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www.americanradiohistory.com Federal Communications Systems Design & Integration Commision TRANSMISSION & DISTRIBUTION 50 Tower lighting systems and problems X4KYEAR 2000 16 PRODUCTION CLIPS 62 From here to there SYSTEMS DESIGN SHOWCASE 66 KCPQ News expands New Products & Reviews APPLIED TECHNOLOGY 186 Key issues in 8 -VSB transport for broadcast applications TECHNOLOGY IN TRANSITION 188 HDTV conversion equipment BUSINESS WIRE 194 RossGear purchased by Lockhead Martin Space Mission Systems and Services, plus other business news

a /1 Departments 08 Editorial 10 Reader Feedback 192 Management 206 Classifieds 211 Advertisers' index 66' 212 EOM

ON THE COVER: It was a gold mine of products as attendees and ex- hibitors exchanged views at this year's NAB. This month's cover il- lustrates our convention review theme of "DTV gold rush." This year's coverage begins on page 98. Cover illustration by John Hayes. FREEZE FRAME A look at the technology that shaped this industry. Do you remember? Station WWJ -TV first WEB SITE DIRECTORY Broadcast Engineering. www.broadcastengineering.com added mobile color ...._._ , coverage for its viewers in 1971. Check out the Broadcast WWJ mobile color coverage Originally scheduled Engineering web site for: to cost $750,000, it Articles ended up costing only $150,000. For Help wanted ads for the industry an idea of how far On -line subscription form we've come, see "Building HD Advertising information ling__ trucks," page 78. r,r...... K

6 Broadcast Engineering

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www.americanradiohistory.com It's a Heathkit world

Many of you will be old enough to remember the days when engineers built stuff. You know, the "good old days" when transmitters meant tubes and engineers were men. Okay, things have changed; we now have solid -state transmitters and women engineers. That's all well and good, but there are things I miss about the old days. When I was in the eighth grade, my parents gave me a Heathkit stereo amplifier. Now for those of you under the age of 40, let me explain what a Heathkit was. A Healthkit (not Healthkick as some thought) was not an aerobic bicycle or home gym. No, it was famous for offering electronics in kit form. If you wanted a great stereo, some test equipment, a ham radio or a TV set, you could build it from a kit. So, my Heathkit stereo amplifier was a bunch of parts, that when completed, formed the central piece of my stereo system - an awesome 14W- per -channel of stereo tube -based power! My, how things have changed. Today, TV stations come in boxes of electronics. Hook up output A to input B, and you're on the air or that's what it seems like. But things are changing. A reader commented to me this week about the change he sees with the way stations are going to build their DTV facilities: "There aren't any answers with HDTV, every station is going to have to build their own." Yippee! TV engineers can trade in their box knives for soldering irons. Seriously now, building an HDTV station is never going to be a kit project. The complexity is just too great. However, engineers are going to have to do a lot more work in understanding each of the basic HD building blocks than with NTSC. Vendors too have to work harder, because no one company has all the solutions. Boxes have to be designed to work with a multitude of vendors and different types of signals. Simply being able to pass a single signal like NTSC won't work anymore. At first, stations are going to have to work with HD network feeds, either 1,080i or 720p intermixed with their local 480í/p SDI sources. Then, there will be the additional 16:9 sources that have to work with older 4:3 feeds - add to this, monaural, stereo, SAP, and eventually, 5.1 audio signals. All this complexity will require some innovative solutions to be developed by every station. Over time, more generic solutions will be developed. But for now, early adopters will be forced into building TV stations again. That should be fun. If any of you need help in building these new HD facilities, I know a former broadcast engineer who can read a print, follow instructions, solder with abandon and even use a tube checker. Contact him at 1- 555 -USE TUBES. I miss the good old days, when tubes were tubes and things worked and engineers built stuff. Oh, I need to finish my story. Recently, my $500 solid- state, famous -brand stereo receiver, with Dolby surround sound and more features than I can count, crapped out only 18 months after I bought it. When I discovered that the replacement output transistors would cost $75.00 apiece, I just retired the darn thing. In its place, I proudly mounted my 35- year -old Heathkit stereo amplifier. Now I listen to my digital CDs and stereo videotapes on an amplifier that is older than many of you readers. It doesn't have a remote control or Dolby surround sound, but you know what? With the lights dimmed, the warm glow of the tubes can even be romantic. At least, that's what I tell my dates.

direct: brad_dick @compuserve.com website: www.broadcastengineering.com Brad Dick, editor

8 Broadcast Engineering June 1998

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www.americanradiohistory.com Analog resolution 13, the ground pin of the NEMA recep- dogmatic power and grounding princi- tacle should not connect to the metal ples that broadcast engineers have been I wish to add a comment with regards box. This is the whole point of insulated using for eons. to the Kell factor. (see "Transition to grounding branch circuit. As some readers my have noticed, Mr. Digital," March 1998, p. 46.) It should of the In Figures 12 and 13, the circuit break- Lewis' concepts are essentially generic be noted that L.C. Jesty published in the ers must disconnect both line wires, and all manner of technical electronic "Proceedings of the IEE" in 1958 de- to receptacles must be GFCI- protect- installations. They are not unique to tails of his research and concluded that the from for equivalent resolution, progressive ed, as indicated in the footnote, not video and audio and did not arise "any style" as indicated in the text. broadcasting specifically. However, they scan at 60 frames/s against interlaced Furthermore, they cannot be standard are based on the laws of physics, which scan at 60 frames/s requires only a little receptacles unless located in a everyone must follow. Many of the more bandwidth for the same subjective NEMA restricted access area. conventional broadcast practices have resolution. Hence the Kell factor is re- Keep Broad- never worked well anyway and I, for duced by about 30% for progressive up the good work with cast Engineering. one, am happy to see one more layer of scan. Also, I understand the current LEWIS D. COLLINS the Emperor's New Clothes being re- HDTV 1,125 standard is 1,080 active WAYLAND, moved from subject! lines; 1,035 lines being the former stan- MA this dard established by Japan for their Hi- ERIC WENOCUR Warren replies: LAs TECH SYSTEMS Vision system. Author Lewis Murphy's Law was hard at work and SILVER SPRIG, MD TERRY HARVEY indeed, the three contained BARANANG, MALAYSIA drawings some minor (not the author's) errors. Author Michael Robin replies: In Figure 11, the receptacle must not And the winners are... The Kell factor for interlaced TV pic- have any connection between its equip- During NAB '98, webmaster, Deanna ment ground pin and the receptacle's tures is generally taken as 0.7, even Rood posted the following question on metal device mounting box. Note that though some authorities go as low as the Broadcast Engineering web site: IG use, the ESGC pin is not connect- 0.5. The 0.7 figure is, nevertheless, at for "What was the most interesting thing metal mounting box. the root of the standard -definition TV ed to the device you saw at NAB this year ?" The circuit breakers in Figures 12 and standards. As far as the progressive TV The following five winners were picked 13 be double -pole, not single - pictures are concerned, I am using the should at random from the responses received. pole as shown. generally accepted value of 0.9. Each of these readers will receive a deck In Figure 13, the receptacle's equip- Concerning the HDTV resolution, as of Broadcast Engineering playing cards: ment grounding pin must not be con- the title ( "Analog resolution") suggests, Larry Laing - KCTS, Seattle, nected receptacle's metal device the article refers to an analog HDTV to the "ASC's video server" mounting box. On the drawing, the format. The ATSC formats are digital, Jaime Allyn Ananko - WEZX/WEJL/ solid line between the box and ESGC and the trend, rightly or wrongly, is to WBAX/WQFM Radio, Scranton, PA , define digital TVA resolution capabili- on the receptacle should be a dotted "Orban Optimod 9200, Sennheiser Note that use, the ESGC ties in terms of the number of active line. for IG MKH 2 -80 Mic, Clear -Com Tel-14" is not to the metal device lines per picture (vertical resolution) pin connected Randle G. Mason - Digital Postpro- mounting box. and the number of horizontal pixels duction Services of New York, NY, unless receptacle types per active line (horizontal resolution). Finally, these "HDTV flat screens from NEC and shown in Figures 12 and 13 are located Toshiba" in machine rooms, control rooms, Brian McCaffrey, RF Video Produc- equipment rooms and other locations Power quality and tions, Watertown, MA, that are restricted to use by qualified "Harris exhibit" grounding personnel, they must be uniquely con- Mark Russell - New London, CT, Thanks to Warren H. Lewis for his figured and identified for use on the 60/ "Kiki's outfit" excellent and thorough article in the 120 -vote technical class of system. February 1998 issue of Broadcast Engi- Send your comments to neering ( "Power quality and ground- Thank you for running Warren Lewis' brad_dick @compuserve or ing"). However, somewhere along the article "Power Quality and Ground- fax 913-967 -1905. Also, check out the web stte at production chain, some errors crept into ing." Mr. Lewis is one of very few people www.broadcastengineering.com. a couple of the figures. In Figures 11 and I have seen who actively rejects the

10 Broadcast Engineering June 1998

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It's my cable and I'll do what I want BY LARRY BLOOMFIELD

