NAB 2011: by Gill Craig Emerging From

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In the news Opinion Insight Spotlight Business Outlook 4 What’s Hot! 14 Autoscript’s Rapid 26 NAB Emerging from behind 34 New Developments in 40 Live Production Reaction Force the cloud – Tessa Hawkins fi bre – Dick Hobbs from Grass Valley

MAY/JUNE 2011 WWW.INBROADCAST.COM

In this issue... JVC’s new 3D camera. Communicating with your market NAB 2011: by Gill Craig Emerging from

Page 13 behind the cloud Bringing IT by Tessa Hawkins and Broadcast Together NAB 2011 drew an estimated lack buzz – if you were excited the best possible images from HD when the deliverable was 92,000 attendees to Las Vegas, by 4K, 3D or cloud computing. these new 4K pipelines,” Clark SD only.” and though this was a few SMPTE President Peter Lude said. “If we do something to The F65 is being readied for thousand more than last year, noted the dominant themes degrade the image, then what the Autumn, component parts you couldn’t prevent a feeling in his opening address to you think is 4K may not be 4K. from Japan permitting, and that the show was under- the Digital Cinema Summit, It needs to be 4K end-to-end, is being marketed as the fi rst Page 16 populated. There may have which ran just prior to NAB; and that needs to include colour true 4K camera using an 8K 20 Broadcast been understandable under- “Advances in image and sound: management that is consistent megapixel sensor, subsampling representation from Japan 3D, 4K and beyond,” he said. and reliable.” to 4K. That claim invoked the Batteries today but the halls seemed easier “We are trying to extend this Most existing digital cine ire of Red Digital which has not and tomorrow to navigate than normal, and beyond cinema, though we cameras and most post only had the 4K Red One for exhibitors in the South Hall recognize that many innovations production pipelines are built to three years but is now shipping Upper and North Hall, where start with cinema.” handle 2K. There’s no practical the 5K rated Red Epic that are most IT-related vendors were His message coincided with way 2K, let alone 4K, can be currently being used by Bryan sited, may have wondered the announcement of Sony’s broadcast to homes just yet and Singer to shoot Jack the Giant where everyone went. F65 digital cinematography only one company (Sony) has Killer, Peter Jackson on The Page 22 IBC, which uses NAB for camera that is capable of a projector capable of showing Hobbit and the new Spider-Man The Fibre marketing and recce purposes, recording 16-bit 4K and higher, 4K in all its glory at cinemas. movie. Alternative trotted out the customary and tied in with the Summit’s “Recording at 4K is not just “Red One captures 4K and retort that its attendance fi gure examination of advances in about delivering 4K today but debayers to 3.2K, the Epic (around 50,000) captures those imaging and sound that stems about capturing content at a captures 5K to the sensor and who actually enter the RAI’s from more pixels, as well as higher resolution with benefi ts debayers to 4K - fact,” noted doors and not those that just greater bit depth, wider colour in dynamic range, colorimetry Red’s evangelist Ted Shilowitz. register, then fail to turn up. gamut, higher frame rates and and latitude to 2K and HD “It’s great Sony has fi nally

Page 46 However, “no tyre-kickers, 7.1-channel sound. images derived from it,” said realized that 1080p is not more people with genuine Sony had commissioned Curtis Sony’s General Manager for cinema but let’s see if it delivers Marketplace interest,” was the verdict of Clark, ASC to direct and shoot a Content Creation Olivier Bovis. the kind of picture people want Page 44 JVC’s John Kelly after day one short fi lm using the camera. “It “In that sense it is similar to to see rather than something that ...and much more! and it has to be said NAB didn’t is critically important to extract when broadcasters capture in CONTINUED ON PAGE 26

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22 BROADCAST Cover Story BATTERIES Business Outlook TODAY AND 1 NAB EMERGING TOMORROW 40 LIVE PRODUCTION FROM BEHIND by Kieron Seth from Grass Valley THE CLOUD by Tessa Hawkins 30 NEW DEVELOPMENTS IN BROADCAST 13 COMMUNICATING SUBTITLING AND WITH YOUR MARKET CAPTIONING by Gill Craig by David Kirk

42 GEKKO LEDs Opinion IN FILM AND BROADCAST 14 AUTOSCRIPT’S by Ian Muir RAPID REACTION FORCE Marketplace by Brian Larter 44 MARKETPLACE Spotlight 16 BRINGING IT AND 46 THE FIBRE ALTERNATIVE BROADCAST TOGETHER 34 NEW DEVELOPMENTS by Bob Hart by Adrian Pennington IN FIBRE by Dick Hobbs

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Publisher Contributors Produced by: Phillip Izzard Gill Craig Designed by: Disclaimer: [email protected] Bob Hart Bluegator Creative InBroadcast and Le Sommet Tessa Hawkins Le Sommet Limited 101 Main St, Moira, Limited have taken all Sales Manager Dick Hobbs Offices A1-A2, Anna House, Co. Armagh, N. Ireland reasonable measures to ensure Bryn Lister David Kirk Dunmurry Office Park, BT67 0LH the accuracy of the information [email protected] Brian Larter Belfast, Co. Antrim, Tel: +44 (0)28 9261 9994 in this publication but cannot Ian Muir N. Ireland. BT17 0AJ Email: accept responsibility for any Editor Adrian Pennington Tel: +44 (0)28 9061 0420 [email protected] errors or omissions therein or Kieron Seth Fax: +44 (0)28 9061 9197 Web: any liability resulting from Simon Perkins any use or misuse of any Denise Williams Email: www.bluegatorcreative.com [email protected] such information or from any inbroadcast@ inbroadcast.com reliance placed thereupon. Web: www.inbroadcast.com 4 WWW.INBROADCAST.COM | MAY/JUNE 2011

OConnor launches IN THE NEWS 2065 Fluid Head OConnor launched the 2065 Fluid Head which is designed to handle popular digital cameras like the Red Sony premieres One, Sony F-35, and ARRI Alexa at NAB 2011. The 2065 is loaded with the same popular features and controls that SRMASTER technology have made OConnor fluid heads the favorites of cinematographers Sony demonstrated the continued available as data files for native worldwide. Users will enjoy the evolution of its HDCAM-SR post production workflows. This benefits of OConnor’s stepless, technology into a file-based workflow. includes SR-Lite 220Mbps, the ultra-smooth pan and tilt fluid drag Among the innovative new products visually lossless SR-SQ 440Mbps, – specifically designed to deliver on display at NAB under the umbrella and SR-HQ 880Mbps. the ultimate control and stability of the SRMASTER platform were: Sony is also actively working with necessary for film-style shooting. a studio deck; multiple portable field vendors to support the SR File, and OConnor’s patented sinusoidal recorders; a data transfer unit; the the codec is already supported for counterbalance system provides true, camcorder; as well as SRMemory direct to edit workflow with Apple Huge data files from the F65 HDCAM accurate balance at any point in the media. Final Cut Pro, Avid, Blackmagic will be catered for by SRMASTER tilt range. “The HDCAM SR format is well Davinci, FilmLight and others. SR’s proven quality to an even wider Replacing the renowned 2060HD, entrenched in the post production Sony demonstrated its upgrade path audience. The same on-set recording the new 2065 shares the ergonomic industry and is the de-facto standard to file-based production, as well as and mastering standard can now be design of OConnor’s higher-payload for mastering, on-set recording and new SRMemory solid-state media; natively accessed as a file.” fluid heads like the popular 2575D deliverables,” said Peter Sykes, all designed to allow HDCAM- The addition of new SRMemory and 120EX models. Pan and tilt Strategic Marketing Manager, Sony SR technology to meet the current solid state media will deliver rapid breaks are conveniently located on the Professional, Sony Europe. “Sony and future needs of cinematic and transfer rates of 5 Gb/s sustained left side of the head - so operation is is firmly committed to file-based television production. speeds, and storage capacity of both intuitive and familiar. The 2065 production and we are continuing to “It’s part of a hybrid strategy to give 256MB, 512MB, and up to 1TB. The also offers many of the same popular develop the SR workflow with the professionals the best of both the SRMemory solid state media is robust features as the 120EX. The platform launch of these innovative products. tape and file-based worlds – while and extremely secure, with powerful is equipped with dual scales, one on This is the next generation of the at the same time offering security, data protection. It is therefore ideal each side, and four handle rosettes format.” interoperability, flexibility and media for future high-end production, Through SRMASTER, Sony is scalability,” Sykes said. “SR has with native acquisition capabilities for making the SR codec available as always been inherently file-based in applications such as 3D 1080p and a file for the first time. The same nature; the incorporation of solid-state higher resolutions up to true 4K and compression scheme that resides on media simply enhances the format’s beyond. the HDCAM-SR Digital tape is now inherent file-based design and brings

speed I/O technology running at available from authorized dealers 10 Gb/s that brings together high- worldwide in July this year. Matrox Matrox to add speed data transfer and HD display Thunderbolt adapters for all MXO2 on to a single cable. It is currently devices can be purchased as an OConnor 2065 for digital cameras Thunderbolt I/O available on the Apple MacBook Pro add-on. line. allow operation from either side of the Matrox demonstrated MXO2 devices The Matrox MXO2 devices provide head, or front or back mounting. featuring Thunderbolt technology broadcast-quality video and audio A handy one-touch platform release running with Final Cut Pro on the new capture, monitoring, output, lever enables one finger or hand action 15-inch MacBook Pro at NAB. and H.264 encoding to undo the safety catch and open the Matrox announced Matrox MXO2 for use with leading lever, which speeds deployment and devices featuring the all-new editing and content location changes in the field. Thunderbolt technology developed creation applications. With a greater payload and drag than by Intel and brought to market with The full range of its predecessor, this new head weighs collaboration from Apple. Thunderbolt technology enabled Matrox MXO2 with just 22.9 lbs. (10.4 kg) and has a Thunderbolt technology is a high- Matrox MXO2 devices will be Thunderbolt technology payload of 0-71 lbs. (32.2 kg).

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6 WWW.INBROADCAST.COM | MAY/JUNE 2011 IN THE NEWS IANIRO IANILEDs lead French channel TF1 Sony adds new troupes documentary team into the Amazon dimension to A new documentary on the native Kaiapos of Brazil, produced by the Sony PMW-TD300 shoulder mounted 3D 3D camcorders French TF1 Troupes, was shot using IaniLEDs 54. These portable, low- Sony is adding new dimensions to its proven solid-state workfl ow. weight units proved themselves the 3D offering with the introduction of When recording in 3D, left and ideal lights for capturing the lives two single-body 3D camcorders for right eye signals are simultaneously of Amazonian Indians in their own professional applications: the HXR- recorded onto separate SxS cards environment. NX3D1E and the PMW-TD300. (four SxS card slots in total, two slots “I’ve used IaniLED54s on several The shoulder-mount design of the for each view). Its shoulder-mount occasions and in very different The IaniLEDs feature the latest PMW-TD300 promises to bring design brings stability in ‘run and environments - in unforgiving desert, high-power LEDs with excellent light greater fl exibility to live shoots, gun’ shooting environments, allowing in the heat and humidity of tropical output. With full dimming capacity freeing the operator to focus on image professionals to worry less about jungle and being knocked around and with colour controlled by means capture. ergonomics and concentrate more on in dank caves. They’re equally at of a mixed array of white and amber “This new camera will address many getting the right shot. home as a kick light in interiors. LEDs, the output is both natural and of the needs in live 3D production, An inter-axial distance of 45mm They are really tough and easy to fl exible. IaniLEDs were the fi rst in working in the fi eld as a perfect delivers a wide range of shooting use with an effi cient modular design. the industry to adopt the white tuning complement to the HD cameras zones to capture quality 3D images, But above all, they offer a quality, concept that compensates for the currently used in 3D rigs by leading especially for near-side shooting colour-balanced and powerful lighting typically low CRI of LEDs - doing production companies and giving with a 1.2m minimum convergence source with none of the away with the need for fi lters that creative professionals a more fl exible distance. A newly developed dual-lens unpleasant hues you reduce the output to critical and mobile option for getting the right system allows for full synchronisation might expect.” and often unsustainable 3D shot,” said Olivier Bovis, Head of with high accuracy in focusing, Ideal for location levels for the professional AV Media, Sony Professional, Sony zooming and iris adjustment. fi lming, IaniLEDs 54 shoots. Europe. The camera is switchable between are the perfect tool The use of LEDs is still hotly The PMW-TD300 features a dual 2D and 3D modes. The 2D view is where mains power debated in the production 1/2-inch Exmor 3CMOS sensor recorded onto a single card, with 2D supply is unavailable. community - urban myths design with full HD 1920x1080 pixel redundancy achieved through parallel In such locations, a fast and memories of inadequate resolution. The camcorder is based on recording onto L/R cards. and discrete technical early LED systems persist. the XDCAM EX recording platform, The PMW-TD300 will be available in set-up is often all- Today’s professionally allowing users to take advantage of a Autumn 2011. important. Here TF1 designed lights deliver a very needed in larger, integrated facilities used two IaniLEDs pleasant image and camera where quick changes to live feeds 54, 54W 12V, powered operators that use units such UTAH-400 are common. Now Utah Scientifi c simply by camera as the IaniLEDs report high has built advanced signal processing batteries, fi tted on levels of satisfaction with the Utah Scientifi c, a leading global into the router’s I/O board, meaning board by a gold mount quality of the light supplied provider of video signal routing it can deserialize and decode a signal bracket. The absence by new LEDs. Moreover, systems, has introduced embedded- into its component data streams of leads and external packs make the the practicality of these breakthrough audio signal processing for its popular without compromising the router’s lights highly manoeuvrable. designs wins the debate time after UTAH-400 series digital routing overall operational reliability. As a IaniLEDs are tested on the road time, delivering cool, reliable light switchers. result, audio channels are shuffl ed and offer a reliable and powerful with low power demands in all The new capability comes courtesy of automatically without an outboard daylight source in extreme shooting environments. a new line of I/O boards that rely on device or manual intervention. conditions, making life for the lighting The evolution of LEDs has been rapid advanced FPGA (fi eld-programmable The enhanced UTAH-400 routing cameramen considerably easier. The and dramatic with the development gate array) technology to perform systems also incorporate a virtual specially designed housing, married to of phosphor dyes, high density signal processing. control panel to provide an easy-to- the low temperature of the lamp body assemblies, lumen emissions and Embedded audio has become the read display of the video signals and and the laminated and modular design much more. The relentless drive for norm in media operations of any their associated audio positions. The of the IaniLEDs, means that the units improvement goes on and the next signifi cant size. Embedded audio GUI design enables control of digital run cool, allowing for a quick “pack & generation of Ianiro LED products supports a more streamlined system signal processing functions and other go” - true lighting on the run. will be introduced at IBC 2011. overall, but its infl exibility can make signal confi guration information. it diffi cult to shuffl e audio channels as 5RXWH&DVH® HD Full HD Production Studio

