has launched its MPEG TS Monitoring and Analysissolution at IBC. The MPEG TS Monitoring and Analysis monitor gives the user theability to monitor dual ASI, 3G/HD/SD-SDI, single IP and HDMI sources; decodeMPEG-2 TS and H.264/MPEG-4 TS video, audio and metadata; analyse ATSC andDVB MPEG tablets PAT, PMT, PID and more. Carl Dempsey (pictured), CEO at Wohler,commented: “MPEG TS Monitoring and Analysis is another world first for us at thisyear’s IBC. This will decode and analyse MPEG data, and it is operator-friendly. We alsohave a handheld portable version as well, so technicians out in the field can decodeMPEG data and see exactly what’s going on.” Dempsey added that the MPEG TSMonitoring and Analysis costs $8,000, compared to a traditional set of equipmentthat would be required to do the same job at around $50,000. – Heather McLean10.B10
Gearing up for theYouTube generationVitec Videocom
By David Fox
Although best known for itscamera support brands, VitecVideocom is now “expandingour focus on a completeecosystem around thecamera, not just things thatsimply attach to it, but abroader vision of how we helpcontent creators connect anddistribute their visual media,”said its CEO, Matt Danilowicz.
This was the thinkingbehind its recent acquisitionof Teradek, which is the coreof Vitec’s stand at IBC.Indeed, it now goes fromacquisition, with its CameraCorps miniature cameras, todistribution with Teradek’snew Beam, as it adapts to thenew ways people are working.
“For example, our newAnton/Bauer batteries have anew focus on safety andaffordable price points,recognising that moreproduction is beingoutsourced and taken up by
new content creators – theYouTube generation. We’reoffering products at lowerprice points to appeal tothese,” he said.
“Also, we can’t afford therisk of producing anythingthat isn’t completely safe,which is why the batterieshave crumple zones, so that ifit’s dropped or damaged, itdoesn’t explode.”
It is also adding accessorylines for its tripod brands(Vinten, Sachtler and OConnor)“to help make the most of ourequipment,” and adding lower-end prompters (Autoscript). 11.E55
Right on Q: Danilowicz isbroadening the appeal of Vitec’s product lines
Erik Huggers: “DRM is an eviltechnology that has held the industry back. It is anti-consumer”
The Benelux Group of the SCTE(the Society for BroadbandProfessionals) will hold its nextBenelux lecture during IBC at14.00 today in Room E102.Entitled ‘In-Home ArchitectureIssues’, and sponsored byARRIS, this free event (open toall) will be moderated byThomas Nogues, executiveadvisor for CableLabs, and willfeature speakers from keyplayers in the industry.
Various topics such as 4K,Wi-Fi, the cloud and theConnected Home will beconsidered, as well as CPEvirtualisation. The BeneluxGroup is one of a number ofregional groups that are part ofthe worldwide SCTEorganisation, the global non-profit body that aims to raisethe standard of broadbandengineering in thetelecommunications industry.
Presentations and speakersat the event include:• ‘Extending ServiceAssurance in the 4K Wi-FiHome’ by Cornel Ciocirlan,chief technology officer, EMEA,ARRIS.• ‘Getting to the Edge’ byThomas Nogues, executiveadvisor, CableLabs.• ‘The Connected Home’ byHans van Elsen, CTO, AlcadisISP Solutions.• ‘Making it all Work’ by PeterSimpson, VP ProductMarketing, Pace.• ‘CPE Virtualisation – the NewWay of Home NetworkManagement and ServicesEnablement’ by ArkadiuszKaliwoda, consulting systemsengineer, Cisco Systems.
Meet the SCTE on thePartnership Village, booth8.F51e, outside Hall 8 duringthe IBC exhibition.
SCTE Benelux Lectureon in-home architecture
Vision247
By Monica Heck
KVH Industries and Vision247have partnered to deliver up-to-date TV content to mariners atsea. Running on the Vision247Perception multiscreen deliveryplatform, which was adapted to KVH’s requirements, theservice delivers multiscreenentertainment to crews on ships.
It provides access to themedTV channels including movies,news and sports, refreshedregularly over KVH’s IP-MobileCast service. Marinerscan watch programmes on TVs,PCs, laptops, tablets andsmartphones throughPerception’s interactive app.
Content is transferred toships via KVH’s multicastingsatellite technology, that candeliver large amounts of videoto many ships at once withoutimpacting on-board dataspeeds or criticalcommunications channels.Programmes can be changedon a daily basis, providing up-to-date television and VoD forcrews on long journeys.
Content is downloaded overthe IP-MobileCast service toPerception servers on-boardvessels. The content is thenauto-scheduled based on itsmetadata and presented tousers as ‘live’ linear channels,complete with EPG and time-shift functionality. Theservice also provides atraditional VoD library.14.H12
Bringing TVto ship crews
Live UFC delivery
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In BriefMELite versatilityfor XT2k switcherA new video productionswitcher capable oftransforming a traditionalAUX bus into a functionalM/E with cut, mix, wipe andkey control has beenlaunched by FOR-A atIBC2014. The HVS-XT2000(XT2k) 2 M/E switcher allowsup to 40 SDI inputs and 22outputs and is said toprovide “powerful featuresunavailable in otherswitchers in its class.”Among those features isMELite which offers the AUXbus transformation functionand provides the XT2k withthe capabilities of a 6 M/Eswitcher plus the buildingblocks for upstream anddownstream transitioneffects. Operating on whatFOR-A calls a V6 XT2Kengine, the new switcher iscapable of coping with SD,HD, Full HD (3G) and 4K.