TCl's chairman, John Malone has a statements. "With respect to broad- then finally mandating that American propensity to talk himself into trou- casters which are desirous of adopting broadcasters convert to digital, Con- ble and he did so again at this year's more demanding and inefficient for- gress is not going to allow cable to National Cable Television Association mats, such as 1,080i, TCI will continue become a roadblock to progress. If John show. While speaking to reporters at to work with vendors to accommodate Malone wants a war, he'll get one." the convention in Atlanta, Malone ac- such demands." CEMA president Gary Shapiro wasn't cused the CBS and NBC In an earlier statement, happy about Malone's comments ei- selected 1,080i HD for- Malone said that TCI ther: "It's the height of rudeness to tell mat of taking up too much would carry CBS's and Congress one thing, make a personal space on his cable systems. NBC's high- definition sig- promise, and then change the position Unless CBS and NBC nals only if required. "I'll two weeks later." change, Malone said TCI do whatever the govern- The cable industry apparently can't would not voluntarily car- ment orders me to do," he get its collective act together on this ry their stations on local said. His words didn't find issue either. Time Warner Cable's cable systems. Readers favor with certain mem- spokesman, Mike Luftman said, "The may recall that this is the bers of Congress. same network that claims In reference to Malone's that the 480 -scan rate is statement, Ken Johnson, "If John Malone wants high definition television. Gary Shapiro spokesman for Congress- (See Feb. 1998, "TCI has different man Billy Tauzin, R -LA, chairman of HDTV," p. 14.) the House Telecommunications Sub- a war, he'll get one." When called about their chairman's committee, said, "In a nutshell, it looks comment, company officials back -ped- like the cable industry just fired on Fort dled with a press release quoting earlier Sumter. After cajoling, prodding and fact is that whatever Mr. Malone said, he does not speak for the cable industry FRAME GRAB and he does not speak for lime Warner A look at the issues driving today's technology. Cable. Time Warner and the rest of the cable industry is committed to passing Having more channels is better than through, as received, the HDTV signals of all the major networks and major having more resolution independents; no ifs, ands or buts!" When calculating the benefits of digital services: having more channels Jeff DeMarrais, spokesman for NBC, is better and having higher -quality pictures is better, but the percentage said, "We (NBC) were not there when he of improvement in benefits (Malone) made the comment and the is not linear. The comment was not made directly to us. benefit that What I would say is that if those corn - consumers HDTV 31 ments were true, we are disappointed in perceive in a 50TV 42 that instance, in light of the comments service is given DIGITAL CABLE 4 by the log of DIGITAL 8ATEM ITE that TCI made in front of Congress on

picture quality CABLE 18 April 23, 1998 in the Q & A session 40 50 60 multiplied by ó 10 20 30 regarding digital television. We are com- the number of %IMPROVEMENT IN BENEFIT mitted to 1,080. We're committed to channels. This putting the best picture in front of our graph shows the viewers." A similar statement was all percentage of that was available from CBS. improvement I guess when you shoot yourself in the provided by digital signals over NTSC. foot, the next best thing to do is put that !mauve: ,..,,.,,, {1.,..,,m foot in your mouth to ease the pain.

14 Broadcast Engineering June 1998

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www.americanradiohistory.com No shootout at the WXYZ goes NAB corral digital To sweep something under the rug Detroit's WXYZ -TV doesn't make it go away, and in most announced a major move cases, it only makes things worse. Tra- into arena. have been matter - the digital n Ili -4a ditionally engineers Supported by the systems rwyi . w b of -fact about technology and do not put design and integration w .1! up with a bunch of unprofessional non- division of Tektronix, 31 MI sense. That does not seem to be the case WXYZ-TV will replace its when it comes to the progressive-vs. - existing analog -based interlace -scan issue. master-control and A demonstration of the two scan for- switching equipment with mats was scheduled at this year's NAB. an all -digital infrastruc- Unfortunately, a hastily erected sign in ture. The station is the Microsoft booth told otherwise. scheduled to go on -air with the new equipment late this year. The The wording lead this writer (and oth- conversion is timed to coincide with ABC's plan to launch 720p program- ers) to believe there might be some ming late this fall. skullduggery afoot. However, trying to According to director of engineering, Mike Doback, the station decided get answers from the players in this to install HDTV capability in order to help get HD programming into the truly stupid novella was like pulling market as soon as possible. The three -stage conversion process will first teeth without pliers. As I spoke to the replace tape -based storage and cart systems with two Profile servers and various alleged participants in this poor- an Omnibus communications playback module. This phase will provide ly orchestrated event, I was hit with a the station with 35.5 hours of RAID storage at 12Mb /s. Stage two will barrage of "don't quote me" comments integrate this on-air playback system with a new serial digital master - reminiscent of a government cover-up. control room. Stage three will add full HD capability relying on the new The story goes like this: The pro - Tektronix Grass Valley Series 7000 HD router running at 1.5Gb /s. Other progressive tribe, Microsoft and Com- routing and on -air functions will be handled by a Grass Valley M2100 paq, wanted to show off their compar- and M2100 -D master-control systems. ison demonstration, which they call "The Gang of 4 Demo." The demo had previously been shown to a group of Y2K VIPs in Washington, DC, in an effort to bug properly illustrate the differences be- The year 2000 conjures up many be "1900," not "2000." Systems may tween several video formats. However, images, not the least of which is all crash, or at least misfile data. Accord- at the show, a sign appeared in the the hoopla regarding computers fail- ing to some, if not properly fixed, the Microsoft booth saying that the tapes ing at midnight, Dec. 31, 1999. Even year 2000 problem could have serious for the demo were withdrawn "due to Washington, DC, has climbed onto consequences for those in the telecom- political pressure from NHK and the this bandwagon and is studying the munications industry, and that includes Advanced Television Systems Commit- problem known in computer jargon as TV stations. tee (ATSC)." the Y2K problem. The president has The FCC has announced a series of While the sign was removed later that initiatives to raise awareness within Federal Communications same day, the incident certainly raises Commision the various communications indus- questions about who's behind such po- tries about this issue. Among some litical ramblings. Sources at NAB said of the actions the commission has Panasonic, which had supplied the orig- taken is the establishment of a spe- inal tapes for the Washington demo, cial Internet site to provide infor- was under "undue political pressure" mation for consumers and the in- from the United States and a Japanese dustry. (www.fcc.gov /year2000) broadcaster (presumably NHK) who even established a committee to study Through this site and other programs, wanted to stop Microsoft from con- the problem - The Council on the the FCC is working to ensure that ducting the side -by -side format com- Year 2000 Conversion. companies and consumers are prepared parisons. At the turn of the century, when the for the year 2000. The FCC plans to In an exclusive interview with Steven date changes from 1999 to 2000, there update the web site as more informa- Guggenheimer, group product manag- are concerns that many computers will tion becomes available on how the er for digital television at Microsoft, I fail to recognize the millennial change, communications industries are re- asked what happened. Guggenheimer thereby erroneously assuming "00" to sponding to the issue. said, "There was no sabotage. There's

16 Broadcast EngMNrinq June 1998

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www.americanradiohistory.com nothing relative to this particular story gling that continues to go on in various er at each increment, and in fact, a lot of that there's to comment on, nor is there sectors of our industry over the issue of people will argue about 720p and 1,080i, any story here." Guggenheimer went interlace vs. progressive scan. and which one is better." on to say, "The truth of the matter is When asked about the issues of up- In a different conversation with a Mi- that we were able to show a Gang of 4 and downconversion not retaining the crosoft staff member, who asked to re- Demo that had side -by -side videotapes, images' original quality, Guggenheimer main anonymous, I was told that the some that were created in native for- said, "We also had the native tape for- tapes finally used were from Matsushita mats and some that were of the same mats as well. Those tapes may have (Panasonic's parent corporation) and footage that were up- and downcon- been different than the tapes we used in were shot using a 720p camera, but were verted to different formats." the past, but then that's business." unconverted to 1,080i and downcon- When pressed about NHK and wheth- When asked how he'd characterize verted to 480p. If so, this could not fairly er they played any role in all this, the reactions of those who saw their represent the native video formats as Guggenheimer responded, "NHK demonstration, he replied, "Most of was intended. As a result, three separate played no roll in our Gang of 4 Demo at the (Microsoft) people who worked in tapes were used, each with different foot- this NAB." The Gang of 4 Demonstra- there said we got a lot of positive reac- age. An independent producer who had tion was supposed to show the relative tion. It was just that people are sur- been commissioned by Microsoft shot difference in quality between native vid- prised at the quality of 480p. The truth the 1080i tape; the 720p tape was ob- eo formats - 1,080i, 720p, 480p and is that when you put images side by side, tained from ABC; and Microsoft used its 480i. The operative word here is native. the jump from 480i to 480p is the most own 480i/480p materials. One has to ask why anyone would significant. The consequent jump from So, rather than unification, the battle interfere with this open demonstration 480p to 720p and then 720p to 1080i is between the interlace Hatfields and the that was trying to put to rest the wran- that they (image improvements) getsmall- progressive McCoys continued.

It's good enough for NTSC When talking about the different frame rates that are wise result because the chroma subcarrier frequency part of the new ATSC standards, where do you find resides within the video frequency range. 29.97 frames per second (fps)? That is the frame rate we This is not the end of the story, though. In your VHS currently use in NTSC. In a recent seminar on DTV, the recorder, the VCR records the color under the video by question came up as to why we started out with 30fps heterodyning the subcarrier down to a lower frequen- and ended up with 29.97fps. A comment was also made cy. When the tape is played back, an oscillator in the about NTSC meaning "never twice the same color." VCR heterodynes the color subcarrier back up to the Let's take the last comment first. NTSC first estab- original 3.58MHz. lished the standards for television back in the early This works for home use. However, these machines do 1940s. There wasn't any color television then, and the not have the stability of their big brothers in broadcast present color system didn't come about use and therefore display a significant until 1952. amount of jitter in the tape playback of the The change in synchronizing frequen- color signal. This jitter causes the chroma to cies occurred for two reasons. As the not be locked to the horizontal, resulting in result of testing carried out by the NTSC poor interleave. The redeeming factor is committee while developing our new that the signal is still within the range of color standards, it was decided to most color detector circuits. interleave the color sub -carrier and any This problem can not be tolerated in beat product of the color sub -carrier with professional machines and they must have Color burst as Illustrated on a reference, be it internal or external, to that of the aural or sound carrier. The the Tektronix 1730. reason behind this was to reduce any play back in the interleaved mode. You can visible beat in the receiver's picture. For compatibility verify this by putting an oscilloscope on the VHS reasons, the committee decided that it was impractical machine's output (with no video source and no to change the pre-existing 4.5MHz sound-to-picture antenna) and note that the picture on playback is carrier offset, so that was left alone. Therefore the locked to the line, while the burst is free running color subcarrier frequency had to be set to a frequency around 3,579545Hz. The result is a system that works to accommodate interleaving the aural carrier color for home use, and consumers seem satisfied with the subcarrier with the line, field and frame rates, which resulting color quality. That might lead you to believe were already frequency interleaved. that image quality doesn't matter; witness the dismal The sub -carrier frequency of 3.579545MHz was failure of laser disks and the s -l-o -w adoption of DVD specifically chosen to be 227.5 times the line rate technology. 15,734Hz to accommodate the interleave. Interleave But then consumers haven't seen studio quality NTSC, cancels out the picture interference that would other- let alone digital images.