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Learn more at www.grassvalley.com/ldk. 8 WWW.INBROADCAST.COM | MAY/JUNE 2011 IN THE NEWS SIS LIVE Tr-uPod® SIS LIVE have announced the launch in-house differential antenna control of Tr-uPod®, its multi-band, fully- system, will find any satellite in an automated tripod antenna system. instant. The system has been built Panasonic Tr-uPod® is an exceptionally flexible, to withstand the tough conditions compact satellite uplink system in the field, with an operational featuring an advanced composite temperature specification of between AG-HPX250 antenna design, tool-less assembly -4ºF to +140ºF (–20ºC to +60ºC), with fully automated or simple manual weatherproof to IP65, MIL STD operation. The multi-band antenna is 810F compliant. All size antennas ultra-mobile available in 0.75, 1.0, 1.2 and 1.5m pack to 2 x IATA carry cases which versions. can be flown as standard Panasonic AG-HPX250 HD with AVC-Intra codec David Meynell, Managing airline baggage and easily HD acquisition Director, SIS LIVE, says: carried over rough terrain. Tr-uPod® is a robust, Tr-uPod® can also be Panasonic has introduced the undercranking / overcranking to create highly portable tripod used with SIS LIVE’s AG-HPX250, a P2 HD handheld fast or slow-motion effects. antenna aimed at a variety award winning control camera recorder with 10-bit, 4:2:2 Offering a wide 28mm to 588mm of field applications. software and interface. independent-frame full 1920 x 1080 (35mm equivalent) 21X HD lens with SIS LIVE has made The automated operation resolution AVC-Intra recording. three independent adjustable rings, significant investment in offers absolute simplicity “The AVC-Intra codec is highly the HPX250 covers most shooting carbon tooling and work with maximum prized for the stunning, master-quality situations without the need for a wide- to exceptionally stringent operability which allows 10-bit, 4:2:2 sampled, independent angle conversion lens. The 21X lens tolerances to achieve industry leading unskilled operators to utilise and ® frame images it produces,” said also features an OIS. results. The Tr-uPod system was transmit to multiple satellites. SIS Joseph Facchini, VP of Sales and The HPX250 offers genlock/timecode developed using cutting-edge, award- LIVE have the best surface accuracy Product Marketing, Panasonic input for multi-camera operation, as winning technology and is another of their segmented parabolic antennas Solutions. “Now for the first time well as an HD SDI output, an HDMI great addition to our innovative than any other manufacturer and all with the HPX250, Panasonic offers an output, and an IEEE 1394 in/out. The product range.’ antenna sizes are capable of X, Ku, ultra-portable handheld camera with camera recorder is equipped with The robust, high stability tripod Ka, and DBS band with the 1.5m also full-resolution, 10-bit, intra-frame a Dynamic Range Stretch (DRS) system can be set up in minutes and available in C band. recording in a one-piece unit without function to help compensate for wide in automated mode, using SIS LIVE’s the need for an add-on recorder. This variations in lighting, a waveform is an unprecedented level of image monitor and vector scope display, and quality in a lightweight camera.” two focus assist functions – a picture JVC previews new 4K technology Weighing 2.5kg, the HPX250 expanding function and a focus bar. JVC Professional has developed the European product manager stated. incorporates high-sensitivity 1/3 type, Equipped with two P2 card slots, world’s first large-scale integration “Over the next few months, JVC full-HD 2.2 megapixel 3MOS imagers the HPX250 can record for up to (LSI) chip for high-speed processing is going to invite innovative and a 20-bit Digital Signal Processor 320 minutes in AVC-Intra 100 at of high definition (HD) video, which cinematographers and other for 1920 x 1080 resolution images. 720/24pN, 160 minutes in AVC-Intra will be an integral part of the next production professionals to help us In addition to AVC-Intra 100/50 100 at 1080/24pN and 128 minutes in generation of JVC camcorders. The develop 4K cameras, 3D cameras, and recording, the HPX250 records in other AVC-Intra 100 or DVCPRO HD prototype was launched at this year’s other products that deliver outstanding DVCPRO HD, as well as standard formats on two 64GB cards. In AVC- NAB show and has been demonstrated images and improved workflows at an definition recording in DVCPRO50, Intra 50, the recording time is twice as live in front of interested crowds affordable price point.” DVCPRO and DV. The HPX250 AVC-Intra 100. at the event. The new LSI enables With advanced image codecs and supports international HD and The file based P2 HD workflow processing, encoding, and recording other technologies assembled in a SD standards, an added benefit to includes such recording features of 4K/2K images, which have four single chip, the new LSI’s camera producers with global clients. In AVC- as instant recording start-up, clip times the resolution of full HD. JVC signal processing enables real-time Intra 100/50 and DVCPRO HD, it thumbnail view for immediate access has a few prototypes including two 4K RGB debayering of 8.3 megapixel records in 1080 at 59.94i, 29.97p(N), to video content on all cards, and a cameras with sample video utilising video at 60fps. Plus, the LSI requires 23.98p(N), 50i and 25p(N) and in host of time-saving recording modes. the new LSI technology featured on 40 percent less power and, compared 720p at 23.98p(N), 29.97p(N), 59.94p, An SD memory card slot offers a the show stand. to previous LSIs, cuts systems costs 50p and 25p(N). In DVCPRO50/25 scene file and user settings store. “JVC continues to be at the forefront in half. The result is a high-level and DV, it records in 480 at 59.94i, For easy HD viewing, the camera of technological innovation in our processor suited to a wide range of 29.97p, 23.98p, 23.98pA, and in 576 is equipped with a widescreen industry. Our new LSI technology professional products – and with all at 50i and 25p. 1,226,000-pixels LCOS colour can handle data-intensive acquisition, hardware and software integrated into The HPX250 offers variable frame viewfinder and a widescreen 921,000- which opens the door to exciting a single platform, products using the rate capability in 1080p up to 30fps pixels 8.8cm (3.45 inches) LCD possibilities for the production LSI platform can be commercialised as well as 720p up to 60fps for colour monitor. community,” Gustav Emrich, quickly.

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10 WWW.INBROADCAST.COM | MAY/JUNE 2011 IN THE NEWS Autodesk Revamps 2012 Software Telegenic puts Synapse at heart of revolutionary 3D OB fleet

Proof of Axon’s market leadership is are critical. “In this respect, one provided by news that pioneering UK- company has made a really significant based OB company Telegenic is using contribution to developing the Axon’s Synapse modular AV signal enabling technology that we needed conversion and processing system to realize these trucks,” Mike Spencer to integrate the various production commented. “Axon’s Synapse Autodesk 2012 toolsets have a unified interface subsystems and components in modules hold everything together its third 3D OB vehicle, which is in the vehicles. They are incredibly Autodesk announced new releases of production efficiency and maximize currently being equipped and wired by powerful, adaptable and compact the company’s digital entertainment their creative capabilities.” Sony Professional Services in the UK. cards which we have used for some creation software and middleware. The 2012 Autodesk Entertainment Throughout each of the three time. The 2012 versions enable iterative Creation Suites give artists and Telegenic 3D OB vehicles Synapse “Our relationship with Axon stretches workflows, help users manage production facilities access to a modules are integrated within the over many years,” explains Spencer. complexity and provide new creative powerful range of creative toolsets at main workflow for signal distribution, “When we first started talking to Axon tools. exceptional cost savings. Single-step synchronisation, up- and down- (and other manufacturers) about 3D it “Movie, video game and television interoperability and more consistent conversion, 3D signal processing was an entirely new language. Axon audiences are demanding more user interfaces in the 2012 software to compensate for mirror rigs and was one of the best at understanding sophisticated content, which is suites help artists to realize their distribution, and audio embedding and our needs: their team is very bright causing production complexity creative potential. Dolby E processing. and generates very good ideas. Even to outpace budgets,” said Marc All products in the latest In the UK, Telegenic Petit, Autodesk senior VP Media Entertainment Creation Suites partners BSkyB and & Entertainment. “To remain offer notable new features and has been a major competitive, studios must improve enhancements. contributor to the testing, development and commercial Telecast’s new SMPTE cables roll out of Europe’s At NAB, Telecast Fiber Systems own US factory with SMPTE 304M premier 3D TV introduced a new line of SMPTE connectors, enables unparalleled channel. Telegenic’s cable assemblies specifically designed resilience and long life in harsh fleet of pioneering to meet the demands of HDTV environments.” 3D OB vehicles broadcasting. The new assemblies are equipped with were designed by The heavy-duty, stainless steel heavy-duty SMPTE 304M hybrid the company’s chief assemblies offer high levels of fiber connectors with solid stainless engineer, Mike performance, reliability, and durability steel shells covered with a full-length Spencer, who is Telegenic 3D OB vehicle leaving Sony’s Basingstoke, for fiber connectivity between HD rubber strain-relief boot to protect the England headquarters. recognised as one cameras and camera control units, in connector from the rigors of outside of the most creative studio as well as outside broadcasting broadcasting. The assemblies are fully and progressive broadcast engineers now, they are constantly listening and configurations. backward-compatible with triple- working in the industry today. taking ideas on board. “Our SMPTE assemblies feature plated brass connectors, and are rated Spencer explains that within the new “With Axon, it’s a question of the superior workmanship and for more than 20,000 mating cycles environment of 3D OB production, partnership – we’re in this together. outstanding quality that Telecast – a 50 percent increase over previous with all the new equipment and We enjoy a very good relationship brings to all of our products,” said assemblies. new operators that are necessary with Axon and this means a lot to us. Steve DeFrancesco, Vice President The innovative design is a direct result within each truck, concepts such as They are our natural partner choice as and General Manager at Telecast Fiber of new synergy between Telecast minimizing power consumption and we continue to develop each new 3D Systems. “The combination of our Fiber Systems and Belden, Telecast’s the miniaturization of equipment project,” stated Mike Spencer. new hybrid cable, terminated in our new corporate parent. Broadcast Fibre Optic Solutions

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Fast shoot-to-edit IN THE NEWS in HD - GY-HM750U JVC’s new GY-HM750U ProHD camcorder JVC has introduced the GY-HM750U simultaneous recording to both SDHC ProHD compact shoulder-mount cards for instant backup or a client camcorder pitched as a solution for copy. ENG news, sports, documentaries, JVC’s native fi le recording technology events, and other location shoots, allows recording in ready-to-edit fi le offering a fast shoot-to-edit workfl ow formats (.MOV .MP4 .AVI). by recording native HD or SD footage JVC’s Craig Yanagi said: “High in ready-to-edit fi le formats on low- defi nition has not yet been cost SDHC memory cards. standardised in many markets, and a to a satellite uplink or microwave a variety of lenses with its 1/3-inch Equipped with the same 3-CCD vital segment of broadcasters don’t transmitter via BNC. bayonet lens mount. JVC offers ten imaging system found in the fl agship have the infrastructure to deliver HD JVC has also improved its Pre Rec lenses from Canon and Fujinon, as GY-HM790U, the GY-HM750U from the fi eld. feature, the GY-HM750U stores well as a broad line of studio and fi eld delivers outstanding 1920x1080 “That’s why the new GY-HM750U 20 seconds of footage in its cache. accessories. images in a small, lightweight form offers the fl exibility to record in 480i Other features include variable frame A LoLux version of the camera factor. It records at selectable data as well as a variety of HD formats. rate recording, extensive image specially designed for ENG use, rates up to 35 Mbps and can record It can fulfi ll current SD needs while customization, a high resolution (1.22 the GY-HM750LL, will also HD footage in 720p, 1080p, and providing a seamless transition to HD million pixel) LCOS viewfi nder and be available to direct broadcast 1080i, as well as SD footage in 480i. in the future.” 4.3-inch fl ip-out LCD monitor, and customers. Developed to assist Using JVC’s established native fi le- Building on the modular approach of JVC’s patented Focus Assist. The television journalists when external based workfl ow, the GY-HM750U the GY-HM790U, the GY-HM750U GY-HM750U also features two XLR lighting cannot be used, JVC’s includes a dual card slot design includes a 68-pin chassis connector audio inputs with phantom power, exclusive LoLux feature goes beyond that records to non-proprietary that creates a direct interface with plus manual audio level controls with the normal gain boost to produce SDHC cards and/or optional SxS various modules such as the new audio meter. broadcast acceptable imagery in recorder. A new feature, born from KA-AS790 ASI output module that The GY-HM750U accommodates extremely low-light environments. numerous customer requests, allows provides a direct feed from the camera Grass Valley’s MediaFUSE Bluebell Opticom Following the successful launch The latest BC550 Series compact System Wins Pick Hit Award at IBC last year we have seen modules are designed to be the most widespread interest and sales in the cost effective way to add fi bre I/O to The latest version of the Grass Valley “This award confi rms our belief new TDM-700 system, including compact remote camera systems. A MediaFUSE Content Repurposing that broadcasters and multimedia coverage at the recent Royal Wedding. 3G-SDI signal is carried over fi bre and Multi-Distribution System, a producers want a fast and easy way The TDM-700 provides a rugged and optic cable with a reverse path for an hardware and software platform that to repurpose linear TV content to cost effective optical link between audio or control data signal. Each facilitates faster turn-around time for support the various on-demand and a remote “POV” (Point of View) BC550 is housed in a compact light getting content to the Web and mobile mobile distribution platforms that will Camera and an OB van or control enclosure to allow easy deployment devices for on-demand delivery, was bring new revenue and an expanded room. The link provides an HD-SDI near the camera head. recognized by Broadcast Engineering audience for their content,” said Scott feed from the camera with a reverse magazine with its coveted Pick Hit Murray, Senior VP of Live Production composite video feed for award. Solutions at Grass Valley. “In fact, genlock or monitoring The Broadcast Engineering Pick Hit MediaFUSE users are fi nding that plus bi-directional RS232 awards are the industry’s longest their existing Web and content staff and RS422 data for full running new technology award and can process up to fi ve times more control of the POV. are selected each year by a panel content than before they purchased A 10/100 BaseT Ethernet of independent judges, looking for their MediaFUSE system.” link is provided to allow innovative products and systems MediaFUSE is targeted at all control of IP based devices that bring technical and fi nancial multimedia content producers and while a GPI path can improvements to a facility’s operation. can be deployed as a complement to be used to drive a tally The new version of MediaFUSE the Grass Valley Ignite automated light. The camera end (2.0) fi tted these criteria because it production system, or as a standalone can be housed in a robust empowers TV broadcasters and all system complete with an end-to-end aluminium enclosure for multi-platform content providers to suite of automated tools. fi eld and OB use. automatically convert linear content The BC323 provides a compact The WB170 is designed as an ultra and stream it live using Flash, HLS-5 and robust link for the conversion compact 19” rack-mount media (for HTML-5), and of two independent 3G-SDI signals converter for the conversion of up to Windows Media into fi bre optic cable. They are 28 independent 3G-SDI, HD-SDI, formats. Each format particularly relevant with the advent SD-SDI and ASI signals into fi bre can feed multiple of 3D productions where initial tests optic cable in 1RU. At only 15cm streams that can have been successfully completed. deep, the WB170 fi ts applications contain unique ads The compact design allows the unit where space is at a premium but no and content, replaced to be located close to the action or compromises on performance can be automatically on-the- 3D camera rig. Power from a variety accepted. fl y. Devices, such as of external DC sources is taken via The unit is intended for integration the Apple iPad, iPhone, and a standard 4-pin XLR. An optional with existing routing infrastructure to Google Android can all have enclosure is also available fi tted with provide multiple fi bre I/O offering low their own customised stream. Content delivery via Grass Valley’s MediaFUSE Neutrik OpticalCON connectors. cost high density fi bre distribution. 13 MAY/JUNE 2011 | WWW.INBROADCAST.COM

means working to their office hours, and sometimes means jumping on a plane. Communicating Our largest client in the broadcast industry, for example, is based on the west coast of the United States. They are also the longest standing client with your market in the agency at well over ten years. Which suggests that we are probably Gill Craig, Whiteoaks doing all the right things for them. Broadcast, technology and electronic “Build a better mousetrap and the Exhibitions are a pretty good media technology has always been world will beat a path to your door”. idea if they are done properly. a core market sector for Whiteoaks, That is not actually what Ralph Waldo But just going to the exhibition which means we understand it inside Emerson said – the original was a lot is not enough. out. We know the dynamics and we less snappy, and talked about corn Consider this. NAB has to more platforms, when broadcaster know the rhythm: we understand that and pigs – but it is a familiar enough somewhere around 1,500 exhibitors. Y has the same requirement they are although shows such as NAB and sentiment. The show floor is open for a total going to want to call you. IBC are a primary focus, you need And it is, of course, completely of 32 hours. A few strokes of the Incidentally, when broadcaster X sees to be building ongoing momentum wrong. calculator reveals that a visitor who their name in the magazine they are throughout the year. We have a We live and work in a highly tried to visit every booth would have going to be happy too. Happy because number of clients in the industry, competitive environment. Whatever a little under 78 seconds on each, they are seen to be decisive leaders which makes it easier for us to work our endeavour, someone will claim to provided that visitor spent every in the industry, and happy because with journalists on everyone’s behalf. be doing it better or faster or cheaper. available moment at the exhibition you chose them to show what a good We know them all well, and we can We have to fight for every deal. And with no breaks for meals and no system it is. chat to them about stories for any of so if we make a better mousetrap – or allowance for the walk between I am sure that, so far, I have not said our clients. And because we know video server, or fibre distribution stands. Just turning up to an exhibition anything you do not already know. So the industry and what they want, platform, or graphics platform – then is not an option. here is another obvious statement. If journalists and editors are very happy we cannot wait for the world to beat You need to create a buzz around your you want good PR you have to use a talking to us. that path to our door. We have to tell company and your product, so that good PR agency. Someone that takes As well as conventional press the world why what we have on offer when potential purchasers get the call the time to care about your business, relations, we can also help with more is so much better than the other guy’s from your salesman they answer, if but also takes the time to care about modern trends like communication product. they know you are going to be at an the industry in which you work. through social media. We do what it There are plenty of ways of doing this, exhibition they make an appointment Whiteoaks is one of the top ten takes to get your name out there. And of course. You can send a salesman to go to your booth. Creating that buzz technology PR agencies in the UK. we guarantee the results. out to knock on doors. But unless is one of the things that PR is really We have an international capability If you are not communicating well you are a very well known name, good at. If a magazine runs a story in not just through a network of with your market, maybe you need to and they believe you have a solution which broadcaster X says your system affiliates, but because our teams start by talking to a good PR agency, to their business challenges, there solved a real challenge and is now understand that being responsive to like Whiteoaks. is no guarantee that the door will be saving them money/making better clients, wherever they are, sometimes opened. You could go to an exhibition. programmes/delivering more content 14 WWW.INBROADCAST.COM | MAY/JUNE 2011 OPINION Autoscript’s Rapid Reaction Force The best innovation is customer led but only companies with the capability to react can deliver it

By Brian Larter Brian Larter, Worldwide Managing Director

According to the IABM’s latest which is financially secure and here survey, the global broadcast for their needs today, tomorrow and manufacturing industry has turned a beyond. BskyB, for example, selected corner and that by the end of 2012 the Autoscript to equip all the studios in market will be back to the levels of its new Harlequin 1 broadcast and pre-recessionary 2008. sports news production complex with a complete prompting solution Its forecast may well be true but the including our LED On-Camera Units evidence of our own eyes is that the and WinPlus software. industry is cautiously building for the Paul Northam, Harlequin 1 Studios future and that investment decisions Project Manager was particularly among broadcasters is tempered by impressed with the high quality strict new policies that place value for construction of Autoscript’s on- money at the top of the agenda. camera units.