“The XT2000 switcher wasdesigned based onsignificant customerfeedback,” said Hiro Tanoue,president of FOR-ACorporation of America.Operators can deploy aMELite as a third M/E,transforming the switcher toa 3 M/E switcher with a 3M/E panel. The XT2k wasdeveloped for OB trucks, liveevents, television studios,houses of worship andeducational settings. It willstart shipping in Q1 2015. 2.A51
Targeted ads for live television The new AdCaster producthas been introduced at theMotama stand, enablingregional and targeted advertsfor live TV services, either asfull replacement or foraugmenting the originalcontent. AdCaster supportsIPTV multicast as well asInternet or OTT streaming.Motama is also showcasingHEVC support for its productline of transcodersCodecCaster. Ademonstration of livetranscoding will show thedifferences in quality andbitrate of AVC/H.264 vs. thenew HEVC/H.265 codec. Thisfollows the news thatMotama transcoders are nowDolby certified, which allowsfor converting high-qualitylive streams with DolbyDigital or Dolby Digital Plusaudio to AAC format. 14.H19
Cryptography
Research
By Monica Heck
One of the world’s earliestcryptographic machines, theEnigma, is on show at theCryptography Research stand.Owned by the company’spresident and chief scientistPaul Kocher, this original navalmachine from World War IIwas used by Germans toencrypt communications with boats in the earlier part ofthe war.
“The breaking of the Enigmaby first Polish, then French,then British – and the US alsolikes to take credit – certainly
played a huge role in thecourse of World War II,”explained Kocher.
“The rich history of both thesuccesses and failure of these
historical security systems arecertainly analogues to thefailures of current securitysystems,” he added. “I’veowned two Enigma machines
as well as other old cyphermachines. They’re very rare, as anyone who was operating an Enigma machinewas supposed to havedestroyed it.”
Kocher explains thepresence of the Enigma on hiscompany’s stand as a bit ofinteresting history, combinedwith an approachable way tosee security being done. “Thethings we do security-wise arehidden nowadays. Themathematics have changeddramatically, of course but thisis more relatable, in a way.”
Cryptography Research, adivision of Rambus,specialises in semiconductorsecurity R&D.14.C17
Cracking the Emigma code
The original WW2 Engima naval machine makes an appearance at IBC
Canon
By David Fox
Sky has ordered Canon's DP-V3010 4K professionalreference displays for three high-end SGO Mistika postproduction suites. The DP-V3010uses Canon’s own custom-developed image processor, toensure consistent brightness andcolour, making it easier toachieve a higher level ofuniformity across the entirescreen during post productionediting. The monitorautomatically corrects anychanging colour and luminosityover the course of time, toguarantee stable displayperformance and high levels of reliability.
“Our Mistika systems sit at thecentre of our workflow and theexceptionally advanced colourgrading functions demandmonitors that enable us to editfootage accurately. Havingtested many 4K screenscurrently in the market, theCanon DP-V3010 performed thebest for our production needs,”said Cara Cheeseman, Sky’ssenior operations manager forentertainment and creative.
The DP-V3010’s 4096x2560resolution means that its IPSLCD panel can display nativeDCI 4K video (4096x2160)without any scaling. The 30-inchreference screen also offers awide 178° viewing angle.
Sky monitors4K SGO post
Sweden in Netherlands: The Swedish Pavilion at IBC was officially openedat IBC by Håkan Emsgåard, the Swedish ambassador to the Netherlands,here shown with Amanda Hallberg of Business Sweden. Six Swedishcompanies are participating in the Swedish Pavilion: Flowcine, Nexeven,Sprinkle, Videoplaza, Vidispine and Wyberry Technologies, offeringbroadcasting solutions ranging from products and services within onlinevideo, wireless transmission of data solutions and accessories forprofessional photographers. – Ian McMurray5.B22
Fischer distribution: Canford has announced that it has been chosen as thesole UK broadcast distributor of the new Fischer FiberOptic Series, a highperformance product of Fischer Connectors. Fischer Connectors’ premiumfibre solutions offer best in class optical performance and reliability needed fora stable optical link, combined with easy mating and easy field cleaning.Fischer stated that the products perform well in harsh environments and havea high ingress protection (IP68) when mated, and IP67 in unmated conditions.This rugged push-pull connector is suitable for both indoor and outdoorapplications, claimed Fischer Fibre Connectors, and comes pre-cabled formaximum performance and time saving. Pictured: Fischer Fibre ConnectorsDan Saxton and Canford’s Chas Luchford. – Heather McLean9.C01
Cobalt Digital
By Heather McLean
Cobalt Digital has revealed arecord-breaking number ofproduct launches here at IBC,with 13 in total, including its newQuint-Split Multi-Image DisplayProcessor. The show sees thedebut of the 9970-QS 3G/HD/SD-SDI/CVBS Quint-Split Multi-ImageDisplay Processor, which iscapable of auto-detecting anddisplaying up to five independent3G/HD/SD/Composite inputs onone card with the ability tocascade additional cards.
An Ethernet-based GUI controlenables intuitive set up of videowindows and advanced on-screen graphics, and asimultaneous display output overSDI and HDMI supports flexiblesystem design and easyintegration. The 9970-QS is idealfor outside broadcast vehiclesand production control rooms,claimed Colbalt.
Additionally the Quint-SplitMulti-Image Display Processor isalso available as part of Colbalt’sBlue Box Group, which offerspeak performance from compactconversion modules at low cost.
Commented Chris Shaw, EVPsales and marketing at CobaltDigital: “We’re excited to bringover 13 new and enhancedproducts to IBC. Our customersplay a critical role in ourdevelopment process and we’rethrilled to respond with reasonablypriced solutions that target exactlywhat they need to keep themtechnically advanced andfinancially sound.”10.B44
Quint-Split display
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