18 Broadcast Engineering J.r 8 1998

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Iis hard to imagine that anyone was attend, here's a brief snapshot of key seminar with Fox on DTV was ex- left at home minding the store with all individuals and their tremely informative." Wimberly said the folks that showed up at NAB this thoughts on this that the ITS paper by R.W. "Sam" year. Nearly every sector of interest in year's show. Zborowski on converting a Klystron broadcasting was represented in droves. Tom Wimberly, di- transmitter to DTV interested him the Most everyone I've talked to said the rector of engineering, most. "There just doesn't seem to be same thing, "There's lots I wanted to Ramar Communica- enough time to see everything. I hope see, but there wasn't enough time." tions, Lubbock, TX: the expansion at the convention center To help those attendees who didn't see "I had a very good can put everyone back in the same spot. all they wanted, and those who did not NAB. The all -day Sony at Bally's, the Sands, plus the convention center makes for a lot of travel time. I felt like it was Washing- ton, DC, all over again." Chyron president and CEO Ed Grebow said Chyron had a great NAB. The corn - pany unveiled its dig- ital TV product strat- egy, which included HDTV -capable Ed Grebow graphics systems and a full- bandwidth 1.5- gigabit router from its U.K. -based sub- sidiary Pro -Bel. "Our focus is making DTV products that are flexible, resolu- tion independent and that handle all 18 ATSC formats," Grebow said. Chyron was pleased with several agree- ments that the company was able to announce, such as Pro -Bel finalizing a $1.8 million agreement with PrimeStai and work Chyron is doing with Snell & Wilcox to develop a 32x32 HDTV router. CBS's vice president of engineering Robert Seidel said, "I think the atten- dance figures alone speak for them- selves - 109,000 attendees; that's a record. The manufacturers finally have understood that the DTV and HDTV revolution is taking place, and we saw products from almost every manufac- turer for HDTV." The question that remains, according to Seidel, is transition cost. "I think one Nucomm, Inc. has developed an integrated Consult our application engineers for of the things that's become evident is digital STL turnkey solution for every HDTV a solution to meet your specific needs. that the exorbitant prices that people requirement. System configurations Redundant Systems had been quoting for prototype HDTV range from a single digital Space Diversity +°u microwave SU for a 19.39 Mbit Seamless Switching laboratory equipment have disap- system to a fully redundant Full Multiplex peared. We saw a lot of the missing dual channel STL system that pieces of the HDTV puzzle finally com- _ P can carry both NTSC and uat HDTV signals over a single STT. ing into place, where you can build a frequency. This system has been fully station and transport an HDTV net- proven at the model station. 908-852-3700 www.nueomm.eom work signal via satellite. I think this NAB has served to solidify the posi- Circle (8) on Free Info Card

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www.americanradiohistory.com tions of all the major networks. It helped "wired," Greg Hansen, vice president develop the advanced to solidify the program planning pro- of sales and marketing at Gepco Inter- television facilities cess. It helped to establish, once and for national Inc., was also pleased with and equipment that all, within the manufacturing commu- NAB '98. Hansen, a veteran exhibitor, they require." nity, that the DTV transition and HDTV said, "The 1998 NAB was the best yet. Robert Mueller, transition was indeed occurring and There are numerous contributing fac- president of Panason- would be occurring pretty much to the tors for me to make that statement ic's Broadcast & Dig- FCC schedule," Seidel concluded. ranging all the way from location of the ital Systems Compa- Comark's director of engineering, booth to a strong economy. One obser- Alec Shapiro ny, was even more Mark Aitken, expressed the same gen- vation I did make was that the attendees pleased: "The tre- eral feeling about NAB's size. "Recov- had a heightened interest in knowing mendous enthusiasm that broadcasters ery from NAB gets harder and harder," specifics about products and how the showed for our DVCPRO and he said. Comark's seminar, The Road to features would affect them over the DVCPRO50 product lines at NAB was DTV had was standing -room only with long term." terrific. We announced major DVCPRO 600 attendees. The session focused on The Panasonic Broadcast & Digital sales to broadcasters. the implementation activities required Systems Company had a lot to be happy "One of our main goals at NAB was to to move to DTV. (Editors note: For about at NAB '98. Vice president mar- showcase products that represent the more information see "First opening keting, Alec Shapiro said, "The Pana- basic production tools among all the day baseball game in HDTV," May sonic NAB exhibit was a 100% digital primary ATSC televi- 1998, p. 26 and "Add Brazil to the environment. On display was Next Gen- sion formats. NAB ATSC list," April 1998, p. 16.) eration Television! Be it in non -linear marked an unprece- Pleased with NAB '98, Aitken said, editing, HD switchers and cameras, or dented rollout of a "Comark booked several orders at this our industry standard DVCPRO and range of end -to -end NAB, as well a receiving a `handshake D -5 HD products. We hope NAB at- digital TV broadcast deal' from a prestigious group for all of tendees came away from the show with production products their UHF DTV transmission systems." the understanding that Panasonic is that provide interop- With a vested interest in getting you open- minded in working with them to erable solutions for

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www.americanradiohistory.com Plo111111.11411.7017 WEB www.scitexdv.com Circle (16) on Free mio Card www.americanradiohistory.com today and beyond. Among our ADTV advocates of progressive scan technolo- NDS booth was overwhelmed with vis- offerings, I was glad to see the great gy. It seemed very clear at NAB this year, itors seeking to take a peek at our new interest from broadcasters in the uni- that broadcasters, for the first time, had HDTV encoding solutions for both 4:2:0 versal video format converter, which the opportunity to see quite a range of and 4:2:2. What impressed most visi- enables broadcasters to convert televi- different progressive scan equipment tors was that we were one of the few, if sion signals between all ATSC -DTV both, 720p and 480p, and they can now not the only company, demonstrating formats. In the DTV era, multiple im- make decisions to go progressive and real product with live transmission feeds age formats will be commonplace, so know the equipment is going to be outputting into a 1080i ATSC format. the universal format converter is a key there. I think it was very positive." Using a six -SDTV encoder design with component to our capability to fully "I thought NAB '98 went very well," switchable ATSC Table 3 formats, the support the ATSC standard for DTV said Preston Davis, president of broad- HDTV encoder solutions were excep- video formats. See "Technology in Tran- cast operations and engineering for ABC tionally well received." Hobbs recount- sition," p. 188 for a complete list of television. "The question I heard asked ed that, "Broadcast engineers appreci- HD/DTV conversion products. the most is 'why are we (ABC -TV) ated the flexibility offered to use the Jim Adamson, LeBlanc/Larcan presi- backing 720p ?' I think you know the same equipment for both SD and HD dent, said: "NAB '98 was our best ever. answer to that." In a general observa- transmissions in a two- tiered multicast Customers asked informed questions tion, Davis said: "The one thing that environment." about transmitters, towers and antenna occurred at this NAB is I think we Probably one of the most politically systems. Last year the mood was what's finally put the format debate to bed. influential attendees, in addition to be- new and what's available? This year Those people who were going the 1,080i ing one of the events featured speakers, they came prepared to make purchas- direction, that's fine. We're going the was Republican Senator John McCain ing decisions." 720p direction; I think that's fine. I left of Arizona. "NAB '98 showed the vi- It's always interesting to speak with this NAB feeling as if we all respectfully brancy and versatility of DTV. But, it someone who's never been to NAB be- agreed to disagree and I think that's the also showed that a fore, and that was the case with Kathy right place for broadcasters to be. Now number of tough Engholm, a Tektronix transmission test we just have to get it done!" technical problems engineer. Engholm said, "This was my When asked about the focus of the still have to be solved first NAB. I was impressed by the num- other attendees this year, Davis replied: before Americans will ber of TV station employees that were "My sense was that there were a lot of be able to enjoy it. there, not just managers. They were people who came to this NAB finally The FCC's job is to very focused on learning more about realizing that they really have to do this, Senator make sure these tech - John McCain the new digital standard and how to and I had the impression they were nical issues are re- prepare for broadcasting an 8 -VSB sig- there with loaded wallets planning to solved so that consumers can receive nal." buy transmission equipment to get them digital TV service quickly and efficient- Alan Hodel, Compaq Computer Cor- started." ly," he said. poration's senior manager for world- Lisa Hobbs, NDS Americas market- Larry Bloomfield, a former chief engineer, is wide public relations said, "NAB went ing manager, said: "Compression an industry consultant and author, located in San Jose. CA. great. From our prospective, we've been seemed to he the focus at NAB. The Can you spare a yottabyte?

Just when a gigabyte or so is becoming the bare -minimum survival size for hard disk, along comes talk of storage devices that make a gigabyte, or even a terabyte, seem like chump change. David Weiss, CEO at Storage Technolo- gy ( StorageTek), expects to announce partnerships with several Internet service providers this year to offer large

storage solutions called I:Drives. The I is for Internet. Subscribers would pay $20 to $30 per month to rent Internet space in 50MB to 100MB increments. StorageTek, based in Louiseville, CO, is also thinking in petabytes, exabytes and zettabytes. In case you've forgotten: a terabyte is 1,000 gigabytes and a petabyte is 1,000 terabytes. An exabyte is 1,000 petabytes and a zettabyte is 1,000 exabytes. If that's not big enough for you, how about a yottabyte, which is 1,000 zettabytes. Such massive storage has been the domain of mainframes for medical imaging and for large storage applications such as banks, which digitize and store images or millions of checks. Weiss, however, foresees some practical home uses of massive storage. With rental space on the Internet, you could for instance, store digitized home video that would otherwise be impossible to save. You could then access the video in a snap and show it on your television or PC. To prepare for the exploding demand for large -scale on -line storage that Weiss predicts, StorageTek has part- nered with Imation (a spin -off of 3M). The two companies plan to develop a next-generation tapedrive /cartridge format that, according to Weiss, will reduce storage cost by one -third, while at the same time increasing capacity by that same amount. To grasp how large a yottabyte is, consider that it's a "1" followed by 24 zeros: 1,000,000,000,000,000,000,000,000.