Rightly so. The industry cannot afford “They are robust and well engineered, to be profligate in procurement when which is important as they will be the media economy is so fragile. moved around the studios a lot,” he LED 17” on camera unit In a recession people don’t stop said. studios, Autoscript was the obvious with the public down the barrel of investing, they tend to consider those choice,” said Head of Studios, the lens, then the failure is a result of investment choices more wisely. In In a separate project and a separate Andy Waters. “Autoscript is widely compromise. I’m alarmed because times of austerity procurement needs procurement process, Autoscript won recognized as the industry leader, failure at any level gives prompting a to be even more agile in its choice of the tender to upgrade the prompting and the company is without question bad reputation. supplier. equipment at Sky News when it known for delivering quality products moved to an all-HD studio last May. and great service.” Autoscript is not in the market of It’s fair to say that we entered 2010 Jon Bennett, Head of Studio Output, providing the cheapest prompting very apprehensively, but despite the Sky News, declared that they were These are fabulous plaudits for key option money can buy. But you are predictions of doom we didn’t see a looking for “reliable, legible systems contracts within flagship infrastructure guaranteed that the product will work, decline in business. Entering 2011- which could be used in a brightly-lit projects and ones which make us very will survive the rigours of daily use 12 business remains brisk not that studio as well as in natural daylight. proud but not, I hope, complacent. and that the talent can concentrate on Autoscript has not had to battle to win Autoscript’s tools fit the bill in every We could point to similar selections what they do best rather than worry custom. But the figures don’t lie. We respect.” of our equipment at BBC North, BBC whether they are going to hit their retain a solid 65 percent share of the Westminster and BBC Cambridge and mark. Unfortunately the prompting global prompting market in large part A similar rationale lay behind Peel as far afield as Abu Dhabi, Romania sector has been cheapened by poor because we continue to innovate new Media’s decision, via systems and India. quality product that is simply not technology around core products and integrator TSL, to adopt Autoscript up to the job and by companies that services which are proven to deliver prompting equipment for its won’t provide the security of service that return on investment. MediaCityUK production studio nor ability to respond to client needs. at Salford Quays which opens for Mission business very shortly. Two large Autoscript has a track record of Proven studios have been equipped with four critical, not a innovation in this field. It is part of LED On-Camera units plus dedicated its DNA. In the mid-1980s it was the PCs with WinPlus prompting bolt-on first company to deliver a DOS- durability software. A smaller studio contains based newsroom prompting system two LED On-Camera units as well as and then the first to develop for Clients understand they are buying If broadcasters install a multi-million its own prompt PC with WinPlus. Microsoft Windows. With Windows- into products of proven durability pound studio with the very latest equipment, only for the whole system machines ubiquitous among broadcast and into a company backed by all “When it came to selecting prompting to fall down live on air because the operations Autoscript was not alone the resources of the Vitec Group equipment for these state-of-the-art presenter cannot properly engage among professional equipment 15 MAY/JUNE 2011 | WWW.INBROADCAST.COM manufacturers in facing the challenge to incorporate an analogue prompt of writing new drivers and software output on their products since we interfaces with each new iteration of can provide it digitally. This is in Windows 95 or NT/XP/Vista. marked contrast to other prompting fi rms which continue to rely on basic We quickly realised that getting analogue video converters and third Countplus timecode & broadcast quality video from a PC party graphics cards. countdown generator and distributing that signal around Similarly when rivals opted to market coax-cabled studios was a serious their own newsroom automation challenge, not least to genlock script systems, Autoscript chose to work to the video signal. Largely for this with leading newsroom vendors like reason, but also to retain total control AP, Avid, Octopus and Dalet. over our technology, Autoscript made a strategic decision to devise and Indeed so integral is our +WinPlus+ manufacture our own video cards. News prompting system that these partners can support Autoscript software and immediately deliver upgrades to the customer. Record of We are the only prompting company to locate the servers innovation of these companies in our facility so that they develop That philosophy has stood us and our new code, we can test it and ensure clients in good stead. We continue to that the newsroom is installed on-site develop all our hardware and software fully compliant with core prompting in house. We don’t rely on third party tools. They consider us partners or consumer products.. Our clients in development - no one else has need not worry if part of a product that deep resource into newsroom line goes obsolete, since with our own evolution. If a customer has an issue Customer broadcast technicians and software in their studio we can replicate that developers we are in full control of and provide new builds to them the process. because of the way our software is feedback serviced. We don’t have multiple CuePlus caters for those with colour We have a history of quality We are proud that all of our versions for multiple sites - we have vision impairments and provides both engineering and accumulated industry innovations are derived from intimate one build. If a customer requests a a selectable colour range and multiple knowledge and it shows in every customer knowledge, and when certain unique feature we build it and colour states. The ability to select product we design. The products we customers give us a good idea we can make it available to the next customer from a range of colours addresses offer are designed for purpose and react to it quicker than anyone else or by an upgrade. the needs of talent with colour vision not a re-hashed computer screen or because we design, develop, build and impairments such as colour blindness, television monitor. support everything ourselves. Three years ago Autoscript led the which often makes it diffi cult to sector in introducing LED backlights. distinguish reds and greens. These The sector needs constantly refreshing Take for example the fact that every This required considerable investment features also provide a solution for in response to clients demand and single screen mass-manufactured but we did so after taking stock of studios where there is a need to technological advance. Nothing can today is 16x9. That’s understandable technology trends and customer need display not only the ‘on-air’ and ‘off- bear testimony to this better than since we live in a widescreen world. and what’s more we offered them at air’ state of any camera, but to also CountPlus and CuePlus, two new But 16x9 is no good for prompting no premium cost to customers. The pre-tally the camera being cued next. prompting accessories that will make when 4x3 is still the perfect competition has now followed suit but It can be mounted on and powered studio life easier for on-screen talent. screen size. We had to convince they will always be playing catch-up. directly from Autoscript’s LED line of manufacturers of our need and our prompters. commitment to them over the next Wireless prompting, optical scroll 3-4 years that we required 4x3 high controls with no CountPlus is a new timecode resolution glass for our customers. potentiometer, generator, timecode inserter and up/ We were fortunate to have the a unique down count generator designed for buying power to be able to negotiate dual-colour use in conjunction with ClockPlus with suppliers to continue those tally system - timecode displays. The user can preset developments, unlike other companies Autoscript has and store ten different combinations which can only offer off-the-shelf dedicated itself to of start and stop times, addressing screens, shoehorned into the product creating the most the requirement of many live with no control over the supply chain. advanced products studio presenters to have separate in the fi eld of countdowns for programme sections. Today, signals distributed around a prompting today. TV station are going digital, even Both new products are in fact if they are not already. We decided remarkably simple, thoughtful over three years ago to take the and elegant solutions and a direct most expensive route and rework all result of customer feedback. Only our studio technology including all by truly listening to customers is TFT on-camera units to be SD SDI the prompting industry going to compliant. Our video drivers are SD innovate and I believe we can SDI compatible allowing broadcasters hold our heads up and with to digitally distribute signals around some justifi cation say that the studio’s matrix Autoscript is leading the and output industry in this. analogue where needed. That means leading studio camera manufacturers like Thomson and Sony no longer need XBOX USB Device Ultra 16 WWW.INBROADCAST.COM | MAY/JUNE 2011 Bringing IT and Broadcast Together Systems Integrators are helping broadcasters execute strategies that translate today’s video engineering into the business needs of tomorrow By Adrian Pennington Channel 4 Playout Suite at Red Bee Media

The convergence of IT with broadcast means of monetising assets.” dB Broadcast recognized this trend perspective and what the cost drivers engineering is arguably the greatest TSL’s business includes a complete towards IT a decade ago and was are. Should we be looking to procure change impacting broadcast systems infrastructure expansion for Orbit one of the first SI’s to employ IT a broadcaster’s own infrastructure or integration since SIs first emerged Showtime Network in Dubai and specialists to carry out the integration solutions which sit on the cloud, for as a business two decades ago. The at New Zealand’s public service and configuration of products such as example. There’s still a great need for convergence has by all accounts broadcaster TVNZ where TSL encoding and compression systems. expertise in video engineering and already happened, although its “This first step has enabled routing – but network and storage implications are not yet fully dB to become a leader in design is equally important.” understood, particularly among client the delivery of this type of ATG Broadcast’s Managing Director, broadcasters. system Graham Day, finds his company That’s where systems integrators with more than 350 increasingly involved in pre-design fit in. Although procurement and installations over the last strategic decisions which in former implementation of hardware remains decade,” says dB Broadcast years would have been made by a central to an SI’s expertise, they are owner and MD David Bird, channel or network’s own engineering no longer mere rackers of kit but a trained engineer who still management. strategists working at the heart of a gets involved in running “Many broadcasters no longer have broadcaster’s operational thinking. major projects, such as the intensive technical resources on staff,” “The market demands SI’s provide UK’s Digital Switchover he says. “We are fully equipped to lateral thinking,” says Paul Wallis, for Arqiva. make appropriate recommendations Sales Director, Broadcast Networks “We have not only taken on before actual commencement of which continues to play a key role IT specialists but software a project. We’re also looking at in the development and expansion engineers to bridge the customers’ investment in equipment of Chellomedia’s multi-lingual, gaps between broadcast and helping them develop new ideas multi-platform playout facilities. “We products and IT systems, to increase revenue streams.” are a partner in future plans to help for example dB has Consequently the points of contact are broadcasters and media companies completed the development as likely to be an IT manager and CFO minimise the risks of new technology of an SNMP interface as a CTO or chief engineer, suggests deployment.” for it’s popular Hawkeye Wallis. “Solutions need to meet TSL celebrates its 25th anniversary range and web browsers operational and business demands,” this year during which time CEO for its MDU range,” Bird he says. “SIs need to understand and David Phillips has seen massive Daniel Url, Wellen + Nothen’s Commercial Director explains. address decision makers at every changes in the industry, and an even level.” faster rate of change in the last few designed a workflow and MAM Whereas tech decisions were once years than in the first fifteen. system incorporating technology from prescriptive, clients are now seeking “Accordingly our business is 16 software suppliers and hardware Business dialogue. continuing to evolve very quickly,” components from 14 different “They are asking what has worked he says. “The old days of plugging vendors. strategy in the past and what ways are there equipment together has moved on SI’s may take responsibility for of solving this going forward and to become much more about proper everything from technical planning, Aside from multiplying system how can we build flexibility into our integration of systems.” consultancy and design, through complexity, technology decisions systems,” says Phillips. The reasons for this, he says, lie in the furniture-making to the installation, are often led by business strategy Mediasmiths, for one, thinks the changing demands on broadcasters integration and commissioning of which encompasses every facet of an perception of the systems integrator who must respond with increasing televisual infrastructures. Alongside organisation. This also means systems hasn’t moved on swiftly enough and agility to how their audiences want to this, downstream service and support integrators being brought in to advise so chooses to describe itself as a consume media. is also gaining in importance. in pre-planning and by departments media technology consultancy. “Broadcasters have to find ways to “This can involve activities such as further up the food chain. “We also do a lot of implementation deliver to multiple platforms and remote maintenance via our Network “Clients are looking for a trusted work but we may not necessarily devices or risk new entrants coming Operation Center in Cologne, our advisor who comes in a little bit go out and procure technology on in to take away their business,” 24/7 hotline support service or earlier in the process, rather than when behalf of a client, instead when a says Phillips. “However the same through the provision of technical strategy is already decided and the SI media company needs a new business trend represents an opportunity for personnel on site,” says Daniel just has to choose the system,” says opportunity and thinks technology can broadcasters to make money by Url, Wellen+Nöthen’s Commercial Steve Sharman, CTO Mediasmiths help we advise them by researching delivering content in different ways. Director. Wellen+Nöthen handle which advised Peel Media on the technology selection as part of a The traditional push model where technical system administration during build of MediaCity. rigorous workflow analysis and design revenue was made on a license fee on-air broadcasting for customers “There’s a need for much deeper phase,” Sharman explains. or by advertising is making way for including Al Jazeera Sports and understanding of what the client is subscription models or on-demand German broadcaster WDR. trying to achieve from a business CONTINUED ON PAGE 18

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Bringing IT and Broadcast Together Cont.