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FCC EEO rules declared unconstitutional

BY HARRY C. MARTIN

In April the U.S. Court of Appeals in Petitioners seek DTV changes Washington tests show DTV Washington ruled that the FCC's On April 20, dozens of stations reception problems equal employment opportunity rules filed petitions for reconsideration in According to interim results pre- are unconstitutional. In the same de- response to the FCC's reconsidera- sented at NAB, DTV reception tests cision, the court reversed a $25,000 tion orders in its DTV proceeding. in the Washington, DC, area have EEO -related fine imposed on the Luth- The petitioners requested that the shown that fewer than 80% of the eran Church, which operates two ra- commission make changes in their sites tested received DTV signals dio stations in Missouri. own DTV allotments or to those of using an outdoor antenna, and fewer The EEO rules require broadcasters other stations which they believed than 67% using an indoor antenna. to recruit and promote minority job would interfere with them. Many Victor Tawil, a senior vice president applicants and to maintain meticu- petitions asked the FCC to reconsider at MSTV, claims that these results lous records of all such efforts. EEO specific DTV allotments, while oth- are probably higher than the per- performance has been a principal fac- ers were filed by applicants for centages that are able to receive a tor in the license renewal process. new NTSC stations affected by the watchable NTSC signal at the same The FCC has strictly enforced the DTV table. sites. EEO rules, often levying fines upon Tawil also claimed that the DTV licensees who do not comply. In fact, DTV may be subject to reception will improve over time as five days prior to the court's decision, stations implement full -power oper- the FCC upheld a $12,000 fine against significant reception ations and the quality of receivers a Philadelphia radio station for vio- and antennas improves. The DTV lating the EEO rules. problems in cities with test results in the Washington area, Although it appears the FCC's EEO which has relatively low buildings, regulations will be severely cut back tall buildings. suggest that DTV may be subject to or abolished, licensees must continue significant reception problems in cit- to follow the current rules until the ies with tall buildings, such as Chi- appeal process is completed at the Fox claimed that its affiliates would cago and New York. Court of Appeals and/or the Supreme be "uniquely disadvantaged" by Court. This process could take a year the 200kW power limit for UHF Harry C. Martin is an attorney with Fletcher, or more. DTV facilities. Fox also argued Heald er Hildreth, PLC., Arlington, VA. Hours after the court released its that the lower power levels assigned decision, FCC Chairman Bill Kennard to current UHF stations would slow issued a statement reiterating that he the transition to DTV. The Fox affil- was confident that the EEO rules are iates in the top 30. markets, where Dateline constitutional and accusing the court the build -out timetable is accelerat- TV, TV translators and LPTV of "diminishing" the nation. In his ed, would be forced to initially con- stations in California and TV statement, Kennard claimed that the struct facilities limited to the 200kW translators and LPTVs in Kansas FCC's EEO policies have opened doors output level. Later, they would and Nebraska must file their for minorities and women and provid- have to rebuild the facilities in order 1998 renewal applications on ed them with opportunities over the to take advantage of the higher or before Aug. 3. Pre -filing past several decades. power levels expected after the renewal announcements for TV At the NAB Convention, seven days transition. stations and program originat- prior to the court's decision, Ken- Other petitioners challenged basic ing LPTVs in those states began nard had expressed concern that the elements of the reconsideration or- on June 1 and June 16, and media was becoming less pluralistic der. For instance, the National Reli- should continue on July 1 and and challenged broadcasters to de- gious Broadcasters asked the FCC to July 16. velop plans to increase ownership by reconsider allowing some DTV oper- Commercial TV stations in the minorities and women. (For more ations on Channel 6. They claimed following states must file their information on the FCC's action, see that it would result in increased in- annual ownership reports by Broadcast Engineering, April 1998, terference to NCE -FM stations, many Aug. 3: North Carolina, South "Reader Feedback," p. 12 and "Be- of which are operated by religious Carolina, Illinois, Wisconsin and yond the Headlines," p. 14.) broadcasters. California.

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Back to school BY LOUIS LIBIN

The technical level of expertise re- Some of the new test equipment does individual broadcasters. The plan is that quired for broadcasters will contin- allow you to make NTSC measure- all receivers currently being built will be ue to rise as stations become more en- ments along with the 8VSB measure- able to recreate high -quality picture, trenched in digital technologies. As a ments. However, engineers should not sound and data, no matter what format result of the conversion to digital, broad- be confused by the "old" analog TV is used. casters will be faced with new challeng- standard. The DTV system uses a mo- es. Station engineers may even he forced tion- compensated discrete cosine trans- The transition to stand in front of the proverbial black- form (DCT) algorithm for compression As the transition to DTV moves for- board and prove their worth. of video signals. DCT exploits spatial ward, consumers will begin noticing the redundancy, and motion compensation changes. The first and most obvious The new system exploits temporal redundancy. DCT was quality improvement that DTV will have I he new D "CV system is a significant selected for its good energy-compaction over NTSC is that it will deliver HDTV advance over the current NTSC TV properties, and the many fast algorithms programming with double the resolu- standard. It is also more complicated that are available afford low -cost imple- tion of NTSC. DTV will also provide than the analog NTSC standard. The mentation. many other advantages, whether it is DTV standard uses digital compression, In addition, the system employs source- used for one HDTV program or multi- packetization, and brand -new modula- adaptive coding and other techniques ple standard -definition programs. It tion techniques, as well as audio and for greater coding efficiency. The field eliminates the chroma crawl interfer- unrelated data transmissions. Multiple and frame motion vectors and the adap- ence, inherent to NTSC. Noise in the video formats are also used. This means tive field/frame DCT coding greatly picture due to poor off-air reception or that full flexibility will be available to improve the compression efficiency. The noisy cable systems is also eliminated, broadcasters on video formats, all the forward analysis with localized quanti- and there will be no ghosting. way from high- definition pictures to zation -level control further decreases It is vital that engineers continue to low- resolution images. The stakes are the visibility of the compression arti- learn about this new, exciting technolo- quite high and stations will need to facts by exploiting the characteristics of gy as implementation approaches. Only replace all of their existing analog broad- the human visual system. This is all after station engineers take the neces- cast system with a new digital system. different from NTSC power measure- sary time and effort to carefully learn Digital television has not been precise- ments, which are simply characterized the new system, plan and test their new ly defined by the FCC - for example, by peak power. facilities, will DTV reach living rooms there are now 18 different formats that Broadcasters must also become famil- with the high quality that is expected broadcasters can use. Broadcast engi- iar with the new receivers. Manufactur- from this hot, new technology. neers will need to develop experience ers will be working with the broadcast Louis Libin is a broadcast/FCC consultant in dealing with the new system under real - organizations to produce literature for New York and Washington. world conditions. Until then, there will still be some confusion and the new TV service will not be fully optimized. What station engineers will need to know The composition of the 8VSB signal. Training: The key to success How and where to monitor the 8VSB signal. Start training your engineers now. The How to test the 8VSB signal. The levels of DTV interference into NTSC home receivers. new test instruments are not at all like acceptable those of the past; the vector scope and waveform analyzer are gone. Now engi- Potential problems neers will need to know how to use the Some digital receivers may display unacceptable pictures. vector signal analyzer (VSA). It is a A number of NTSC viewers will have to install new antennas to receive "real -time" spectrum analyzer that sam- good NTSC. Different receivers might behave differently. ples entire data block, thus allowing the Solutions to certain types of interference may cause other interference the time and frequency spectrum to be problems. studied simultaneously. Traces can also Directional receive antennas for DTV could exacerbate some receive situations. be superimposed on one another in dif- In some cases, reducing directional coverage could improve overall ferent colors for clarification, and mea- performance. surements are fairly automated.

30 Broadcast Engineering Junc 1998 www.americanradiohistory.com OK LET'S TALK CONVERGENCE.

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www.americanradiohistory.com Ex r ert's Corner Vendor Views

Compression for storage

This month in Expert's Corner, we Compression formats M -JPEG outputs, this places the for- cover an issue that is sometimes The major compression technologies mat in the legacy category. However, at overlooked with disk storage - com- currently used by disk systems include least we can now predict its useful life. pression. Digital storage on video disks M -JPEG, MPEG 4:2:0, MPEG 4:2:2 To get an idea of where disk manu- is now taken for granted. What's some- and DV. facturers are going with compression times missed in any discussion is that of At this year's NAB, we saw disk sys- for storage technology, Broadcast En- the compression used with the storage tems moving away from M -JPEG com- gineering's writer and industry con- systems. pression to MPEG or DV. As broad- sultant, Brad Gilmer, conducted a sur- With several different types of com- casters demand the ability to move vey among some makers of these prod- pression technologies available for disk video directly from their acquisition ucts. storage, users need to consider carefully format to storage without an interme- Here's an overview of how three of how the storage will be used, not just diate step to analog or 601, the com- the companies who responded to his how much needs to be stored. Users need pression format used becomes critical survey view today's disk- recording to ask, "Will the disk system compress to preserving quality. technology. the signal prior to storage? If so, what Also, the ability to move video around format will be used? Also, how will the a facility at faster than real time is note: For a complete list of disk re- need to video This cannot be Editor's manipulate the through increasingly desirable. cording technology and available products, multiple I/O operations and editing af- done with analog or 601. Because there see "Technology in Transition" in next month's fect the final image quality?" are no field acquisition products with issue of BE.

Given that the industry seems to be unable to standardize on a common compression format, are the user's only choices analog or 601?

DVS Digital Video Inc. - Tore B. Nordahl, vice president stop going through a translation that includes 601 digital sales and marketing video and recompression. Instead, format -to- format trans- No, with HDTV and DTV now being implemented, 601 lation will be handled by software routines that are faster will have no practical relationship to HDTV in the future. than real time and use no recompression. The only relationship will be to possibly use the 270MB/s switching plant for compressed HD if the plant can handle Pluto - Mark Gray, president highest image is a slightly higher bit rate, 360MB /s (D5). Certainly, the way to get the quality to keep the media as uncompressed 601 and compress only when absolutely necessary, usually just before Drastic Technologies - Patrick Rea, manager, hardware is development, and Karen Taul, director of sales and marketing transmission. Given that acquisition now migrating Currently the most time- efficient manner of translating to compressed formats, minimizing the number of compression/decompression cycles and minimizing the between formats is to use translation to 601 digital video number of compression technologies (JPEG, MPEG, and then into the desired format. As processor speeds DV, etc.) throughout the production process is the only move steadily upwards, conversions between formats will way to optimize picture quality.