SI or a vendor can take a solution and customise it to death to suit the Independent purpose of a particular workflow but all that happens is that the solution advice becomes brittle and unresponsive to new business needs.” Where broadcasters once turned to the IT-convergence requires SIs to larger vendors such as Harris, Grass work more closely with suppliers Valley or Sony to equip or upgrade because they are managing software infrastructures in their entirety applications on IT networks rather they are now more likely to seek than bespoke hardware solutions with independent advice – something that discreet cabling. all SI’s trade on. “Systems are in a constant state “Smart clients should be looking at an of change with regular software independent solution rather than one upgrades and the rollout of file-based with vested interests, otherwise there’s workflows,” reports Wallis. “This a risk of being tied into a vendor,” requires an ongoing partnership says Phillips. between the client and SI as systems David Bird says most projects are develop and expand.” in fact still turnkey but require more The expanding use of IT infrastructure input and support from suppliers, in place of traditional hardware especially their commitment to requires very careful planning to Paul Wallis, Sales Director, Broadcast Networks software interfaces. At ATV in Jordan ensure that solutions from third- often reflected in tender budgets,” says capability they are simultaneously party suppliers Wallis. “Of course the competitive seeking improvements in workflow. function market from manufacturers means Increasing bandwidth availability is efficiently it’s actually cheaper today to acquire challenging traditional set-ups and together. a full HD vehicle than it was three allowing far greater flexibility in how “Clients want years ago.” a broadcaster can set up its operation. an assurance Business is booming in the UK “The front-runners are investing in 3 that the entire in particular with major projects Gb/s 1080p systems which gives them system will have presently underway including the an easy route into 3D if or when 2D a long working Digital Switch Over programme, the television displays are phased out,” life in a world of move of BBC News and BBC World says Day. “Others simply want to fast-developing service moving to Broadcasting House replace early generation tape-based software,” and BSkyB’s H1 at Osterley. dB can or file-based digital equipment with says Day, claim to be the only SI working on all more powerful and cost-efficient who recently three projects. modern systems. And of course every managed a “There’s also the Olympic Games broadcaster now wants to expand its U$2.5m order round the corner, which in itself won’t podcasting and internet streaming Broadcast Networks 4x4 HD DSNG truck from Arab Radio yield vast amounts of work (Spanish services to leverage revenue from & Television firm OBS has that locked in) but it programme making. dB was responsible for the entire covering the supply, installation and will put UK SI’s in the spotlight,” says According to Bird the industry is still station but needed support from commissioning of a five-camera Bird. “It is still fiercely competitive in its infancy in terms of complete Harris, ENPS and others for the production studio plus a file-based which is a good thing for the infrastructure at 3G and will remain so integration of their products. ingest system. industry.” until equipment costs reduce. “We all Wellen+Nöthen boasts strategic know that copper and fibre solutions partnerships with leading broadcast exist to connect everything up but the manufacturers, but stresses that it is The business bigger issue seems more around cost also important not to overlook novel, Technology and availability,” he says. niche solutions. TSL’s Philips agrees that the “We therefore continuously monitor climate trends expectations are for a 1080p the marketplace for new, innovative infrastructure even if the facility will products to add to our product and Unsurprisingly, most SI’s report The switch from SD to HD may have not be operational at 1080p at the time service portfolio,” says Url. that business is competitive with peaked but gaining in importance of delivery. The transition to IT equipment or clients placing value for money high is the construction of completely “Very few clients choose not to have a IT structured cabling has also meant on the agenda, at the same time as tapeless, cross-functional production 3G-capable racking and glue system,” more reliance on suppliers and their investment in major projects is seen as systems in high definition. he says. involvement in configuration of essential for survival. “Key to this is to ensure that one Although customers are hesitant about bespoke equipment. Many broadcasters reduced their does not blindly jump on the tapeless rolling out 3D until the business case “From a commercial perspective investment activity following the bandwagon,” warns Url. “Precise is established, SIs need to be ahead things have changed,” notes Bird. “All global recession but the industry planning and the implementation of the curve. To this end, some like our clients are extremely mindful of became more buoyant mid-2010 and of efficient, uniform workflows, Broadcast Networks have begun budgets whilst striving for the best has remained so. throughout all components, are running 3D training courses at a technical solution that will give them Broadcast Networks, for example, the most important considerations. number of clients’ facilities. the best ROI.” reports a record year for business in Large TV networks are increasingly “For the operators and engineers A good SI will pick best of breed 2010, delivering 17 OB and DSNG discovering the enormous potential of it’s a chance to really work with the technology rather thank let a client vehicles to clients and with a number such solutions, resulting in a growing equipment and understand the deeper get stuck with one. “You need to of fixed file-based projects underway. willingness to invest in them. This is theory has proven invaluable,” says build flexibility into architecture and “The tender business as always is also reflected in our order book.” Wallis. “For senior management, that no longer means one system to fiercely competitive and the demands As broadcasters look to move into rule them all,” agrees Sharman. “An on organisations to save costs are HD, or refurbish systems to HD CONTINUED ON PAGE 20

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Bringing IT and Broadcast Together Cont.

the opportunity to work through 3D interstitial needs attention. business cases in different arenas with While most people understand that, industry experts can benefit from their it’s important nonetheless that the planning.” engineering and management teams One outcome of the need for involve non-technical staff otherwise improved return on investment are it could end in large investment with tools which can report and quantify little change to output quality. the impact of business processes. “The most common sticking point “We’re integrating tools which do is a people-management issue not just manage and move media but rather than technical one,” asserts can detect bottlenecks where there’s Day. “Operating routines must be excessive manual intervention, or discussed with all relevant staff before where automated processes are not committing to a specific workflow. necessarily working,” says Sharman. This process cannot safely be imposed “With realtime data analysis these from above. The system must also technologies feed back into business be flexible enough to accommodate strategies and have the potential to evolving business requirements.” ATG Broadcast TV4 Sweden really generate additional value.” Bird stresses that upgrading and changing a live Wallis agrees that a complete buy-in That’s where SI’s come into their own. system that is on-air 24/7 requires from an organisation is essential They claim, with justification, to have very careful planning and can not be alongside clear communication the experience from an organisational Change rushed. of business as well as technical change-management perspective as The hardware and plumbing may be objectives. well as technical expertise. understood but if the soft skills aren’t management “There has to be complete synergy “To deploy a truly integrated solution attended to then the project could end between IT and the traditional video and keep live systems on-air is a Well-designed modern broadcast in disaster. departments,” he says. “Clients often challenge,” adds Wallis. “It’s like systems are easy to use, presenting “Some of the clearest reasons for don’t realise how the improvements in a surgeon performing open-heart operators with a logical interface failure are that people haven’t been IT workflows can benefit their whole surgery whilst the patient runs a specific to tasks and alerting them well involved or trained properly,” says business; a great deal of education marathon.” before on-air time if a programme or Sharman. from manufacturers is required here.”

ADVERTISEMENT FEATURE ATG Broadcast ATG Broadcast (www.atgbroadcast. place of traditional hardware requires co.uk) is one of the world’s most very careful planning. Equipment successful providers of high–end, and software from various third-party reliable and easy-to-operate integrated suppliers must be integrated into a systems from front-end studios to reliable system that will have a long transmission-based solutions for working life in a world of fast- contract experience includes site- • A 13-channel playout system multiple deployment platforms. Active developing technology. We have the structure, air-conditioning, acoustics, expansion for TV4 Sweden, in Europe, Asia, Africa and the Middle experience and skills required to make lighting, energy conservation, completed in just eight weeks. East, the company is part of the Dan appropriate recommendations on pre- furniture, technical documentation • A major upgrade (to 3 Gb/s 1080 Technologies Group which operates design strategic decisions before actual and operator training. Full technical 50p) for BBC Television Centre from offices in Britain, Germany, commencement of a project.” support is provided for 12 months Studio Six in London. Denmark, Norway, Sweden and following the completion of a system. • A five-studio production centre Vietnam. We offer a wide spectrum A single-source guarantee of efficient This takes the form of engineering and post-production reource of services including workflow and reliable broadcast systems visits or telephone support as required. for BSkyB’s new Harlequin 1 design, project planning, equipment integration with optional long-term Technical maintenance can also be broadcasting facility. installation, software configuration, engineering support, ATG Broadcast provided throughout the entire life of commissioning, documentation and has the full resources needed to a system. In Kuala Lumpur, Malaysia, we on-site training. design, pre-build and test complete completed a comprehensive rebuild large-scale installations prior to The ATG Broadcast client list includes of Astro’s All Asia Broadcast Centre “An increasing number of clients delivery. Comprehensive reference some of the world’s largest broadcast (AABC), including HD infrastructure. come to us with requests for very manuals are supplied with every networks and embraces the latest A suite of operational areas was fast system design and installation,” system. Installations are structured to file-based 3D high-definition digital installed and the station architecture comments ATG Broadcast Managing allow easy expansion when and where broadcast technology as well as re-engineered to provide resilience Director Graham Day. “This is demand arises for extra programme podcasting and internet streaming. plus easy future expansion capabilities. usually because they need to respond channels or to meet requirements for quickly to evolving television viewer new delivery standards. Projects currently in progress or ATG Broadcast is also an active UK market trends, new standards and new recently completed include: distributor of broadcast equipment and delivery platforms. Or they have a Central to the ATG Broadcast ethos • A five-camera production studio software from leading suppliers such very close deadline for delivery, due is a careful study of client workflow and file-based ingest system worth as AmberFin, NTP and Viewcast. to tight programme schedules. The followed by selection and optimisation over 2.5 million US dollars for Arab expanding use of IT infrastructure in of software and hardware. Our turnkey Radio & Television. 21 MAY/JUNE 2011 | WWW.INBROADCAST.COM

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ATG Broadcast is part of the Dan Technologies Systems Integration Division (Danmon Systems Group, ATG Broadcast and Hiltron Communications) www.atgbroadcast.co.uk 22 WWW.INBROADCAST.COM | MAY/JUNE 2011 Broadcast Batteries, Today and Tomorrow by Kieron Seth

“I was recently shooting a film for seriously they are taking the reliability Al-Jazeera TV in the Democratic issue: the manufacturer’s Gold Mount Republic of Congo,” relates producer is engineered from durable high- Fiona Lloyd-Davies of Studio 9 films. impact polymer, and employs self- “I was literally thousands of miles cleaning gold-plated pins rated for hi- from the equipment hire company and current allowing them to withstand the with no technical support whatsoever, power required for today’s cameras. Fiona Lloyd-Davies, Studio 9 Films in Democratic Republic of Congo I was totally reliant on what I had in Anton/Bauer has also developed my kit bags. All the equipment got adapters enabling batteries to power And what about battery management? been able to progress so far in the a thorough workout but it was the hard drives, laptops, monitors and If you’re in a remote location, getting last 20 years? What is the state of batteries I was most worried about. other on-location devices. Clearly every last minute of charge from a the professional market? And what Being in a remote part of the world, versatility and durability are top of the cell is critical. Being able to track developments are round the corner? I was travelling light, with few spare agenda. accurately the power consumption and packs. Yet I was asking a lot of the time remaining on a pack has been batteries - drawing power to drive But what about sheer Wattage? a huge challenge for manufacturers. The Global the camera itself and also to feed an According to Rob Waters, Sales The leading battery manufacturers external recording device. So the Director at IDX Europe, the migration have maintained their core value powerpacks had to endure a heavy of the production industry to HD of giving users confidence in the Battery workload, an arduous journey, hugely video and tapeless acquisition has performance of their units. Power variable temperatures and the full ramped up the camera operator’s monitoring is a great example. Industry range of weather conditions. Plus, requirements. The newer, high- Accurate reporting of the charge the village enjoyed only 3 to 4 hours end cameras need more power remaining has been a holy grail for the Today mains power a day so it was always a to operate, from setup to actual industry and one that many developers are still struggling with. It took case of partial re-charging, if and not recording; average battery loads are Batteries have come a long way in companies such as Sony and PAG when, possible.” increasing to 60-80W in today’s HD the last 20 years in terms of their years to develop their systems to give environments. “Today’s emerging capacity, features and versatility. But meaningful feedback to the camera Modern professional batteries are built camera technology, higher current it was only in the mid-nineties, as the crew. Today it is possible to achieve to withstand the toughest conditions applications and new ways of shooting personal computing revolution began, accuracy down to one minute. and perform no matter what. “When requires more dynamic battery that major advances in lithium cells shooting on location, the last thing solutions for handling sustained started to happen. The new chemistry “Knowing the exact status gives you need is a power failure because power.” said Waters. “The latest hard boasted no discharge requirement (i.e. the camera team confidence in their of a bad battery connection,” says drives and removable card technology recharge in any condition), almost equipment and helps them make Martyn Sly-Jex of Anton/Bauer. make it possible for cinematographers 40% more power and 50% lighter than correct decisions. It tells them when A recent development from the and directors to say ‘shooting long’ standard NiCd cells, no memory effect they don’t need to take an additional American manufacturer shows how is good.” and better environmental credentials. pack or charger so directly saves time Li-ion has had a major impact in the and money. Solutions with vague broadcast world. power indicators are cheaper but they may not make economic sense.” The global battery industry is today Explained David Hardy Quality & worth $71 billion and is estimated to Technical Director at PAG. be growing at nearly 5% a year. This is a competitive global business. It So our intrepid producer venturing is vibrant, research-driven and at the deep into the Democratic Republic of vanguard of the electronics industry. Congo seems well served by today’s Increasingly fervent calls for energy battery manufacturers. Their products efficiency and green technology are are made of very tough and durable matched only by consumers’ demand materials ready to take a hammering for their gadgets to last longer and in the field. Employing the latest longer between charges. The industry electronic circuitry means getting cannot stand still. every last Watt available from a unit. Usage of heavy metals means a high wattage capacity and longer shooting times. Knowing the precise status of The Trickle a battery at all times means being able to plan shoots with confidence. Down Effect

Massive research and development, Specialist broadcast batteries clearly quality manufacturing, and continuing make up a tiny fraction of the global investment means that nowadays cell market which is where the cutting there should rarely be any fault or edge research takes place. But the shortcoming in the pack which could, manufacturers that serve the video after all, instantly end a production. market are nevertheless highly innovative in their own right. As How have broadcast battery broadcasters are power hungry early manufacturers been able to continue adopters, battery manufacturers have to meet the sophisticated and ever- always been quick to latch onto the changing power needs of production Anton Bauer HCX Dionic crews? How have powerpacks CONTINUED ON PAGE 24

24 WWW.INBROADCAST.COM | MAY/JUNE 2011

Broadcast Batteries, Today and Tomorrow Cont.

newest sources of energy whether it’s that place value over performance. nickel-cadmium, nickel-metal hydride These packs often take advantage or lithium-ion. of lower grade cells, use inferior So while the main independent materials and electronics. The result manufacturers such as PAG, Anton/ can be a shorter life span and the risk Bauer, Frezzi, Swit and IDX are of internal shorts. As the TV industry all forward-looking companies, the looks to make savings wherever it broadcast market is in truth a classic can, these low-quality products have ‘trickle down’ model. started to enter the global market. Buyer beware! Leaks and short “As a battery manufacturer, we have circuits can lead to overheating. to be quick to respond to what’s happening in the electronics market Battery manufacturers also need to so that we can get new technologies heed legal restrictions particularly to market quickly but safely. Our where airlines are concerned. The customers can never have enough American FAA reported 113 battery power so it’s our role to make sure fire incidents on passenger and cargo that we can supply them the best and planes between 1991 and 2010. As most reliable solutions. Developing a result there are draconian limits on power packs is about constant PAG L95e the amount of lithium-based products innovation. We have to continually especially well suited to the latest available and do make it into the that can be taken onto a flight. accommodate the changing shapes, professional broadcast cameras.” As marketplace. Researchers are now investigating sizes and power needs of the a result, their 95 Watt-hour capacity ways of producing generic power latest production kit. Innovation, weighs only 745g. What’s more, the cells themselves are systems for a range of broadcast research and development are in our only part of the story. Cell protection, equipment which do not conflict with DNA,” says Nigel Gardner, Sales & In terms of actual output, in the last robust casing, electronics, power transportation restrictions. “It’s not Marketing Director at PAG UK. few years there have been some real management, capacity reporting, a simple matter, but we’re close to advancements. A glance over some charge limiting, cooling, material the answer,” commented Hardy from We are still in the midst of a consumer technical specs show some pretty testing - all these aspects are crucial to PAG. electronics revolution. Now, as big good progress - a typical 14.8v Li-ion ensuring that camera operators have business turns its mighty sights onto unit from 2003 would provide 75 the power they need, when they need environmentally-friendly transport Watt-hours. Today, the same size unit it. In order to protect the user and and mobile devices that last for days, is capable of running for as many as their camera equipment, reputable The Future not hours, energy is the focus of 110 Watt-hours. Going up a weight manufacturers today deploy a number There is considerable excitement attention. Progress has been rapid: category, Frezzi now offers a 150 of sophisticated features: multiple about nanowire technology. March saw the launch of the Rolls Watt-hour unit; Blueshape’s new unit protection circuits, electrolyte- Electrodes made of carbon-silicon Royce Phantom electric prototype, is rated at a nominal 190 Watt-hour. impermeable materials, high-impact nanowires can store six times as much capable of astonishing speeds. This cases and even built-in RF resistance. charge as the graphite electrodes in may sound impressive but battery But what is the mark of a truly These are all areas where corners can lithium batteries. Nanowires (each is manufacturers are only half-way quality product? Can these very high be cut - but at what price? a seven thousandth the thickness of a there; innovation has no choice but capacity units endure and can they human hair) offer greatly improved to carry on until electric cars can purr manage internal temperatures? The Tempted by price and potential cost capacity combined with reliability along for at least 300 or 400 miles. reality is that today broadcast power savings, the cost-conscious 21st and a long shelf life. Scientists are packs built to best practise standards century production team has opened studying ways to mass produce the are highly durable, reliable and should the door to products technology cost-effectively. Today’s be trusted. Next up is the Hybrid Energy Improved chemistry has played Harvesting Device from Fujitsu Broadcast a large part in making today’s Laboratories which is developing a units more powerful and longer system that can generate electricity Battery lasting. But reliability is also down from heat sources. Remarkably the to enhanced power management material can produce power from The industry prefers lithium-ion cells. through advanced electronics. even indoor lighting in photovoltaic A spokesman for IDX explained: Power management circuits are a mode, and it can also generate “Lithium-ion battery cells, which can crucial part of battery design. Where power from heat (even body heat) be balanced for matching balance and electricity and combustible material in thermoelectric mode. Since the capacity, deliver longer life cycles and is involved, it is imperative to avoid organic material and its processing fast recharging for a rapid turnaround. over-charging, power spikes or power are inexpensive, production costs can Unlike other battery chemistries there drainage. Leading battery designers be greatly reduced. is practically zero self-discharge, and implement designs with up-to three no ‘memory effect’ on the battery’s layers of protection circuitry rather But let’s not forget that we are life span. With Li-ion we can develop than the required single layer. already in the midst of a lithium- environmentally safer and friendlier Nearly all the cells used in the ion revolution. Progress is batteries that can be recycled rather broadcast sector are sourced from continual to keep pace with than require special procedures for a handful of manufacturers - the the camera manufacturers’ disposal.” likes of Sanyo and LG Electronics. new models. As IDX sensibly They continually improve their cells concludes: “For the foreseeable For PAG, the benefit of lithium-ion to lay the platform for significant future Li-ion will still lead the way, is simple: “Lithium-ion technology enhancements in batteries. But like as it’s a proven and safe technology.” possesses a fantastic power-to-weight everything in life, you get what you IDX Endura HL9 And let’s face it, that’s no bad thing. ratio. It is for this reason that it is pay for... lower quality cells are Bow Tie television is the UKʼs Number One High Definition outside broadcast facility. Operating the fleet of up to the minute Standard Definition and two High Definition production friendly vehicles equipped with from 2 to 20 cameras. Our newest HD production vehicle has a rigid body and two expanding sides. Built to compliment our 20 camera articulated OB truck (a big favourite on sports and L.E.), this truck gives you access to the smaller city centre venues 26 WWW.INBROADCAST.COM | MAY/JUNE 2011 INSIGHT