Which compression format is better? DVS Digital Video Inc. - Tore B. Nordahl, vice president Drastic Technologies - Patrick Rea, manager, hardware sales and marketing development, and Karen Taul, director of sales and marketing For production, uncompressed HDTV is required. For All of the compression formats have a place in today's post -production, intraframe compression not exceeding production and broadcast environments. DV and Mo- 7:1 is possible. For on -air play -out, MPEG -2 ATSC is possible. M -JPEG is on its way out. Continued

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Circle (12) on Free Into Card www.americanradiohistory.com tion -JPEG are similar in the way that the video is com- Pluto - Mark Gray, president pressed, however, there are some differences. In DV, you Each compression format has positives and negatives. It are dealing with a fixed compression (video quality) level is now clear that 70% or more of the world's news will be while the video compression of most M -JPEG systems can recorded with DV compression. DV, DVS() and DV 100 for be varied allowing the user to select the video quality at high definition will be the standard for producing (editing) which they need to work. The other advantages of using broadcast material. If DV is the compression format for M -JPEG or DV is in the editing capabilities that a frame - acquisition, then it clearly will be advantageous for the by -frame compression scheme allows. broadcaster to keep the DV native format for all editing, Apart from the issue of standardization, MPEG -2 offers switching and processing applications. MPEG -2 has the reasonable high video quality, while using lower band- advantage of much higher compression ratios with the width than DV or M -JPEG. The difficulties with MPEG -2 downside that editing is more difficult and limited. Also arise when you need to edit the material, or when several with MPEG -2 great care must be taken to avoid objection- frames become corrupted as the playback system loses the able compression artifacts. It is our opinion that the station motion base that the segment is depending on. MPEG -2 should keep the signal in DV native all the way up to the main profile is again not much different than M -JPEG or ATSC encoder. This will result in the best quality, flexibility DV, as these are all DCT -based with no motion -based and performance with a low cost of ownership. compression.

Will vendors provide products that can edit MPEG?

that the user needs to ask is whether or not the 'DVS Digital Video Inc. - Tore B. Nordahl, vice president question sales and marketing capability of editing in the MPEG format is worth the high Yes, but not real -time on- the -fly without modifying the system costs for the video quality presented at the output. way clips are encoded in MPEG -2. Pluto - Mark Gray, president Drastic Technologies - Patrick Rea, manager, hardware Some vendors are touting such capabilities, but these development, and Karen Taul, director of sales and marketing systems are unlikely to be effective at anything except cuts Currently, available systems for editing in the MPEG -2 only and even then will impose limitations preventing format are based on profiles that use no motion -based many popular edits, such as back -to -back frame cuts. !compression. At these data rates, the storage require - Keys over, DVE moves, or other frequently used effects ;tnents are the same as DV or M -JPEG formats. The will be difficult to achieve in the MPEG domain. wneaseass

Will vendors provide products that translate between DV and MPEG?

DVS Digital Video Inc. - Tore B. Nordahl, vice president Pluto - Mark Gray, president sales and marketing We do not anticipate that it will be feasible to edit DVS has no opinion on this. It is not our business area. between the two compression formats (DV and MPEG) without resorting to a full decompression/recompression Drastic Technologies - Patrick Rea, manager, hardware cycle for at least one of the two formats. Going to 601 will development, and Karen Taul, director of sales and marketing probably be the most straightforward means of dealing Currently, the most time -efficient manner of translating with such a situation. The difficulty in editing MPEG between formats is to use straight translation to 601 4:2:0 is that it will always require reprocessing and special digital video and then into the desired format. As proces- equipment. It's our opinion that the editing process should sor speeds move steadily upward, straight translations be done within the DV format and then converted to between formats will stop going through a translation MPEG (only if necessary). that includes going to 601 and being recompressed. Instead, format -to- format translations will be handled by software routines that are faster than real time and will not introduce the need for recompression.

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34 Broadcast Engineering June 1998 www.americanradiohistory.com Vinten's Quartz Pedestals are designed to transport studio applications into the future. Vinten In answer to the increasing use of lightweight digital cameras in today's Vinten Inc. studio, Vinten designed the Quartz pedestals in single and two -stage 709 Executive Blvd. versions. The fully- skirted base incorporates a new and innovative cable Valley Cottage, NY 10989 guard system along with a single foot brake for perfect control at all Phone: 914- 268 -0100 times. The light and sensitive feel of the steering enables fine and Fax: 914- 268 -0113 precise movements, allowing Quartz to accelerate smoothly and Toll -Free Sales: 1- 888 -2- VINTEN rapidly to reposition shots, even in the tightest of sets. Website: http: //www.vinten.com

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Transition to Di s ital

Audio levels and metering the analog environment

BY MICHAEL ROBIN

Audio signal amplitudes are continu- concept assumes a near -zero signal ously variable. Given the extremely N(dB) = 10 logio (P/13,e) source impedance and a near -infinite wide range of audio voltages, it is cus- load impedance. Under these idealized tomary to express audio signal levels in where N(dB) = The number of decibels open -load conditions, the source does decibels with reference to a specific not dissipate any measurable power power or voltage level. Currently, there P = The measured power level into the load, and the open -load source are three commonly used units for the voltage is unaffected by the load. The measurement of audio levels: dBm, dBu Prey = The reference level of ImW reference signal is 0.775V RMS. For and dBV. practical purposes, the dBu concept The formula can be extended to the requires signal source impedances of The dBm measurement of voltages or currents as the order of 50f1 or less and load im- "I he dBm abbreviation is used to ex- follows: pedances equal to or in excess of 10k11. press the root- mean -square (RMS) pow- er of a sine -wave signal with respect to N(dB) = 20 logro (VNrd) The dBV a 1milliwatt (mW) reference. A power An alternate method of expressing of 1mW dissipated into a 600S1 load N(dB) = 20 logio (I/h4 audio signal levels is the dBV. This is an results in a 0.77459V RMS voltage open -load voltage concept, and the ref- (rounded up to 0.775V RMS). When The above formulas assume that the erence voltage is 1V. The dBV is used by dissipated into other load values, other voltages and currents are measured microphone manufacturers. voltages result. The power of 1mW is across identical impedances (e.g., 60051). defined as OdBm. Other audio power Typical signal levels and impedances levels are expressed in dBm with respect The dBu There is a wide variety of studio - to the reference OdBm power level ac- An alternate method of expressing quality equipment available to the user. cording to the formula: audio signal levels is the dBu. The dBu Normally, in terms of signal level, there are two main categories, namely, low - level devices (typically microphones) FRAME GRAB and high -level devices (everything else). A look at tomorrow's technology. Microphone sensitivity ratings, mea- sured at 74dB sound pressure level (SPL), DTV camera sales to climb are commonly expressed in open -load TV stations plan to embrace locally- produced DTV through the microvolts or dBV. Impedances for pro- purchase of new ENG and studio cameras. fessional-quality microphones are stan- 30 dardized at 150(1, but other values are also encountered in practice. A typical 25 -' moving-coil microphone, with a source impedance of 15011, generates an open -

20 - load voltage of 100mV ( -80 dBV) at 74dB SPL. The input impedance of the 15- microphone pre -amplifier bridges the microphone output, that is, it has a 10- value of 1,500(1 or higher (10 times the source impedance), to avoid microphone 5- damping and input signal -to -noise deg- radation due to excessive signal loss. 0 tom- - Audio signal levels generated by mi- 1998 1999 2000 2001 2002 2003 2004 2005+ Not sure crophones are suitably amplified to line I'Nlliilrvnmarum.1l rit ,,,,, signal levels and distributed within broadcast facilities or to common carri-

38 Broadcast Engineering June 1998 www.americanradiohistory.com ers for land or satellite trans- mission. The audio signal level is expressed in dBm. A stan- The power- matching dard operating level (SOL) concept of +8dBm into 60011, or In North America in the 1.95V RMS, was chosen in 1930s, the audio distribution North America. Some au- line impedance inside broad- thorities, including sound cast facilities, as well as that recording studios, opted for of the common carriers and a +4dBm SOL within their audio transmitters, was stan- facilities. The SOL repre- dardized at 60012. The inter- sents the steady -state max- connection of various types imum level or peak pro- of equipment followed the gram level as measured with power matching concept. This a standardized audio sig- concept assumes that: nal level meter (volume unit or VU meter). Many older The audio signal source (i.e., facilities operate in this common -carrier line, audio manner. tape recorder, audio distribu- 10ms 0.1s 0.3s 1s tion amplifier, or audio mix- The voltage- matching DURATION OF THE PEAK ing console) output imped- concept ance is 60011, balanced and Figure 1. The masking effect of typical VU meter and PPM for a Modern studios operate floating. given tone duration. in a voltage matching con- dio tape recorder, audio distribution figuration. The signal level is expressed The loading input impedance of the amplifier, or audio mixing console) is in dBu and the SOL in North America receiver (i.e., common -carrier line, au- 60011, balanced and floating. is +4dBu or +8dBu. This reduces the

SNELL & WILCOX gr Q. How can I make sure programs being made now will have the best production values in the DTV era?

AOriginate in a format that will give you the most . data - either 35mm film or one of the HD video formats if your budget allows. 1080i offers the best spatio -temporal capture parameters of all video formats. You can derive all of the ATSC transmission formats from it. And in the future it will give you the best quality conversions to HD progressive. The faster field rate of video makes it more suitable for sports than 24 frame film which is often preferred for prime-time dramas.

June 1998 Broadcast Engineering 39 www.americanradiohistory.com power requirements of the sig- .tt monitoring of audio program. nal source considerably be- .t .2 The specifications of the VU cause it is only required to meter reflect the philosophy of +12 .10 dissipate a minute amount of the 1930s. Essentially, the VU .0 .12 0 power across the bridging load. meter is a moving -coil RMS- .0 An added advantage is the im- type audio -signal level measur- .i: .12 r proved frequency response and - - .12 a ing instrument. It is fitted with transient response of the sys- A a two scales, a VU scale marked 0 .3 .1 tem because the capacitive 4 4 - s 4 100 -7 (reference deflection) at about -1 .3 loading of the shielded bal- 4 0 e0= -t 71% maximum scale reading -a +3 anced audio cable has a lesser 4 .4 - - 60= o extending to (maximum) and 9 4 effect across a source imped- 4 -2 -20 (minimum), and a percent- ance of 5052 than it has across 40 - -7 age scale with 100% corre- - 4 - tET - -6 4 a source impedance of 600f1. sponding to 0 VU reading -2 20 - -10 The interface with common -9 The VU meter has an input 4 4 S 4 carriers retains the power - - impedance of 7,50051 and as 4 10 a ef- matching philosophy to avoid 4. CC BIC SOU GERMAN CSC FRENCH such has minimal loading return -loss problems with long PPM PPM PPM PPM VU VU I fect on the 600f1 source imped- cables resulting in echoes. ance. Its sensitivity is adjust- Figure 2. Upper -scale details of some audio level meters used throughout the world and the corresponding steady - able so that the VU reference Signal -level monitoring state signal level in dBu. level (OVU) can be made to cor-

Audio -signal levels are closely moni- meters found in applications for studio respond to the SOL ( +4 or +8dBm) tored in a studio environment to ensure environments. These are the volume under steady -state sinusoidal voltage that sudden or sustained peaks do not unit (VU) meter and the peak program conditions. Its dynamic characteristics cause overloading and distortion in meter (PPM). are such that if a sinusoidal voltage of a various elements of a system. There are The VU meter was developed in North frequency between 35Hz and 10kHz, two generic types of audio monitoring America primarily for the control and and of such amplitude as to give refer-

SNELL & WILCOX O O Q. My budget doesn't allow an HD video format. Can I squeeze good quality upconversions from Betacam SP or DV?