Meanwhile the Fordela Corporation, NAB 2011: Emerging from a start-up founded by employees of Emerging LucasArts, was displaying a cloud- based solution for managing stereo behind the cloud Cont. from behind 3D content. Based on the fi rm’s Ambassador asset management system – and aimed at content looks electronic. the cloud producers, distributors and publishers They can put of 3D video – its 3D frame-packing The third great theme at NAB 2011 any kind of and management uses Microsoft aside from 3D and 4K imaging was nomenclature Azure and Amazon EC2 cloud the emergence of practical cloud- around it – a 4K, platforms. 5K, 8K – none based production and management. of that matters Among them was Avid’s Interplay until you put Central, a web-based production images up on portal for PCs, laptops and mobile Outside a big screen.” phones. Targeted fi rst at mobile Shilowitz said newsgathering it could also serve broadcasts that Red’s baby applications in fast turnaround genres version Scarlet such as sports or reality TV shows. It (which is a 3K is also the fi rst in a much wider plan get fi bre machine) is due by the company to offer products Grass Valley has been trailing a new this summer. based on an IP framework. transmission pack capable of carrying 4K imaging “In the past there were rigid tools 3G signals over triax with the UK will continue for news production, but this breaks wing of NEP Visions since January. to advance, not the mould and enables media At NAB it offi cially launched the least because professionals to access a single user innovation which was claimed to be fi lmmakers interface on a laptop or mobile device unique in the marketplace. seem to want and tap into newsroom systems,” The system allows fi bre or triax the highest 4K Red One explained Christine Viera, Avid’s VP transmission cables to carry either resolution as well as light dynamic for Product and Segment Marketing. 1080i, 720p or 1080p50/60 video, range, and colorimetry to play with, Its functionality includes frame- while being prepared for multiplexed as possible. For it to move into more accurate editing, based on the pairs of 720p or 1080i HD signals for widespread production, the supporting I-Movix has also extended the Maximum Throughput technology stereo applications. Cabling in this infrastructure needs developing. The operating range of the SprintCam Avid acquired a couple of years ago. manner will save time and money F65 for example, will record at 24 fps making it possible to use in extremely Craft fi nishing and edits for longform during set-up for live events. 50 minutes of footage in 4K 16-bit high or low temperature conditions, a programming are best performed on Sony presented its HDFA-200 RAW to new solid state 1TB SR cards dual output that allows an operator to dedicated workstations in a dedicated optical fi bre transmission adapters for transfer to a new record/playback shoot and record at the same time and facility for the time being at least, said which combine 1.5G signals into a device SR-R1. integration with EVS servers in ultra the company. single 3G-capable SMPTE feed. The Panasonic and Canon also have 4K slow mode. Fellow post production systems device also incorporates a viewfi nder chip technologies in development as Its main reference client appears to be veteran Quantel was showing QTube, output with multiple analytical and does JVC which was demonstrating Chicago’s Fletcher Camera & Lenses software it claims offers frame diagnostic modes - including several the power and small size of its large- which has purchased two of the accurate cloud-based edit and review specifi cally for 3D use. scale integration chip by showing it latest models for rental to US sports of video content. JVC’s hybrid ENG and studio camera working in a handheld camcorder. broadcasters. Designed for news broadcasters video The third main developer in this was demonstrated being streamed GY-HM790U now has a fi bre optic area is Japanese fi rm NAC, whose from Newbury and another stream transceiver which provides a means Hi-Motion camera is rented and sold from New York to a laptop in Las of uplinking video without the use through Arri Media and built by Vegas for realtime edits. Its special of an external encoder on location. Slow-motion Ikegami (in a switch from previous sauce lies in the way Quantel encodes Built by Telecast Fiber Systems as partner Panasonic). Shipping early the video fi les for such rapid and high part of its CopperHead range, HD advances 2012, Hi-Motion II was previewed at quality transfer. video is compressed into MPEG-2 NAB also sporting integration with EVS, simultaneous record/playback at pace and claiming its 3-chip CMOS sensor yields two additional stops of New versions of leading ultra slow exposure. motion cameras were unveiled “One of the key differences the including Live Motion Concept’s Hi-Motion has over the competition (LMC) Antelope MkII and the is that it is designed as a broadcast SprintCam Vvs HD from I-Movix. camera and fi ts easily into an OB,” Both cameras are built around Vision noted Andy Hayford, Arri Media’s Research Phantom optics and claim Digital High-Speed manager. “It has to capture action at frame rates up to three sensors on an optical block and 5,800fps in 720p60. its colorimetry is similar to a Sony “It is a total redesign inside and or Grass Valley camera. Other ultra out,” claimed LMC’s CEO, Felix slow-motion cameras are based on Marggraff. “We are using the Phantom large single sensor Vision Research V641 chip, which provides two cameras which were originally made permanent HD SDI outputs (live and for missile testing.” replay), two extra stops, plus tally and return signals. This is the only real broadcast ultra slow-motion available now.” i-movix’s SprintCam Vvs HD system CONTINUED ON PAGE 28 Recipient of the 62nd Annual NATAS Technology and Engineering Emmy® Award.

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then transcoded to DVB-ASI. A Rivals like Element Technica and to SxS cards while its smaller HXR- the Meduza camera from British lightweight, 1RU Base Station talks 3ality are already ahead of the game NX3D1 contains two ¼-type CMOS developer Meduza Systems. Based to the camera head and integrates though. 3ality was demonstrating sensors recording AVCHD format to on technology originally forged in the into studio, mobile truck, or portable the 3space suite which will ship this flash memory or memory cards. US defence industry, the Meduza has fly pack or into a facility’s switcher, year which is ultimately intended Shipping this summer from JVC is the potential, and marketing chutzpah, router and intercom systems. to remove the need for a separate an integrated compact (GY-HMZ1U to upset the apple cart just as Red did technical 3D production and 3D ProHD 3D) intended for the events before it. operatives. and corporate market which JVC The Meduza, which will be ready this 3space includes IntelleCam for claims captures full 1920x1080 Autumn, has been designed so that it Stereo automatically controlling convergence resolution for both eyes. can easily incorporate the very latest and interaxial spacing; IntelleMatte, The Phantom 65-Z3D twins the components including sensors, when 3D gets a live 3D compositing tool and popular high-speed imaging they become available and is touted as IntelleMotion which provides realtime optics of the Phantom with sets of the world’s first stereo 4K imager. integrated motion stabilization for long lenses. interchangeable lens pairs from Zepar. “With Meduza, in essence, you get 3D rigs will remain the purest route to It has been given the thumbs up by a one year jump on everyone else, Grass Valley was following the stereo acquisition for the foreseeable Doug Trumbull who developed the in a professional package that is lead of other camera vendors by future but outside broadcasters or TV Showscan 70mm, 60 fps process and never obsolete,” said Chris Cary the demonstrating initiatives for stereo 3D producers can also draw on a growing who shot a music video – Dana Fuchs’ company’s CEO. “Keeping pace with work. It has a 3ality rig on its booth range of twin-lens camcorders to Golden Eyes – using the camera technology is the greater message carrying twin LDK 8000 Elites and bolster a multicamera shoot or as a shooting 120 fps. He and James behind the camera system. The day an option to flip the second image the means to shoot stereo in cramped Cameron are both advocating higher of building a camera around a sensor right way up inside the camera head. spaces. frame rates for production since in has passed. We believe that capability, Grass Valley’s Camera Marketing Among the 20 or so such systems Trumbull’s opinion it “creates a sense flexibility and expandability are now Manager Bart van Dijk indicated that on the market by year end will be of realism.” the critical criteria in this field.” the company was working on several two each from Panasonic and Sony. One other innovation to note is Who’s to say he’s not right? 3D innovations including a model of Joining Panasonic’s the Elite which splits the camera head AG3DA1 is a from the transmission body for more shoulder mounted suitable steadicam work. version (AG-3DP1) Sony (with its P1 unit) has already with a larger chip done just that while Arri previewed recording 10 bit a work in progress version of Alexa AVC intra to twin to a similar design. The Alexa M 64Gb P2 cards. (Modular) is being developed in Sony also has tandem with rig pioneer Vince Pace handheld and and for integration onto the PACE shoulder-mount Fusion rig targeted at feature film and integrated models high end TV stereo production. in the works to Sitting alongside Vince Pace in a accompany a raft of joint opening keynote to NAB was consumer-oriented director James Cameron who caused stills and video considerable fuss by preaching stereo imagers that 3DTV should be as simple as launched at CES. producing 2D shows and that all that The aim is to needed to happen was for technology encourage stereo to piggyback on the 2D workflow. adoption, awareness By ‘technology’ he meant software and acquisition and rigs being developed at the of all stripes as Cameron-Pace Group (CPG), a newly it seeks to bring formed company which cements 3DTV into the the duo’s longstanding relationship. mainstream. CPG intend to export the expertise Sony’s PMW- they have already gained in features TD300 3D (notably Avatar) and sports (such as camcorder, due the US Open) into the international around IBC, is TV market. based on the XDCAM EX 3ality digital camera rig platform and records

30 WWW.INBROADCAST.COM | MAY/JUNE 2011 New developments in broadcast subtitling and captioning by David Kirk

Many television programmes, subtitles for frame-accurate insertion particularly the low-budget presenter- into the video. Each group of two to-camera variety, make so little use outputs can have one or up to four of the visual medium that they would graphic layers added. It is therefore work just as well on radio. But if possible to subtitle one programme Cavena’s Tempo the audio track is in an unfamiliar with two different languages keyed language or the listener’s hearing is onto the image and presented on The recently approved DVB-3DTV FAB’s Subtitler Broadcast Edition impaired, then television really comes separate feeds. Each output can also specification is accompanied by a subtitling software allows automatic into its own. It is capable of carrying accommodate a separate logo. Subtitling Systems specification (EN transmission of subtitles synchronised subtitles. These come in two forms: 300 743). This provides a standard with timecode and controlled by In addition, Cavena’s Tempo is a way of allowing subtitles and other VPS/PDC signal or an automation • Text superimposed as a permanent Windows-based subtitle preparation on-screen graphics to be positioned in system. Features include subtitle part of the video image. system intended for use with all the stereoscopic picture. file transmission playlist, interface languages, including right to left to automation systems, support for • Viewer-selectable subtitles, scripts such as Arabic and Hebrew. EZTitles’ 3DTitles allows the addition VPS/PDC decoder, interface to FAB normally called ‘closed captions’. Multiple languages can be integrated of depth to standard 2D subtitles for Subtitle Database for automatic Prior to the digital switchover, these on a single subtitle page. Text files can inclusion in stereoscopic programmes. download of requested subtitle files, were traditionally delivered as data be directly imported for editing and 3DTitles runs on Microsoft Windows and station logo handling. encoded in one or more spare lines timing. Capabilities include playback Vista or Windows 7 in conjunction of the analogue video field. Now of video files with subtitles, instant with an NVidea 3D Vision processing Screen Subtitling’s new Poliscript they are embedded in the digital rehearsal of audio and video with and display package, a compatible 3DITOR is designed to offer the signal stream. subtitles, single-keystroke instant video card and a 3D screen. The subtitler or stereographer instant replay, loop play to allow for fast software can open .ezt files created rendering with full stereoscopic So what is new or notable in this location of audio cuts, and frame- with EZTitles or converted between control, including the ability to control sector of the broadcast business? accurate control/playback of MPEG-1 different subtitle file formats in and manipulate full 3D subtitles in Quite a lot: files. Tempo is designed for use with EZConvert. Each output file can be live and pause mode. It supports the Cavena Toolbox which can be exported as a single clip to Adobe passive and active shutter viewing. Introduced at NAB 2011, Cavena’s used to convert subtitle files from one Premiere or Avid editing software. Formats include 3D Blu-ray, Digital Cimpress is a 1 RU video subtitle format to another or between different Subtitles can also be saved in Sony’s cinema, 3D broadcast, Mobile, VOD keyer for inserting open or teletext transmission standards. Blu-ray BDN XML stereoscopic and IPTV. Poliscript 3DITOR is retro- subtitles into broadcast applications Given the rapidly falling price extension format along with Final compatible with 2D subtitle files and in a digital video environment. It is of 2D/3D-compatible television Cut’s XML and EDL file formats. with Screen’s Polistream Black. controlled by the Cavena STU subtitle displays and computer monitors, transmission unit via an IP connection. many developers of subtitling and EEG Enterprises’ new CCPlay Softel is now offering 3D subtitle The STU receives timecode from closed-caption systems are adding FilePro software encoding tool for and caption creation as well as Cimpress and returns pre-rendered 3D capability to their products. MPEG-2 and MXF XDCAM video rendering, in partnership with Pixel file formats extends Power whose 3D-equipped graphics the capabilities products import Softel subtitle files of the company’s together with subtitle, timecode and CCPlay software z-axis metadata. Subtitles are then suite which rendered automatically in real-time, was previously synchronised with timecode and available only on controlled via graphic templates. the HD485 HD/SD The z-axis metadata can also be used closed captioning to animate the perceived depth of encoder. It accepts a displayed subtitle. It dynamically all common closed positions the subtitles to match captioning and the underlying action and avoid subtitling file distracting the viewer. Softel has also formats including developed an upgrade to its Swift ECF, SCC, Timed Create subtitle workstation to allow Text and CAP. The z-axis placement metadata to be software performs stored for each subtitle while ensuring AFD encoding into that this is within a pre-specified 3D file-based video object space. The combined system assets and can can be used to re-purpose 2D subtitles export caption files or create them from scratch. in the form of an AAF caption track SoftNI’s new Live Subtitling Suite suitable for import consists of three modules: LiveCap into Avid Media delivers live stenotyped closed Composer 5. captions to a local or remote closed caption encoder via serial port, Starfish Technolgies ‘ISIS’ CONTINUED ON PAGE 32

32 WWW.INBROADCAST.COM | MAY/JUNE 2011

New developments in broadcast subtitling and captioning Cont.