AThey can be better than you might expect! Betacam SP is analog, but its advantage is that, like DV, it is component, so it doesn't suffer from composite encoding and decoding artifacts. It also has quite a reasonable bandwidth and low noise. The main thing is to shoot well on a good quality camera. Component makes a far better job than composite of reproducing the image the camera saw - enabling the upconverter to do the best job.

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www.americanradiohistory.com ence pointer deflection (0 VU) under at 10kHz. A complementary de -em- ica and is in common usage in most steady -state conditions, is suddenly ap- phasis at the receiver results in an im- European countries. When properly plied, the pointer will take 0.3 seconds to provement of the SNR and a linear fre- used, it reduces the need for signal reach reference deflection. This charac- quency response. The high frequency compression as audio transmitter over- teristic was chosen to approximate the preemphasis concept was developed in load is less likely to occur. assumed response of the human ear. The 1940 when the presence of high -level 0.3- second rise -time characteristic of the high -audio frequency signal was unlike- Present -day meters VU meter introduces a masking effect. ly to occur. It can potentially lead to Figure 1 shows that the PPM is capa- Essentially, the instrument is unable to overmodulation of the FM transmitter ble of more accurate peak audio signal give accurate audio signal level indica- in the presence of high -level high -fre- level measurements than the VU meter. tions under complex -wave, fast rise -time, quency spectral component in the audio There are two entrenched camps stead- input signal conditions. The instanta- signal. Various types of limiter/compres- fastly preferring the PPM or the VU neous speech or music signal level may, sor combinations are used in an effort to meter. In an effort to satisfy all the users in reality, be 10VU or more above the avoid transmitter overmodulation and of contemporary audio equipment, readings of the VU meter. to achieve an acceptable SNR. manufacturers offer equipment with The use of the VU meter has resulted The PPM is a peak- reading instru- selectable VU or PPM rise/fall times. in the need for a relatively large head- ment of European origin capable of Figure 2 shows details of the upper room in recording and distribution sys- adequately displaying audio signal tran- part of the display scale of some audio tem elements to avoid the clipping of sients. Some current designs feature a level meters used in various countries. sudden bursts in audio signal levels. 10ms attack time (risetime) and a 2.85 - This drawing shows clearly that, in Typically, audio equipment designed to second fallback time. This characteris- addition to transient response differ- handle an SOL of +8dBm is capable of tic amounts to a "sample- and -hold" ences, various organizations have dif- handling output signal levels in excess approach to audio -signal -level moni- ferent reference levels (SOL) and meter of +18dBm at a total harmonic distor- toring. It allows the user to accurately display scales. This situation creates tion (THD) not exceeding 1%. Such monitor audio signal levels under steady- problems in international TV program undistorted audio peaks, unnoticed by state and program conditions, reducing exchanges and is not likely to change in the operator, are likely to reach the the need for large amounts of head- the near future. audio transmitter and overload it. The room in studio equipment. Neither the situation is further complicated by FM scale nor the display is universally stan- Michael Robin, former engineer with the CBC audio transmitters that use a high fre- dardized. Its input impedance is usually engineering headquarters, is an independent broadcast consultant in Montreal, Canada. PPM is quency pre- emphasis with a time con- in excess of 10k. The use of the He is a co- author of "Digital Television Fun- stant of 75µs resulting in a 14dB boost gradually gaining favor in North Amer- damentals," published by McGraw -Hill.

High -speed networking topologies

BY BRAD GILMER

There are four basic topologies em- Point -to -point topology is low -cost, failure of any cable, any computer, or ployed in computer networks to- but it has a big drawback. It is subject to any network interface card can cause a day. These are point -to- point, star, Thin - many single points of failure. Since each complete loss of communication amongst net and switched fabric. computer is connected to the loop, the all the computers. A common way to deal with this problem is to em- Point -to -point ploy two loops. Another meth- Figure 1 illustrates point- od is to move to the star topolo- to -point topology, in gy (see Figure 2). which each node is direct- r ly connected to the next D 17i 0 Star r 0 l'm..,,J without any intervening r r a r In the star topology, each node hardware. The most com- 1 is connected to a hub or concen- mon systems using this to- trator. This is the basic building pology are Fibre Channel block of 10BaseT Ethernet, the most popular networking sys- arbitrated loop (FC/AL) Fiaure 1. Point -to -point topol- 2. topology. and token -ring. ogy. Figure Star tem in use today. It is also used

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www.americanradiohistory.com Thinnet Ethernet systems. fabric networks will be the basis of The strengths and weaknesses of this most high -speed networks of the fu- system are identical to that of point -to- ture.

point wiring schemes. The system is With the exception of switched fabric inexpensive but if a connection fails, it topology, in all of the diagrams above, will affect all com- puters on the net- Figure 3. Thinnet topology. work. in Fibre Channel networks when de- signers want to protect users from the Switched Fabric 0 problems associated with point -to -point The fourth topolo- systems. gy is switched fab- A disadvantage of star topology is it's ric. Switched fabric somewhat higher cost. However, a big topologies are com- advantage is that almost all hubs can monly used in isolate a faulty node, preventing a bad switched networks such as Ethernet or -.38 CIS connection from affecting other com- -CT puters attached to the network. Of Fibre Channel. course, the hub is a single point of Switched networks failure, and steps should be taken to can provide the high- minimize risk in this area. est aggregate band- width of any topol- Thinnet avail- 0 ogy currently Figure 3 illustrates Thinnet topology in able short of dedi- which all computers connect to a com- cated point -to -point mon cable. This topology is employed in networks. Switched Figure 4. Switched- fabric topology.

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www.americanradiohistory.com as the number of nodes on the network increases, perfor- mance decreases. This is be- cause these networks connect everyone together on one big

party line. As with an old -style Desktop Client telephone party line, if more than one person talks, it can be very confusing to determine what is being said. For this 100 Meo foil dogi.,

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ing systems include a method -117 1-11 100 Mbil lull duplo 1 lnNub to ensure that only one node w talks at a time. Clearly, if your Desktop Client Switch High Performance system is large, and many peo- FlIesere.r ple are talking, performance for any given node will suffer. In the past, network design- ers resorted to keeping individ- ual network segments small. They connected a number of segments together with bridges to build larger networks.Bridg- Figure 5. An example of a high -performance switched topology network. es isolate the chatter on one network segment from another and only required. This resolved the party line fix it entirely. Users unfortunate enough send messages across segments when problem to some extent, but it did not to share a segment with a fileserver,

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www.americanradiohistory.com graphics workstation, or other high - vide very high bandwidth connectivity desktop connections. bandwidth device, typically noticed a to a server and a graphics client while The example shown in figure 5 illus- significant decrease in performance providing conventional connectivity to trates only one topology for a high whenever those devices were active. typical desktop users. speed network. There are many other So what is the difference between a Here are some things to note in the possibilities, including network designs switched fabric and other topologies? drawing. First, the server is given two that allow for shared common storage The biggest difference is that a switch 100Mb/s full duplex connections to the for multiple servers (called Storage Area can give you a dedicated full -band- switch. Since it is the only computer on Networking, or SAN) based on Fiber width segment all to yourself. This these nodes, it has the full 100 megabits Channel. One can easily imagine a high means that if you are running a 10, 100 available on each link. It is possible to speed network with shared area net- or 1,000Mb network, you will have add more than two cards to a server, working providing common access for access to all that bandwidth (less over- increasing the available network band- non -linear editors to a common pool of head, of course). Another big difference width even further. (There is no point in broadcast -quality video. Designs such is that, once you go to a dedicated increasing the network bandwidth if as these were not possible as recent as a segment, you are able to use full duplex the server has 1/O or other limitations.) few years ago. communications that is, you can send Second, note that the graphics worksta- New networking equipment and tech- and receive data at the same time. In tion has a dedicated 100Mb /s full du- niques are being developed all the time. other systems, one person talks while plex link to allow it to exchange very One thing is for sure - broadcasters everyone else listens. Furthermore, in large files with the server. Third, note will be at the forefront of this technol- particularly heavy usage situations, you that the Ethernet hub provides desktop ogy employing high speed networking can install more than one network con- clients access to the same high perfor- in video applications. nection to a device to provide simulta- mance server, but over much slower neous dedicated full bandwidth con- 10Mb /s shared links. Finally, note that workstation can consume nections. the graphics Brad Gilmer is president of Gilmer & Associ- Figure 5 illustrates how a switched all its available network bandwidth to ates Inc., a technology and management con- network might be constructed to pro- the server without affecting any of the sulting firm.

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www.americanradiohistory.com Ask Dr. Digital

Malloc failure

A s you might guess, not all of the we try to save the most current playlist the size of letters I receive make it into the after modifying it, and a message ap- the log file column due to space limitations. Well, pears in the display that says "Malloc or because recently I helped Walter Kuhne with a failure." Could you help me regarding of several flash -frame problem. It seemed that this message? Where can I find its mean- other reasons. editors had placed 100 IRE white ing? That should an- frames in a video to mask a jump cut Walter Kühne Jr. swer the "what" part of the question. and it was causing a monitor to appar- On -air supervisor I checked with Ampex to determine ently lose sync: MTV Brasil how to eliminate the problem. It turns out the problem is in the ACR -225, This is the second time I am sending an An ACR -225? There aren't many of rather than the PC attached to it. Add- e -mail to Dr. Digital, and I would like to those beasts around. The term "Mal - ing memory to the PC will not help. thank you for your attention loc failure" is a computer term. Mal - The ACR was designed to handle a regarding the first one. The loc, or memory allocation, is an oper- playlist of 1,500 events with no prob- main reason for this e-mail is ation whereby the system sets aside, or lem. However, a larger active playlist to find an answer regarding a allocates, a section of can easily overflow the ACR's internal message that sometimes comes memory for a specific memory - which is what is happening out from our ACR -225 ma- task. In this case, the is this case. The cure is to keep the size chine. We have two and are task is probably to set of your playlist under 1,500, thereby using version 4.1a software. aside a copy of the preventing the errors. Sometimes, when we are includ- original file. It could Need help? Drop me a note at ing or cutting some events in the nlavlisr. he failing because of drdigital @compuserve.com.