Ethernet, or modem. It simultaneously a production can encodes closed captions, interactive- be viewed on a 3D TV hyperlinks, and XDS V-Chip monitor. Subtitles ratings, to add captions to the video can then be added in a live broadcast. LiveSub links and positioned on the groups of translators into a real-time perceptual z-axis. network and coordinates their output. Starfish Technologies It converts the translation into the is offering a subtitle selected subtitling or closed caption file quality checking format for live broadcast. WebTitler application. As the adds subtitles and closed captions majority of subtitle in multiple languages to live or pre- file creation projects recorded webcasts. It supports SAMI are now outsourced and SMIL. to specialist bureaus, Sony’s Z Depth subtitling software is the quality of the intended for use in stereoscopic Blu- completed file Softel’s Swift create workstation ray productions. It can be employed is no longer under to edit and record offset metadata direct control of the parameter checks. It produces error SysMedia’s WinCAPS Quantum for accurate placement of subtitles broadcaster. The Isis Subtitle FileQC reports that are automatically emailed increases productivity by combining and interactive graphic menus in the service automatically processes to the file providers, indicating the conventional subtitle preparation 3D space of each scene. Used with standard subtitle file formats to pass nature of the problem. techniques with automated media Sony’s Vegas Pro 10 editing software, or fail files based on a number of transcription, assisted translation,

NEW WINCAPS QU4NTUM NEW PLASMA 5 TELETEXT SUBTITLING SOFTWARE PRODUCTION SYSTEM ta new era in subtitling productivity tglobal market leader t powerful automation tools include transcription, tanalogue and digital TV, web and mobile timing alignment and script processing t digital-ready and interactive multiplatform solutions t part of a comprehensive range of subtitle include MHP, MHEG-5, OpenTV /captioning systems tautomated content feeds minimise operational costs t live/news subtitling with speech recognition t manage advertising, SMS and editorial tany format, any language, any platform independently to maximise revenue

for more information get in contact with us today +44 1293 814200 t [email protected] t www.sysmedia.com 33 MAY/JUNE 2011 | WWW.INBROADCAST.COM

New developments in broadcast subtitling and captioning Cont. adaptive extraction of dialogue from scripts, automated colouring, and speech-to-text alignment. Any or all of these tools can be used to deliver a draft subtitle file ready for the subtitler to quality-check and correct as needed. An adaptive script extractor, given basic formatting guidelines, can extract dialogue from a consistent script layout. The output of the automated processing stages contains indicators showing the subtitler where manual intervention is particularly required. Andrew Lambourne, CEO of Sysmedia added, “Although WinCAPS Quantum will support 3D subtitle production we are seeing very little demand for 3D preview in the Andrew Lambourne, CEO, SysMedia subtitling preparation community. Perhaps this reflects a general uncertainty about the undoubted additional cost of adapting subtitling Looking practices for good 3D presentation.”

WinCAPS Quantum also supports the ahead use of re-spoken text input. Where the audio is unsuitable for accurate If the appearance of 21:9 cinemascope automated transcription, re-speaking 3D television displays at CES 2011 to a trained speech recogniser can in January is any guide, broadcast be used for fast transcription - with subtitles and captions could soon be automated segmentation, formatting getting a great deal wider. However and text-to-speech alignment further delivered and by whatever means reducing the need for manual effort. displayed, text in general and subtitles WinCAPS Quantum will be available in particular look set to remain initially for offline subtitle creation, an important element of human with a live subtitling version to follow. communication.

SysMedia’s WinCAPS Quantum www.cavena.com 34 WWW.INBROADCAST.COM | MAY/JUNE 2011 SPOTLIGHT New developments in fibre by Dick Hobbs

Fibre optic cables have, of course, fibre a real broadcast solution”. been around the broadcast industry The reason that fibre needs to be for many years. But they have demystified for broadcast applications traditionally been regarded as a is because of the rapid growth in specialist area. 3Gb/s signals, either for 1080p or for The perception has been that installing stereoscopic 3D television. 3Gb/s data and making of fibre is a difficult rates pose huge challenges for co-ax business requiring dedicated skills and copper cables, and a simple to install equipment. That has led to fibre being fibre solution is required. largely confined to closed systems Making the fibre easy to lay without for transporting large numbers worrying about bends and kinks is of signals, from companies like one part of the problem. The other is Telecast Fiber and Riedel Mediornet. the perception that fibre is difficult Outside broadcast cameras use fibre to terminate and, should a cable connectivity when very long distances get damaged, while any competent are involved, using a SMPTE standard wireman can solder on a BNC in a hybrid cable and connector. minute or two, if it is a fibre then you When fibre needed to be installed in need to call in an expert. a facility the job tended to be handed Several manufacturers, including to a specialist contractor, usually from Belden, have now developed simple the IT world rather than broadcast. snap-on connectors. 8mm of the Part of the challenge lay in cutting jacket is stripped with a simple tool, the fibre to length because it was the prepared end is inserted into the intolerant of bends so leaving coils of connector and a clip closed. If the slack in the bottom of a rack was not termination is not perfect, the clip practical. can be opened and adjusted a couple Riedel’s MediorNet system That is why, according to Chris of times. “This is perfect for patch Smeeton of leading distributor cords, and it all makes fibre practical broadcast fibre connectivity. “Trucks cabinet. Optical power metering is Argosy, one of the most important for a wireman,” according to Argosy’s are being pushed further away from included, and using SMPTE hybrid developments has been the Smeeton. the action, so triax is becoming a fibre cables means that the robotic pan introduction of “bend insensitive” Richard Hutchinson of Optical Cable problem,” he felt. “Logistically life is and tilt head can be powered over the fibre. This uses a special coating on Corporation (OCC) concurred: “With changing, with many more cameras same cable. the inside of the cable jacket which the advent of bend tolerant fibre in use typically.” He also thought that MultiDyne is also tackling the reflects the light back into the fibre, everybody is moving towards single Europe was ahead of the US in its use challenge of providing a secure greatly reducing the losses. mode fibre for HD installations. It of fibre. connection between a camera close to Argosy, which developed one of has become a common standard, Bluebell Opticom specialises in the action and a truck some distance the first bend insensitive cables, and we have to move to fibre.” OCC developing fibre solutions to specific away. Its Lightbox system, which BendBright, in association with works with customers to develop requirements, either in dedicated puts all the connectors and electrical manufacturer Draka, demonstrates specific applications: when I spoke boxes or in compact modular frames. to fibre conversion in a configurable its capabilities by coiling a length to Hutchinson at NAB he had been “We aim for flexibility,” said Mark weatherproof case, has recently gained of cable around a pencil. The point, working with a customer on a 36 Townsend. “We ask the customer two new models. according to Smeeton, is that “it channel fibre ring system. what fibre do you want to use – hybrid The first reflects the view of makes patch panels practical, making He also commented on outside or four core tactical cable – what MultiDyne’s Fred Scott that “the trend connectors do you prefer – Lemo or today is to move as many signals Neutrik – and what do you want to put over as few fibres as possible”. The down it.” Lightbox 1440 can handle up to 60 The company had recently developed feeds, with multiple HD cameras some special solutions for UK outside and their viewfinder returns, audio, broadcast specialist Telegenic, for its intercom, GPI, tally and ethernet. The 3D unit. This carries the left eye and Lightbox II is a second generation right eye signals, plus data and GPIs compact device, particularly aimed at for camera and rig control. Many news and events operations. applications are driven by sport, for The units are configurable using instant point of view HD cameras the interface cards developed by which require transport of a genlock MultiDyne and which can be used signal and data for tally and control as in the industry-standard OpenGear well as the output video. modular system. The latest video card Telecast Fiber Systems recently can carry up to 18 HD video channels launched a new range of point of over one fibre. view camera links, particularly aimed An innovative approach to connectors at robotic cameras. The base station comes from Advanced Fiber Products. module is highly compact, allowing They have a system, originally nine links to be housed in a 3U rack Belden Connects CONTINUED ON PAGE 36 35 MAY/JUNE 2011 | WWW.INBROADCAST.COM 36 WWW.INBROADCAST.COM | MAY/JUNE 2011

MultiDyne’s Lightbox

New developments in fibre Cont.

developed for the US military but said Christian Ganahl of Neutrik. equally applicable to any mission The connector automatically shutters critical application such as broadcast both the cable and receiver when signals, that gives secure locking of unplugged, protecting the light path. duplex or quad fibres into standard As part of the OpticalCon family LC connectors. With matching Neutrik offers a measurement and panel connectors it also means that monitoring system for broadcast cables can only be inserted into the applications. The PowerMonitor right sockets: there are eight colours provides continuous live available, each with a different keying monitoring of up to on the plug and socket, so the system four fibres, engineer can set as many as eight checking circuit types, safe in the knowledge signal strength that cables cannot be accidentally and integrity. inserted into the wrong circuit. According There are colour coded tools which to Ganahl, will only remove plugs of the in practice matching colour (an administrator’s the device is tool is also available which will used in case unplug any colour). As an added of unexpected discipline, once a plug has been problems: “you removed from the socket you cannot set the threshold for take the tool off until you put the the lowest acceptable dustcap on the end of the cable. signal, then wait for the Colour coded blanking caps are alarm”. available for sockets. Protection against the Neutrik also has its own take on elements is also a key design the LC connector, in its OpticalCon feature in the Lemo connector system. This uses the standard form range, with secure locking and very factor, but in a construction which broad environmental conditions: -50˚ provides a very rugged and secure to +200˚, for example. connection, making it ideal for Lemo is now adding system products capable of 3Gb/s data, so can be used multiplexing) to carry 16 HD channels remote applications. This makes to its range of connectors, with the for stereoscopic 3D if required. on a single fibre and up to four fibres it very popular in equipment to be HDZLink. This takes a professional Telecast Fiber Systems has been part in a single 1U frame. used on the road, such as the Riedel camcorder and turns it into a system of the Belden family since the end Mediornet. camera, with fibre transmission to a of 2009. Support for 3Gb/s signals “CWDM has become the preferred “We set out to create a standard, switcher of HD video, multi-channel is central to its latest products. The approach to optical multiplexing which used the regular LC connector audio and ethernet, as well as HDMI new Python 3G system uses CWDM in digital video and audio but is rugged for use on the road,” return video. The video channel is (coarse wavelength division communications because of its reliability and cost advantages,” said Steve DeFrancesco of Telecast Fiber. “With each strand capable of moving up to 48Gb/s of data, fewer fibres are used resulting in less expensive cable and connector costs and lower overall lifecycle costs for broadcasters”. Lowering lifecycle costs was one of the key messages from this year’s NAB exhibition, where most exhibitors were focussing on the pragmatic view: broadcasters and production companies have to continue to deliver excellence, but within tightening budgets. The latest developments in fibre, from advanced multiplexing to simplification of installation, play their part in achieving that goal.

Bluebell’s Dual 3G-SDI Optical Tranmitter 0(',251(7&203$&7

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:833(57$/_%(,-,1*_%(5/,1_*/(1'$/(_/21'21_6,1*$325(_6<'1(<_9,(11$_=85,&+ ZZZULHGHOQHW 38 WWW.INBROADCAST.COM | MAY/JUNE 2011 Simultaneous Multi-Format Encoding for Efficient Content Repurposing By Digital Rapids

Distributing content to multiple in multiple bit rates and resolutions source or tape in real time, however, viewing platforms is commonplace concurrently. (These technologies solutions differ considerably. Some for almost all content rights owners in include Microsoft IIS Smooth Real-Time, output only a single compression today’s competitive and increasingly Streaming, Adobe Dynamic Streaming format, resolution and bit rate at fragmented media environment. The and adaptive delivery to the Apple Multi-Format a time; others can output multiple expanding breadth of viewing devices iPhone and iPad.) You will likely resolutions and bit rates concurrently is accompanied by divergence in also want to create a full-resolution but only in a single format; while the the formats and parameters required archive copy of the content for future Efficiency most flexible solutions can capture for optimal presentation quality and transcoding into additional new and encode to multiple formats and Most file-to-file transcoding solutions device compatibility. While traditional deliverable formats as required. output parameters at full quality can create multiple output formats production and distribution platforms simultaneously in real time. from a single source, with varying used a limited range of formats, such Efficiently repurposing content for This latter class of format-flexible degrees of performance, quality and as MPEG-2 in Transport Streams, these varying platforms and devices encoding solution offers numerous efficiency when doing so. When little such consistency exists today. presents new challenges, and the benefits: capturing and encoding from a live Even as H.264 has taken hold as encoding systems used to create these a common thread amongst most deliverables are critical audience viewing platforms and points in the process. The devices, exceptions remain, and quality, performance and variances in how the compressed efficiency of the encoders media and metadata are ‘packaged’ for and surrounding workflow A) Single-format/resolution/bitrate delivery continue to require distinct have a significant impact outputs for reaching these targets. on productivity, costs, the VTR IPTV, Internet TV (which itself might viewer experience and be viewed on a personal computer, the timely availability of H.264 a set-top box or a ‘connected’ TV), content. No longer is it 720x486 broadcast, mobile phones, personal enough for an encoding 2 Mbps media players – all of these targets system to be able to output Encoder have their own unique characteristics, just a full-resolution and and no one output comprehensively proxy version. Efficient and optimally serves them all. For any multi-platform output multi-platform distribution strategy, requires encoding solutions encoding to multiple compression or that optimally support packaging formats, resolutions and bit multiple formats and the B) Single-format/multiple resolution/multiple bitrate rates is an unavoidable requirement. specific needs of each Factor in non-distribution formats for target device. Even better VTR acquisition, production and archive, are solutions that can H.264 and the types of deliverables number create these deliverables 720x486 in the dozens. simultaneously in ‘real 2 Mbps Even just looking at one distribution time’, where the total platform, playback on a personal encoding time is the same Encoder H.264 computer from the Web, leads to as the duration of the 320x240 an array of format considerations. content. Faster-than-real- 600 Kbps Compression formats common on the time encoding can also be web currently include H.264 (also achieved when encoding known as AVC, or MPEG-4 Part 10), from a non-live source VC-1 (the SMPTE standard related such as existing mezzanine to Microsoft Windows Media), On2 media files. C) Multi-format/multiple resolution/multiple bitrate VP6, the open source WebM format introduced by Google in 2010, and In this article, ‘encoding’ VTR H.264 Apple QuickTime. The different primarily refers to creating 720x486 technologies for building web-based file-based deliverables. The 2 Mbps viewing experiences vary in which inputs to the encoder could compression formats they support. For be ‘live’ sources (such as H.264 example, Adobe Flash technologies a video router), decks, or Encoder 320x240 support H.264 and On2 VP6, while existing media files, while 600 Kbps Microsoft Silverlight supports VC-1 the deliverables could be and H.264. To reach the broadest used for subsequent on-demand audience possible across varying viewing or download on multiple VC-1 connection speeds and operating devices, Blu-ray or DVD authoring, 320x240 systems, and especially if syndicating archive, or a plethora of other 600 Kbps Diagram 1: Encoders can differ your content, you may choose to purposes. Most of the same concepts significantly in their real-time abilities offer your Web-based content in also apply to encoding for real-time when capturing and encoding from a MPEG-2 multiple resolutions, bit rates, and distribution (such as broadcast or live live source or tape. (A) Encoder able 720x480 even compression formats. Even if streaming), although the breadth of to output only a single compression 5 Mbps only a single format is used, recent compression and container formats format, resolution and bit rate at a time. enhancements in web video delivery used in file-based production and (B) Encoder able to output multiple resolutions and bit rates concurrently but technology to dynamically adapt to distribution far exceeds that used for Uncompressed only in a single format. (C) Encoder able 1280x720 variations in consumer bandwidth are ‘live’ real-time delivery. to output to multiple formats and output dependent on the creation of streams parameters simultaneously in real time. 39 MAY/JUNE 2011 | WWW.INBROADCAST.COM

Simultaneous Multi-Format Encoding for Efficient Content Repurposing Cont.