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48 Broadcast E glns.ring June 1998 www.americanradiohistory.com 10001? 120p? s

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What's Real What's Next

www.americanradiohistory.com Transmission & Distribution

Tower lighting systems and problems

BY DON MARKLEY

First and foremost, the rules of the game have changed slowly over the past few years. Perhaps the most sig- nificant point to remember is that the FCC places primary responsibility for maintaining proper tower marking and lighting with the registered tower own- er. If you rent tower space, you are not totally relieved of responsibility for such systems; you will be called on if the owner fails or is unable to maintain the tower properly. The other big item concerning tower lighting actually occurred a few years ago; however some operators do not seem to be aware of the change. If a tower is less than 200 feet above ground level, it may be possible to eliminate existing lighting and to also stop paint- ing the structure. The operative word Intermediate tower lights can no longer be installed on the tower. Existing towers are is It is here "may." not acceptable to "grandfathered." but new towers must have two fixtures installed so that at least one simply pull the plug. Existing towers light is clearly visible without any obstruction from the tower members.

under 200 feet that are marked and lighted have usually been so equipped FRAME GRAB as a result of conditions on construc- A look at the consumer side of DTV. tion permits and/or licenses. That means that a notification was filed with the Shopping on line FAA, a no- hazard opinion was issued By 2002, 18.3 million Internet users will use the Internet to purchase and the commission directed the way products and services. the lighting and marking was to take place. In some cases, even for towers 100 below 150 feet, the marking and light- ing is still necessary due to nearby 80 - aeronautical facilities. For towers under 200 feet, it still is 60 - necessary to obtain FCC approval be- fore eliminating the lights. The FAA 40 must agree that the lighting and mark- - 30% 24% 27% ing is no longer required before the 19% 21% 20 -; 18% commission will grant approval, which actually involves a modification of the 0 station license. This can be sought by filing FAA 1997 1998 1999 2000 2001 2002 Form 7460 -1 with the FAA regional office. The address of the office for Same: w.w."nlegy'wv.cwn your area can be obtained from the FAA web page at www.faa.gov/

50 Broadcast Engineering www.americanradiohistory.com The Most Accurate Portable Video Calibration Tool By Any Measure

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Until now, you had two choices when it came to you're ready to go. Touch the button to generate video calibration equipment - the rack mounted SMPTE color bars. Touch it again to calibrate system or desktop -sized system. Serviceable, convergence, do a line sweep, read color fields sure...but hardly convenient. Because while it and so on. sits in the equipment rack, you run around plugging umpteen cables in and out to get the With its 10 bit digital architecture and precision readings you need. And on location? output, Calibar accurately generates 24 test Forget it. patterns... that's as many as most rack systems. It's fast, easy, and, at under three ounces, extremely But now, there's CalibarTM portable. Just try taking your rack- mounted CALIBAR system along. It's the fastest, easiest, most portable way to calibrate video equipment. No bulky, oversized And speaking of small, Calibar costs a fraction of test equipment. And no limits to where you can a rack- mounted system. Put one in your pocket use it. So, besides giving you fast, accurate for under $500. Call: 1- 800 -847 -6111 and see for readings in the studio, it's perfect for off-site yourself how Calibar measures up. events and trouble-shooting in the field. Just tuck the pen -sized Calibar in your pocket and AI 1- 800 -847 -6111 II International: III II 1 -210- 370 -8000 :ILs Fax: 1- 210 -370 -8001 Anonymous FTP NewTek II M I site: ftp.newtek.corn www.newtek.com

Circle 1251 De Free Into Card All trademarks and registered trademarks are sole property of NewTek © Copyright, NewTek, 1998

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USA tel. +1-800-914-9239 exc. 1480. Circle (26) on Free Into Card www.americanradiohistory.com along with information determination will result in the com- lighting. Form 302 can also be used to on the applicable standards. It is also mission's approval to turn off the lights. advise the commission of the new total possible to order forms through the Now conies the fun part. structure height. web site. If the tower is in a directional array, lights If it is found that the tower does not Removing the it may be necessary to touch up the used present a hazard to the navigable air- Removing the lights from towers tuning of the array slightly after the space based on the current regulations, for AM will cause a change in the lights are removed. Again, removing base impedance. This requires the FAA will issue a "No Hazard Deter- tower's mination" that clearly states the re- measuring the impedance and filing quirements for marking and lighting. FCC Form 302 for direct measurement The FAA has Assuming that such a determination is of power using the new parameters. Of course, the FCC should be advised that in hand, a letter to the FCC identifying changed the the structure, along with the registra- the station is measuring power by the indirect method prior to removing the tion number and a copy of the FAA requirements for obstruction lights.

the lights changes the electrical height of the towers slightly. This then changes the base self- impedance, which in turn changes the power division slightly. As a result, these changes will mess up the array. When the removal of the lighting system includes removing the wiring from the isolation coils to the tower for the lights, the base impedance will be further changed. The existing base im- pedance values and operating imped- ance in directional arrays include the shunt effects of the isolation coil or 1 coils. This can be significant for tall Engen : qer , nder of beyerdynam /c, $mbef & Co shown testing the World's first moving cod Headphones. towers. Again, the prospect of measur- ing the impedances and retuning be- comes a reality. In brief, it is probably best to content 74 Past, , , Bríght oneself with simply turning off the r4 Ba/iaht flltHre breaker and leaving everything on the DT48 tower as it is. That way, no height changes occur, no notifications are Audio 4/story. In 1937, beyerdynamic introduces the world's first moving coil stereo heaphone, necessary and no retuning of the an- the legendary DT 48. tenna systems is needed. At some point maintenance re- Audio/Ravrs. In 1998, beyerdynamic introduces down the road, other the world's first digital recording microphone, quirements will doubtlessly require the MCD 100. touching up the array or remeasuring Established in 1924, beyerdynamic's legacy the base impedance. At that time, it of innovation, fidelity and reliability is may make sense to eliminate the lights recognized and honored by audio professionals around the world. including all conduit and wiring, espe- 73 years of audio excellence. cially if deterioration of those compo- An ear to the past, an eye to the nents is the cause of the maintenance. future. beyerdynamic... f/de//Yy IN Audio. T'^ Change in requirements One other change in the regulations for more /nfor/war/on needs to be addressed. The FAA has 1.800.293.4463 for obstruc- e -mail: salesUSA ®beyerdynamic.com beyerdynamic changed the requirements 56 Central Ave., Farmingdale, NY 11735 tion lights. For towers tall enough to Circle (27) on Free Info Card

56 Broadcast Engineering June 1998 www.americanradiohistory.com 80,000 hours of TV at your fingertips. (Eyedrops not included.) StorageTek® can help you transition all your station's video to digital and ensure that the only things you risk straining are your eyes. Our MediaVault broadcast solutions deliver fully automated digital archives that are reliable and can store from 80 to 80,000 hours of video. So you can digitally access program material, improve efficiency, lower maintenance costs and reduce errors. And we have the hardware,

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DTV Ready logo are trademarks et Sony. Sony, E 'NET. SOFTWARE. the Sony logo. and the in whole or in port without written permission is prohibited. V998 Sony Electronics Inc. AI rights reserved. Reproduction

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www.americanradiohistory.com require one or more sets of intermedi- er be uniformly spaced along the tower. ate obstruction lights, the FAA now However, it is possible to obtain per- requires that two light fixtures be in- mission from the regional office of the COMING stalled so that at least one light is clearly FAA to leave the lights alone if the visible without any obstruction from change in height is not major. A few feet NEXT the tower members. Such was not the of change in the light spacing won't case on older towers where the interme- normally create a hazard to aircraft. MONTH diate lights were often inside the towers However, get the approval from the themselves. Some riggers have been sell- FAA in writing for the files in case ing new lights based on the change in anyone does hit the tower. Don will give regulations; that is not necessary. The Normal maintenance is usually taken old lights are "grandfathered" and do care of by the tower crew during some pointers not have to be replaced until some other relamping. The only time that the sta- change is required. Usually, that change tion staff becomes involved is when on how to is involved with changing the height of flasher components are replaced or the tower such as changing out a top - when catastrophic failures of the sys- keep that mounted antenna system. tem occur, such as burnouts from light- Even when changing the height of the ning. The most common problem for transmitter tower, it may be possible to leave the AM towers will be a need to replace the existing lights alone. For example, if a isolation coils. While this doesn't con- and associated pole- mounted FM antenna or a top- stitute a significant problem, it will be mounted TV antenna is being replaced, necessary to go through the whole equipment in there will often be a change in several impedance bit as described earlier to feet in the overall structure height. Such maintain normal operation. top shape! a change causes all of the lights to be in Don Markley is president of D. L. Markley the wrong place as they would no long- and Associates, Peoria, IL.