• Less equipment – by eliminating and repurposed. Significant changes source it must have at least a basic those formats. Examples include the need for separate encoders in preferred deliverable formats hardware component to interface to automated distribution of the resulting for each format, multi-forma (for example, from On2 VP6 to analog or SDI sources, but pre- deliverables (such as publishing to a systems reduce space and power H.264 on a website) may also compression image processing and website, or file transfer to distribution requirements while lowering be transitioned by offering both the actual compression itself may be partners), branding, and content equipment acquisition costs. formats in parallel on an interim performed in hardware or software. protection or usage tracking through basis to reduce viewer alienation. watermarking and DRM. • Reduced operational complexity Systems that rely solely on hardware – while separate encoders for While all of these benefits are compression tend to be limited in Optimal effectiveness in multi- each format could be deployed in advantageous operationally to the the breadth of encoding formats format encoding can be achieved parallel to achieve simultaneous content provider performing the they support. The overall number through a combination of hardware deliverables, doing so adds to encoding, the speed of turnaround is of formats available may be quite and software processing. A key the complexity of the workflow. particularly noteworthy, as it directly limited (sometimes even just one). step in high-quality encoding Automation requirements would extends externally to the provider’s Even where the hardware supports is pre-processing – essentially increase to ensure that all encoding audience. Timely availability of multiple formats, it may only be able ‘grooming’ the source signal prior to is perfectly synchronized, while content is critical to audience to do one at any given time, requiring compression. De-interlacing, video any change to the combinations of acquisition and retention. With the reconfiguration to switch formats. noise reduction and filtering are all desired deliverables may involve vast number of websites and other Furthermore, while compression examples of pre-processing functions rerouting of signals between the outlets now available, viewers won’t formats such as MPEG-2 are that can significantly improve the encoders and reconfiguration of the wait for the clip they want to appear relatively mature, more recent formats quality and bandwidth efficiency settings on multiple systems. on a specific site – they’ll search for it such as H.264 are still evolving, and of the compressed output. From a on other sites instead. new compression formats continue to quality perspective, performing pre- • Faster turnaround – systems emerge. While most hardware-centric processing in hardware enables the that support multiple formats but Timeliness is particularly significant encoders are firmware-upgradeable use of more sophisticated algorithms not concurrently can still reduce with news and sports content, but even with certain extensions of existing over what could be achieved in real overall equipment requirements, extends to longer-form content such as formats, more dramatic extensions time in software alone. Furthermore, but require multiple passes from a episodic series. A viewer who missed or completely new formats may even basic software pre-processing repeatable source (such as tape) to an episode of a particular television require new hardware. As such, algorithms consume processing achieve the desired deliverables. By show is most likely to look for it these hardware-centric encoders are time on the host system’s CPUs. performing multi-format encodes in online within hours of its original not well-suited to multi-platform, By performing the pre-processing a single real-time pass, significant debut. If it isn’t available at the time multi-format applications but may in hardware, more CPU processing time is saved. the potential viewer looks, he or she be appropriate for usages targeting a power is left available for the actual may not come back again – a lost single platform (such as a live satellite compression, increasing the number • Less wear on supporting opportunity to engage that audience channel). of outputs that can be created equipment – if the source content member. simultaneously in real time. is tape-based, each additional ingest Systems that combine hardware and and encoding pass incurs another software in a common computing complete playout of the tape Hardware platform offer greater flexibility in content, causing additional wear on the breadth and upgradeability of Diagram 2: Combination hardware/ the deck. supported compression and container software encoders provide the and Software formats, as enhancements and flexibility of software -- enabling • Flexible redeployment – a extensions can be applied through different formats and video broadcaster’s encoding needs today software updates. Beyond the formats processing for each of multiple Equation concurrent real-time outputs – may be very different in the not- themselves, software-centric encoders with the quality and performance so-distant future, and multi-format For an encoding system to ingest also provide greater flexibility and advantages of hardware for shared systems can easily be redeployed content from a live or tape-based robustness in the features surrounding pre-processing.

ENCODER OUTPUT(S) SOURCE(S) H.264 HARDWARE SOFTWARE 720x486 VTR EJECT 2 Mbps OPERATE

MENU DISP RESET REC PLAYPAUSE PROCESSING COMPRESSION SEARCH- SET SEARCH+ REW STOP FF HOLD BLANK CUE UP PRE-PROCESSING PHONES Logo De-int. Watermarking H.264 H.264 Overlay 320x240 (shared Logo 600 Kbps de-interlacing, Overlay H.264 noise reduction, Logo VC-1 VC-1 Overlay Watermarking 320x240 filtering, graphic 600 Kbps Uncompressed overlay, etc.) Container Wrapping Uncompressed 1280x720 40 WWW.INBROADCAST.COM | MAY/JUNE 2011 BUSINESS OUTLOOK

Live Production LDK Camera Base Station 3G TRIAX from Grass Valley

With viewers now routinely video system cameras available. With time-shifting everyday television one of the best known imaging design programmes, live events stand out as teams in the world, Grass Valley LDK something special. Audiences expect cameras and accessories continue to the highest in production values, and break ground with innovation and this adds to the pressure of covering creative ideas and they have captured something that cannot be repeated. some of the world’s highest profi le, For a while, live production was most prestigious events all over the almost entirely sports, but more world. Controllers use a touch screen for recently entertainment events have One Grass Valley development has speed, and the Production Assistant been created to capture the excitement transformed the coverage of sports: Servers runs on Windows computers to allow of live television. Programmes like the “live” slow-motion replay. This large amounts of metadata to be The X Factor and Strictly Come uses a special camera which shoots Even though the production may be added. A single operator in the time- Dancing depend upon the audience’s at three times the normal frame rate live, there will almost certainly be a keeping offi ce monitors and controls immediate reaction and voting, so – 150 fi elds per second in Europe – huge requirement to record content. all the fl ows. have to be broadcast live. feeding a specially modifi ed server Viewers expect to see the key action On the tagging workstations, on- There are also the major occasions of which captures this high frame rate. from multiple angles, in real time screen buttons are provided for each state. Britain’s recent Royal Wedding Shooting at three times normal speed and in slow-motion. As soon as an rider and for the common incident was a massive outside broadcast means that the replay can be slowed event is fi nished, they expect to see types, like pass, crash or wobble. With undertaking, involving approximately up to three times while retaining a the highlights and the talking points. just a couple of touches on the screen 15 trucks and a vast number of smooth and seamless quality. And the production team will also an operator can identify a clip and add cameras. Attracting the largest Just as the Grass Valley LDK 8000 be required to produce summary metadata on what happened, who was television audience ever, everyone Elite is the most popular HD camera programmes for later broadcast. involved and a rating of the pictures. involved in the coverage was acutely for outside broadcasts and live To get an idea of how complex this The time of day is automatically aware of the pressure of getting it production, the Grass Valley LDK requirement can be, look at the stamped into the metadata too. right. 8300 Live Super SloMo Camera is the network that Dorna has put together On a typical race day Dorna creates Whether it is an outside broadcast or a world standard. Applications for super for MotoGP. During the race it makes between 1,500 and 2,000 such clips. studio show; a football fi nal, Britain’s slow-motion are now being extended ISO recordings of 18 cameras around According to David Villavivencio, Got Talent or a Royal Wedding; the from sport to entertainment. the track for instant replay at any replay co-ordinator, “the best thing requirements tend to be the same. The LDK 8000 Elite and LDK 8300 time, together with a number of super for me is the touch-screen monitor. Top of the list is very high production share a common imaging system, so slo-mo cameras. On-bike cameras are When we are working live, we need to values, which means many cameras, the cameras are of a uniformly high recorded, and the switched outputs work very, very fast. We have trained timely and informative graphics, quality. Getting this quality back to from each of the two trucks are also 22 operators and they are very happy replays and analysis, and switching the switcher is a critical part of any recorded. In total, the server network with Dyno. It is very easy to enter the with effects which contribute to the engineering planning, particularly as is recording close to 20 cameras, some metadata. You do not have to think rhythm of the event. interest in 1080p50 grows, calling at triple speed, and live replays are where are the clips because you see This means that, although the for 3 Gb/s digital links. 3 Gb/s links happening all the time from any of the clips, you see the thumbnails. My fi nal output may be very different, are also needed for stereoscopic 3D those feeds. little brother could use it!” the fundamental structure of the television, with two HD cameras This content is of limited use just The K2 media server network is based production infrastructure is largely routed down a single cable to ensure sitting on the server: it has to be on open standards, so at Dorna’s the same: a large number of camera perfect synchronisation. identifi ed and tagged so that it can request, Grass Valley developed a channels, including live slow-motion Perceived wisdom was that 3 Gb/s be found quickly and replayed when direct interface between it and the channels; servers providing instant digital signals required fi bre optic required. Instant replays of critical Apple XSan network which Dorna access – including variable speed transmission, but many sports venues action can be provided by quick- also carries to each event. This 64 playback – to content just recorded are pre-cabled with triax, and most witted operators, but to make the best terabyte store, running Apple Final and pre-loaded archive material; and a outside broadcast contractors have switcher capable of bringing all these vast quantities of triax cables and sources, including graphics and stings, other equipment which they are together in a form which is intuitive reluctant to replace. for the operator. The engineers at Grass Valley’s Cameras Centre of Excellence in Breda, The Netherlands, tackled this issue. At NAB this year, the company Cameras launched 3G Transmission, a new The recent UK Royal Wedding system which provides exactly the 3G Fibre used more than 20 cameras inside same functionality – including two Westminster Abbey alone. The 2010 reverse video feeds, talkback and FIFA World Cup had 30 cameras at two-way data as well as 3Gb/s camera use of this mass of exciting visual Cut Server, supports a network of each game for the match coverage, signals – on either fi bre or triax. Fibre, contact requires good metadata. 25 Final Cut Pro workstations which plus additional unilateral cameras for of course, gives longer distances, but The solution uses the Grass Valley K2 create all the different highlights national presentation. the new digital triax system actually production server network, using K2 packages. Grass Valley offers one of the widest extends the range of triax up to around Dyno™ Replay Controllers for instant A rules-based engine determines selections of high-defi nition digital 1,500 metres. replays and K2 Dyno Production which content to transfer from the K2 Assistant for tagging. Dyno 41 MAY/JUNE 2011 | WWW.INBROADCAST.COM

Live Production from Grass Valley Cont.

network to the Final Cut Server. As the next source on the preview bank, well as the content, all the metadata then cuts, mixes or wipes to it. is transferred as an XML fi le. An The principle is sound, but when you individual editor, for example, might might have 40 cameras, a similar be asked to produce the story of how number of replays, plus video stings a rider moved from a position near and graphics overlays, managing it the back of the starting grid to win becomes rather more challenging. the race. By searching the name of So Grass Valley engineers continued the rider and the “passing” clips, the to develop new solutions to help material required will drop into the the operator focus on capturing the edit bin, and because the metadata excitement of the event without also includes the time, the clips will getting bogged down in too much LDK8000 SportElite even be in the right order. This is a complexity. massive boost in productivity. In the early days, graphics were Remember that this is not a fi xed keyed onto live pictures in an installation: it has to be moved to external device. Digital video Each M/E bank – and the largest You could, of course, do this – over each event, which are in different effects, too, started out in standalone Grass Valley Kayenne™ switcher approximately 10 frames – by setting countries. Live production requires boxes. Digital stills and short clips has four – has its own twin rows of up the graphic in one of the keyers not just complex technology but required their own servers. Today buttons and T-bar, plus access controls then using a T-bar to bring it in. But highly reliable equipment which can the expectation is that all of this will for effects, wipes, stills and clips, and doing it with the press of one button be packed up and re-implemented be included within the production all the other functionality required. It is much more secure. More complex quickly and reliably. switcher. is a big device with a lot of controls. effects can have multiple keyframes. User-defi ned colours for each E-MEMs can be prepared in advance button helps enormously with and stored on a USB stick, so they can navigation, but in a busy show it is be loaded into the switcher whenever not practical for an operator to set required. The same goes for graphics up and play every single transition. and video clips. Sky Sports in the The logical step was to build in UK, for example, has a distinctive automation, with effects sequences look which depends on key and fi ll programmed in advance and graphics which are prepared in the recalled when required. Grass broadcaster’s headquarters then Valley developed this functionality loaded onto the production switcher and called it effects memory or or its associated clip server in the E-MEM. Today’s Kayenne truck for each job. By standardising switcher offers 1,000 E-MEM on the Grass Valley switcher and registers for storing as server platform, just one set of fi les many different effects: need be generated, which again can more than you would be carried to site on a memory stick or probably need, downloaded via an FTP site. but it does allow The output of the switcher is what the operator to we at home enjoy. Absolutely critical K2 Dyno organise them to that enjoyment is the skill of logically for the production in all the staff involved: operators of hand. switchers, cameras and replays. The E-MEMs have a timeline: they role of the technology is to allow describe how a complete effect is them to exercise their skill and The key to making this practical was going to appear on screen. To take a experience, letting them focus on the Production the concept of the mix and effects very simple example, you might want action by automating the routine and processor, or M/E. Essentially this is to add a graphic to the programme guaranteeing the quality. a sub-level production switcher which output, mixing it in over 10 frames. Switchers has keyers and DVE, as well as the ability to cut or mix between sources. The fi nal part of the challenge is By including a number of M/E banks to bring all these live and recorded in a single switcher, one operator sources together into a slick and move from one complex, multi-layer seamless production. That requires a set-up to another. switcher, and if there is one product Bringing the clip and still store into with which the name Grass Valley has the production switcher meant that a been associated it is the production single action could trigger multiple switcher (also known as a vision events, so moving from one image mixer in Europe). to another, or from one M/E bank to It all dates back to 1969 when the another, could be covered with a short model 1400 was launched. This was a video clip as well as a complex DVE ground-breaking device, and it set out transition. The production values the basic format which all production which could be attained were limited switchers use to this day: two rows of only by the director’s imagination. buttons for preview and on-air, with The downside, though, is that by now a T-bar for controlling the transition the production switcher has grown Kayenne Video between the two. The operator selects extremely complex in appearance. Production Center 42 WWW.INBROADCAST.COM | MAY/JUNE 2011

product range is the 6006DD (Double is an excellent studio light which density) which has the same number has been proved in a number of Gekko LED’s in Film and of LED’s in the 6006 format as are installations which have used Gekko’s utilised in the 6012. This produces a fixtures exclusively. In most instances much more intense source of either kezia 50’s and 200’s have been Broadcast by Ian Muir daylight or tungsten light. used as key and back lights, whilst Drawing a maximum of 85watts like karesslites have been utilised for fill. One of the major developments within dimmed, the range has the capacity all LED fixtures there is no projected One notable example is Sky TV’s the Film and Broadcast industry to work with most cameras from the heat in the beam, and minimal heat City studio located within the Gherkin within recent times has been the largest film camera/lens combination from internal electronics. A range of building in the City of London. The increasing use of LED based lighting through to the now popular DSLR. accessories complement (NO S) all studio is used predominantly for fixtures. With a voltage sensing ballasts (12- the fixtures including encapsulated gel the Jeff Randall Live show which At the forefront of the production 40volts), they can also be powered sets and plastic egg crates, which are is broadcast daily. Confronted by a of lighting equipment which utilises direct from the camera or most any much less susceptible to damage than range of technical challenges, (not the technology for image capture has power source generally found on a the more commonly used aluminium least of which included the sun setting been Gekko Technology, a UK based shoot. honeycomb variety. thorough the studio window behind manufacturer of LED lights. Added to the product range in 2009 Complimenting karesslite, Gekko the presenter at certain points of the Whilst embracing the new technology was karesslite, a panel which produces have also recently added hard sources year), George Davis who oversaw for its energy efficient characteristics, a high quality of either tungsten to their product range. Named kezia the project on behalf of Sky was of equal importance has been the (3200k) or daylight (5600k) soft light. there are two fundamental models, impressed with the capabilities of the production of lights which have colour Integral to the unit is diffusion which the 50 and the 200 both of which fixtures installed; stability, throughout the full range of is stepped off the front to ensure the incorporate a multi-chip array LED “The ability of the kezias to produce intensity ensuring Gekko’s products lamp is properly single source. technology which has the added such a volume of light makes them a are comparable with other market As standard karesslite has colour benefit of being colour tuneable. viable alternative to traditional light leading and well established brands of stable dimming (once again as a Drawing 50 Watts and 160 Watts sources, especially in technically traditional lights. consequence of PWM), built in DMX, respectively, the fixtures have an challenging environments such as Sky The Ring lights kisslite, lenslite and as well as the capacity to run on any approximately comparative output to News’ new City studio.” george were the first LED based voltage between 12 and 40 volts. traditional tungsten sources drawing Gekko have an aggressive R&D offerings from Gekko, which have V-Lock holsters are also available as 250 Watts and 900 Watts, without the schedule reaching into the future, developed reputations for their an option which enables the unit to accompanying heat output. which will incorporate the benefits robustness, quality of output and run for up to two hours on a pair of Much of the research and from continuing advances in LED versatility as filming tools. With the industry standard V-Lock batteries. development necessary to produce technology. However as important introduction of HD, their ability to Equally at home either in the the lamps, was devoted to producing as the characteristics the technology “soften” close up allows for more studio or on location, the range accurate colour pre-sets at 2900k, offers – reduced power consumption flattering images in what otherwise now encompasses two formats, the 3200k, 3600k, 4300k, 5600k and and heat output to name but two – the can be a relatively harsh medium, is 6012 which measures some 600mm 6500k. This included minimising quality of white light produced and its frequently exploited. by 300mm and the 6006 which is colour shift when dimmed, and ability to render well in image capture Utilising colour accurate 1 watt essentially half the size at 300mm x stability at a range of ambient is what the world of professional film emitters and Pulse Width Modulation 300mm. temperatures. and broadcast demands. (PWM) to avoid colour shift whilst The most recent advancement in this In combination with karesslite, kezia 43 MAY/JUNE 2011 | WWW.INBROADCAST.COM IN THE NEWS Vinten Radamec set out future virtual reality AT NAB 2011 Vinten Radamec other applications such as sporting highlighted its full virtual reality events. There has also been a surge solutions capabilities with a Virtual in the use of studio automation Reality set up with three of the systems, as studios move towards industry’s leading graphics providers. more efficient production processes by These demonstrated the full scope using tools to produce programming of Vinten Radamec’s solutions as with a minimal amount of crew.” Vinten Radamec VR studio robotic solutions the broadcast industry moves further Walker said that another trend in into the realms of virtual reality the sector was the transformation Converting robotics for use in a Vinten Vector 950i pan and tilt head technology. of programme sets: “Since HD was virtual set operation was demonstrated and connected to an Orad rendering Vinten Radamec is predicting that this introduced the quality of sets has through one of the set ups which system. Simulating a typical sports year will see a significant increase in become a priority in a bid to maintain incorporated the Fusion FP-188VR OB situation working on a single demand for virtual reality systems. consistent high visual quality. Hard pedestal working with an FH-100VR rendering system provided by Vizrt Karen Walker, Commercial Manager sets are being either combined with head controlled by a Vinten Radamec was a set up displaying the Vector at Vinten Radamec, said: “We’re virtual elements, or replaced by virtual HDVRC control system and partnered 750i encoded pantographic head. This already seeing several strong trends sets, in an increasing number of by a Brainstorm rendering system. showed the ease of deploying virtual in the virtual reality sector this year. applications.” The cost effectiveness of using or augmented reality applications Virtual advertising and product The future of virtual reality robotics combined with virtual sets in a sports OB or any other kind of placement will be big on the broadcast technology was clearly demonstrated provides the benefits of low head dynamic set up environment. agenda as marketers take advantage at the three Vinten Radamec sets count and low costs in the studio. Walker said: “This year’s NAB event of the change in Ofcom rules and look on the NAB2011 show floor. The Showing the benefits of full 3D virtual has provided us with the perfect for more sophisticated ways to convey dedicated VR sets showed how Vinten reality tracking was a set running with global platform to show how Vinten their messages to TV audiences. Radamec’s solutions are designed the Vinten Quattro SE, a lightweight Radamec’s robotic camera support “The diversification of robotics for ease of integration with third and compact manually operated systems and camera tracking range is another trend that looks set to party equipment, by displaying its pedestal with built in encoders, which offer the best solutions for today’s continue, as broadcasters look products working live with software provide precise real time digital virtual and augmented reality outside the traditional news room from leading graphics providers, electronic positioning over the floor applications in studio and outside environment and utilise robotics in Brainstorm, Orad and Vizrt. and in elevation, combined with the broadcast environments.” 44 WWW.INBROADCAST.COM | MAY/JUNE 2011 MARKETPLACE CTV OUTSIDE BROADCASTS L.C.C. Lighting

Since 1986, CTV has developed into one of the largest and well-respected L.C.C. supplies fl uorescent, LED and conventional lighting equipment, providing independent OB Companies in Europe. We maintain a refreshing and dynamic the services to design, specify, project manage, and commission any size of approach to Outside Broadcasting that is endorsed by our most valued client base studio. Our experience encompasses projects ranging from Educational, TV of blue chip broadcasters and high profi le production companies. With 11 trucks studios, Theatres, and performance spaces. We are trusted by Clients around – 7 as HD and with probably the healthiest variety of work compared to our the UK and beyond competitors, we have unrivalled expertise in delivering the very best for every including BBC, LWT, programme genre. Sony and Cisco, CTV is a Euro Media Group company, and contact us for an with our OB Partners in Belgium, France, honest, no nonsense Germany and The Netherlands, we can opinion on any lighting effi ciently deliver our expertise anywhere requirement in continental Europe – and beyond. [email protected] www. lcc-lighting.co.uk www.ctvob.co.uk IPV LTD WINSTED LIMITED IPV, a global leader and largest independent supplier of media, metadata and low bit-rate, frame-accurate video technology to Control Room Consoles the broadcast professionals. As a leading provider With over 45 years experience Winsted has consistently been a pioneer in of browse and asset management solutions, IPV the design and development of technical furniture products for application in brings a wealth of expertise in its understanding security, video, traffi c, utility and defense control rooms world-wide. of workfl ow technologies and the effi ciencies A FREE Design service, Winsted that are needed to meet the challenges in today’s can bring your vision to life. demanding broadcast business. Winsted also offer a full range of accessories from equipment racks, [email protected] www.ipv.com media storage to control room chairs. “Preferred by Professionals RIEDEL Worldwide” [email protected] www.winsted.co.uk Riedel Communications designs, manufactures and distributes the most pioneering real-time networks for video, audio and communications for broadcast, pro-audio, event, sports, theatre and security applications worldwide. Riedel also includes a European based large rental operation that provides radio and intercom services, event IT solutions WINSTED WORLD HEADQUARTERS as well as fi ber-based and wireless audio & video transmission systems for large- Control Room Consoles scale events. With over 45 years experience Winsted has consistently been a pioneer in the design and development of technical furniture products for application in www.riedel.net security, video, traffi c, utility and defense control rooms world-wide. A FREE Design service, Winsted can bring your vision to life. Winsted also offer a full range of PHOTON BEARD accessories from equipment racks, media storage to control room Photon Beard have introduced a new low heat, energy chairs. effi cient luminaire, the multiple award-winning “Nova “Preferred by Professionals 270”. Seen by the company as the future of location Worldwide” lighting, it utilizes a new, highly effi cient plasma light source that is far more effi cient than either HMI or [email protected] www.winsted.com LED. The Nova’s power consumption is just 270W and can be mains or battery powered. www.photonbeard.com WOHLER TECHNOLOGIES INC.

Founded in 1987, Wohler has grown to become the dominant provider of PRESTEIGNE CHARTER LTD. confi dence monitoring and signal management solutions for the broadcast and pro audio/video markets. Originally inventing and defi ning the category of With a branch network covering the UK, Germany, the Netherlands and Asia in-rack audio, video, Pacifi c, Presteigne Charter is one of the world’s leading broadcast dry hire and data monitoring and systems rental specialists, products, Wohler has providing innovative equipment expanded its offerings and specialist personnel to the to include solutions biggest sporting and entertainment for captioning and events around the globe. loudness.

www.presteignecharter.com www.wohler.com 45 MAY/JUNE 2011 | WWW.INBROADCAST.COM IN THE NEWS iPhone Video to HD SDI for news BrightEye Mitto takes VGA output and Ensemble Designs featured an iPhone upconverts for HD/SD broadcast to HD and SD SDI video interface to the BrightEye Mitto Scan Converter, video for use in high end applications. at NAB 2011. “We are using the Mitto Scan Mitto provides a solution for getting converter for ingesting web content breaking news footage from an iPhone for our daily news shows,” said Efi into a news program. Dilmoni, VP of Engineering and The BrightEye Mitto converts iPhone Technology, at Channel 10 and News or computer material to SD and HD 10 in Israel. “We are extremely happy SDI video for input to a router or with the functionality and quality.” production switcher. YouTube, Skype The BrightEye Mitto Scan Converter video, weather radar, viewer emails connects to the VGA port on the and maps can be easily used for live iPhone and scales the iPhone video to shows. Even a small part of the screen, HD, SD or 3 Gb/s video. such as a Skype window, is converted BrightEye Mitto has a reference input to full screen HD. Ensemble’s allowing the video output to be timed proprietary up conversion and filtering to house which is critical for use in processing provides broadcast quality broadcast. Manor Marketing is a full service,creative and targeted marcoms, marketing and PR agency operating in the broadcast sector and is proud to represent the best of broadcast manufacturing & loudness violations in file-based services in the industry emotion File Finish media to ensure compliance with the latest ITU-R BS.1770, BS.1771, and Congratulations on the launch of the loudness enforcer EBU R128 standards. eFF ensures that users make the right decisions INBROADCAST E-Zine At NAB 2011 emotion systems is to resolve audio level problems by featuring eFF (emotion File Finish), a efficiently analysing file-based media software application that automatically and utilising accurate modelling of 72/73 Bartholomew Street, Newbury, Berkshire, RG14 5DU, UK analyses and fixes audio loudness analogue Peak Programme Meters Tel: +44 (0) 1635 44991 • Email: [email protected] violations in file-based media. (PPMs) and loudness detection www.manormarketing.tv eFF automatically remedies audio parameters. 46 WWW.INBROADCAST.COM | MAY/JUNE 2011

and home networks. By allowing gravitates towards companies more flexibility in Gigabit the LC-style The fibre Ethernet systems, such fibre solutions connector, the are paving the way for 10G Ethernet new kid on the and fibre-to-the-desktop (FTTD) block is Belden’s solutions. FiberExpress alternative For many, the biggest mental block Brilliance connector. by Bob Hart in optical fibre installations has been Again, these make the ‘black magic’ involved in fitting fibre terminations Many integrators and installers have optical fibre connectors to optical fibre really fast, simple been sceptical about fibre optics cables. This has generally involved the and reliable. Belden versus even the best Category cabling purchase of fibre cleavers, polishing says that they are such as Belden VideoTwist, often they machines for the face of the fibre, the only fibre optic connector, which then acts as a ‘feed- compare the cost of running fibres adhesives, baking ovens, fibre splicers connectors in the marketplace to offer through’. Unlike the FiberExpress with the existing copper links they are and a host of other paraphernalia; or reliable terminations in less than connector, the OpticalCON cable to replace and reckon it too expensive. the use of pre-packaged fibre with five seconds – with NO proprietary connector is not currently available No other medium can cost-effectively contacts already fitted. termination tools required (assuming as a single component, but comes challenge fibre optics for bandwidth, Happily, there are a number of field- you already have a reliable cleaving pre-assembled with a choice of unrepeated transmission distance and installable connectors appearing device)! FiberExpress LC connectors mobile field cable types, which can noise immunity, whether in RGB, on the scene. These don’t require are currently available for 900μm be ordered in various lengths. The VGA, HDMI TV or digital signage hours of sweating and polishing. tight buffered single-mode and connectors feature a rugged Push-Pull systems or in LAN/WAN network Bryant has for some years now sold multimode (OM1, OM2, OM3/OM4) locking mechanism, all-metal housing installations. TYCO LightCrimp Plus connectors LC connectors. They exhibit a typical and heavy-duty cable retention. When Bryant Unlimited is the UK’s which use AMP-patented crimping insertion loss of 0.2dB. not mated, the faces of the optical leading manufacturer of optical technology to make fibre optic As well as being a noted LEMO connections are protected from dust fibre interconnects for audio and termination a one-minute, clean and SMPTE 311 camera cable and dirt through automatic sealing high-definition video broadcast simple mechanical process – without manufacturer, Bryant itself is an covers and gaskets. plus network and high-end A/V the use of adhesives, ovens or approved Neutrik OpticalCON The only constant thing in system applications. Bryant Unlimited has ultraviolet curing processes. assembler and repairer. This ‘system’ install is change, but with Bryant invested heavily in the equipment and LightCrimp Plus connectors are is also based on a standard optical Unlimited as your partner, you will expertise necessary to assist installers factory polished, so just strip the LC-Duplex connection, but helps to be kept up-to-date with the latest in using fibre to transport HD, 3Gb/s cable, cleave the fibre (a fibre cleaving eliminate its inherent weakness to cable and connector technology that and Gigabit Ethernet over fibre optic tool is required) and crimp the produce a more rugged connection. is designed to the highest standards media. connector (crimp tool is required)! The OpticalCON Duo provides not and performance requirements, and Optical multimode 3 (OM3) fibre They offer consistent crimp quality only two fibres, but up to four copper delivered with the highest levels supports extended gigabit drive and long-term performance on a par wires to run power or data signals. of service. Indeed the new Bryant distances (850 nm Laser-Optimised 50 with standard epoxy-style connectors, The OpticalCON Quad has four Unlimited catalogue is now available micron Multimode Fibre for 10Gb/s regardless of temperature variations fibres. In order to create a simplified free-of-charge, and includes over 100 application), pushing the evolution from –10°C to +60°C installation, conventional LC-Duplex new product lines. and extension of both enterprise As the multimode fibre world connectors fit to the rear of the chassis 47 MAY/JUNE 2011 | WWW.INBROADCAST.COM

LIST OF DISPLAY ADVERTISERS

ATG Broadcast Limited 21 www.atgbroadcast.co.uk Manor Marketing 45 www.manormarketing.tv

Autoscript Limited 2 www.autoscript.tv Medialease 46 www.medialease.com

Axon Digital Design BV 8 www.axon.tv Neutrik AG 35 www.neutrik.com

Bluebell Opticom Limited 10 www.bluebellcomms.co.uk Oasys 48 www.oasys.com

Bow Tie Television Limited 25 www.bowtietv.com Photon Beard Limited 29 www.photonbeard.com

Bridge Technologies Co AS Front Cover www.bridgetech.tv Quantum 4 www.quantum.com

Bryant Unlimited 35 www.bryant-unlimited.co.uk Riedel Communications 37 www.riedel.net GmbH & Co. KG Cavena Worldwide Subtitling 33 www.cavena.com Ross Video Limited 11 www.rossvideo.com Cotech Sensitising Limited 45 www.cotech-uk.com Screen Subtitling Systems Limited 31 www.screen.subtitling.com dB Broadcast Limited 17 www.dbbroadcast.co.uk SIS Live 6 www.sislive.tv EMS Technical Personnel 5 www.ems-tp.com Spectra Specialist Engineering 23 www.spectra.uk.net Exhibition Freighting / E.F. Travel 47 www.ef-travel.co.uk & Coachbuilding Limited

Gekko Technology Limited 42 www.gekkotechnology.com SysMedia Limited 32 www.sysmedia.com

Grass Valley 7 www.grassvalley.com Television Systems Limited 19 www.tsl.co.uk

Halliford Film Studios 43 www.hallifordfi lmstudios.co.uk Trilogy Communications Limited 9 www.trilogycomms.com

IBC 49 www.ibc.org Utah Scientiﬁ c Inc 13 www.utahscientifi c.com

Linear Acoustic Inc 27 www.linearacoustic.com Whiteoaks 21 www.whiteoaks.co.uk

RAI Amsterdam Conference 8-13 September : Exhibition 9-13 September IBC2011 Discover more IBC is at the cutting-edge of new technology in the rapidly evolving electronic media industry. It couples a comprehensive exhibition covering all facets of today’s industry with a highly-respected peer-reviewed conference that helps shape the way the industry will develop in the future.

IBC2010 welcomed 48,000+ attendees from over 140 countries. They had access to 1,300+ key international technology suppliers and 300+ high-proﬁle conference speakers. In addition, visitors took advantage of a variety of free extra special features including:

• New Technology Campus • Production Village – – showcasing the latest presenting the latest camera developments in broadcast technology in a purpose built technology environment • Connected World – • range of production for IPTV and Mobile training opportunities to further your career • Big Screen – providing the perfect platform for • Awards Ceremony – manufacturer demonstrations recognises those who have and movie screenings made a real contribution to the industry and whose careers have had a positive impact on its future direction

at www.ibc.org now IBC Fifth Floor International Press Centre 7 6 Shoe Lane London EC4A 3JB UK Register T +44 (0) 20 7832 4100 F +44 (0) 20 7832 4130 E [email protected] www.ibc.org/register

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