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® 1997 -360 Systems " Otter good in US and Canada only Circle (39) on Free Into Card www.americanradiohistory.com Production Clips

From here to there BY BARRY THOMAS

The technology of sending and ac- best quality you can achieve is limited to ple rates, coding algorithms and levels quiring remote audio has changed the cell -phone line response. Audio fre- are compatible. Even though the ISDN dramatically over recent years. Old meth- quency- extension systems can improve option is more complicated than a sim- ods for transmitting sound for remote the quality, but compatibility may be ple dial -up circuit, it can provide close applications were fairly straightforward reduced and cell -phone performance is to CD- quality audio. - dedicated program lines, dedicated - often unreliable. Multiline frequency - channel broadcast RPU, telco dial -up or extension systems will not work with Delay subcarrier on the video feed. Telco de- cell phones, so forget that idea. The caveat with any of the digital regulation, frequency congestion and Digital compression techniques devel- systems is "delay." Dial -up line systems high demand for remote feeds have oped recently offer a much greater field can result in a delay of up to 130ms, forced the development of alternative of choices. Dial -up digital codecs that while the delay from a CD-quality ISDN audio backhaul methods. While some can send voice -quality audio over a codec may typically be 280ms. This of the old ways can still be used, new simple dial -up line are available. These amount of delay is extreme and can technology is available that can help systems are basically 28.8kb/s or faster make on -air conversations similar to improve the quality and flexibility of modems with digital audio encoder/ intercontinental telephone calls. Need- remote audio feeds. decoders included. Like frequency -shift less to say, on -air talent will not like systems, these devices require a coder/ dealing with this. IFB decoder at each end but their perfor- The best quality -vs. -delay ratio can In many markets, fixed short- distance mance can be impressive. usually be achieved by using an ISDN feeds can often use the classic methods. Cell phones cannot be used with the codec with a lower-quality coding The wireless RPU -band IFB system is dial -up codecs for many of the same scheme like the 7.5kHz G.722 coding the most convenient of the options, but reasons that they standard. Delay on this combination a growing number of applications will are not is typically 90ms, which is much less benefit from alternative methods. The noticeable and more tolerable by the typical fallback plan is to use some sort talent. of dial -up circuit and a coupler to feed the headphone mix back to the talent Remote feeds and crew. Typically, the audio feed will accom- There are a wide variety of products to pany video in a standard remote feed. In serve both ends of the circuit. The sim- some video applications (with DTV, this plest method relies on an auto -answer will increasingly be the case), there may coupler at the studio with the talent be the requirement for high -quality au- literally listening to a phone -line feed of The Comrex Vector POTS codec delivers dio. Radio engineers have great experi- on -air audio. At the other end of the 15kHz two -way audio on one standard ence in this area and some lessons can be telephone line. quality (and price) spectrum is a high - learned from their research. Simple RPU quality automatic -answer telephone technology provides the greatest mix of hybrid at the studio end and similar advised for frequency -extension systems. flexibility, ease of use and quality. Audio equipment at the remote site. ISDN systems operate similar to dial - transmitters in the RPU band typically This technology is particularly useful up, but the two- channel nature of the provide an 8kHz to 10kHz response. where only cell -phone service is avail- digital signal provides the potential for Audio links in the microwave bands can able at the remote site. While the speak- multiple audio feeds on a single ISDN offer greater bandwidth and quality for er output of a cell -phone "hands -free" line. Encoder /decoders are required - fixed -location remote feeds. kit will provide an easy connection, some serving as the ISDN telephones' Dial -up telephone options are similar products are available to interface a terminal adapter. to IFB applications, but the feature set bag -style phone with standard broad- With a number of transmission algo- will be slightly different. Typically, a cast connectors, thereby providing a rithms and data -reduction standards on high -quality hybrid or coupler is used simple hook -up to the talent's head- the market, compatibility is an issue. with a dedicated phone line at the studio phones. Although this approach has the Even though most ISDN codecs are that feeds into the control room's audio advantages of being extremely compat- supposed to recognize the major stan- console. The high- quality systems are ible, compact and easy to interface, qual- dards, you should plan on prior coordi- typically two -way, allowing IFB and ity and intelligibility suffer because the nation to insure that the data and sam- communication to be included for con-

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www.americanradiohistory.com Photo: Seattle Fox -affiliate, KCPO's News Studio (Photographs courtesy of Steve Keating.)

66 Broadcast Engineering June 1998 www.americanradiohistory.com KCPQ News expands

By Greg Doyle

In September of 1997, Fox -affiliate KCPQ 13 went on -air from its new broadcast facility in Seattle. Designed by Sparling Technology Consultants, this facility incorpo- rates component serial digital video and AES digital audio throughout. When the facility was being designed, news was something that KCPQ thought might happen in a couple of years. To accommodate this future expansion, router frames were oversized and floor space was set aside for the news operation. In September however, KCPQ's business model changed, and news became an immediate priority. Sparling provided architectural programming and electrical engineering to develop the floor plan and electrical infrastruc- ture for the news expansion. Sparling then worked with Tektronix and KCPQ to design, install and commission the news system, and in mid - January of 1998, KCPQ began broadcasting a 35- minute nightly news cast and 30- second weather breaks at the top of each hour. The news system is built around Tektronix's NewStar soft- ware, EditStar non -linear server-based edit stations and Profile disk recorders. KCPQ uses WSI weather stations for weather graphics and Barron Doppler radar for real -time local weather information.

The system's backbone It was decided that news would be produced using net- worked server technology and would again be entirely serial digital video and AES/EBU audio. The primary goal of the

June 1998 Broadcast Engineering 67 www.americanradiohistory.com KCPQ News expands

news operation was to share informa- tion among multiple workstations in a networked environment for editing and automated play -to -air. The heart of the news operation is built on three major components pro- vided by Tektronix, including NewStar news automation software, EditStar script -based editing system, and a Pro- file networked video file server. Using a common networked architecture, these components provided an integrated solution to news acquisition, editing and automated play -to -air. NewStar operates on Microsoft Win- dows 95 for the desktop and Windows NT 4.0 for the network. Ancillary de- vices, such as a character generator or still- store, are connected to the network through intelligent interfaces or ma- chine control units. As a story is being At the news -feed desk, incoming feeds are recorded to tape or directly to shared servers. created, graphics and stills are seam- lessly added to the story time line. Equip- ment such as Telestrator and closed - Profile disk recorders as The Profile operates with digital video caption devices receives information servers I/O and analog NTSC for monitor out- generated by NewStar during the cre- The storage platform for the news puts. An optional digital audio inter- ation of news stories. Still -store clips editing system is the Profile PDR204D face supplies eight AES channels in and can also be assigned during this pro- disk recorder. This is a virtual disk out and 16 analog inputs and outputs. cess. When stories are aired, the system recorder operating under NT4.0. The The digital I/O ports are used for rout- ing, production and play -to -air; while the analog outputs are used for moni- toring of audio and video to the edit suites. The three profiles are configured in a cascade fashion as Profile A, B and C. Profile A is configured as two edit work stations and a news feed station. Profile B is configured as an edit sta- tion and a play -to -air channel, while Profile C is configured to provide an analog audio/video feed to a browser server, an edit station and a play-to -air channel. When a story is complete, the editor saves it to the system the edit station is Figure 1. KCPO configured three profile servers to provide four edit -station channels, seated on. The story may also be saved one news -feed channel, two play -to -air channels and a NewStar browser output. to the transmission servers. When sav- ing to transmission, the completed edit automates the playback of these story disk recorder provides four video chan- list is dubbed over to the servers provid- elements based on a timeline and edit - nels and 16 audio tracks in and out. ing on -air channels. Only the audio/ decision list. This provides a dynamic KCPQ purchased three profile servers video clips in the completed story and method of changing the playback se- that are configured to provide four edit - the edit decision list (EDL) are dubbed quence or dropping one story for an- station channels, one news -feed chan- downstream. The original raw clips are other since all elements of a story follow nel, two play -to -air channels and a still in the server the editor is seated on. the edit list. NewStar browser output. If a story was edited and saved to

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www.americanradiohistory.com KCPQ News of the air channels and all other ele- Editing expands ments of the story. As material is dubbed into the servers, it is available to any of the edit stations transmission with last -minute edits still Acquisition for non -linear editing. There are four needed, they must be made from an edit Field acquisition is performed using cuts -only stations that operate on a station seated on the originating server. Ikegami HL -V77 camcorders. The Ikeg- Pentium 200 MMX PC using Windows This would be the only station capable ami cameras with DVC decks provide 95 with EditStar software. The stations of accessing the original raw data. As exceptional picture quality and a ro- are connected to the NewStar network story assignments are made, the assem- bust recording system. The camcorders over a 10 Base T Ethernet. Each Edit - bly process needs to be tracked by edit are light enough to toss in the trunk of Star station is actually the control inter- station assignments on out to air. If late - a car, and the quality rivals that of face to the Profile servers. Edit com- breaking stories are brought in and traditional BetaSP systems. KCPQ pur- mands are handed off to the Profile edited, this should be done on server B chased one satellite uplink unit from servers over the NewStar network. Func- or C. The stories are then assigned to Frontline. The Seattle area has quite a tions such as audio and video cuts, play out from the server they are located few hills and nearby mountains, and audio levels and machine control com- on, eliminating the need for dubbing. while many downtown sites provide a mands are performed within the Pro- file. Machine control is sent back to the DVC decks in the edit suites as tradi- tional RS -422. Each EditStar PC has an on -board video input/capture card. The NTSC outputs of the Profile are fed to this card allowing a handy window of video on the PC monitor. The video quality how- ever is useful for checking content only, not quality. A loop through an analog QC monitor is used for a closer look. Panasonic AJD750 full- function edit- ing machines were chosen for the edit station. While the EditStar workstation can provide shuttle and slow motion, the editors found the simplest way to perform these functions was with a tape machine. The AJD750 meets all of these requirements. Audio and video from the decks are fed as serial digital video and AES/EBU audio over the router matrix to the In September 1997 . KCP 13 went on -air from its new broadcast facility, designed by by Sperling Technology Consultants. Profile servers. This can be done simply streaming raw material to the Tektronix will eventually implement a clear microwave shot, the uplink is a server or by editing on the fly from tape fiber channel between servers for the necessity in this location. directly to disk. With the EditStar sys- exchange of data. This will allow Edit - Once media is acquired in the field, tem, digitizing to the server off -line is an Star clients to browse other servers on KCPQ uses several methods to process optional method of getting into the the network and dub entire files into the content. Field tapes can be dubbed server -not a requirement. The advan- their home server at four times the in to servers at a news -feed desk in the tages of streaming directly to the servers normal speed. Until then, even though newsroom. The news feed desk is also a become especially evident with sports. the Profiles are called a video file server, point of acquisition in that satellite Located on the West Coast, many sport- it is important to note that the exchange feeds or intercity feeds are recorded ing events are just wrapping up as KCPQ of information between servers is not as either to tape or to the Profile servers. A is going to air at 10 p.m. Final scores a file structure. All audio and video is limited version of EditStar at the news - and video clips can be assembled within rendered in real -time back to baseband feed desk allows raw content to be seconds of airing. video and then dubbed to the next streamed into the server either from one Reporters can create voice -overs from profile. The EDL is kept on the New - of our Panasonic AJD650 decks or di- within the edit suites with the use of Star database to track the other ele- rectly off the router system. Later, the directional microphones. The mics are ments attached to the story. When New - story can be completed from one of four sent through a mic -to -line amp and Star is controlling play-to -air, a ma- EditStar stations or via any NewStar then fed to the analog inputs of the chine control unit controls the play-out low -resolution browser station. DVC decks. Placing the decks in E/E

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Circle (40) on Free Into Card www.americanradiohistory.com KCPQ News expands mode provides analog to digital conver- sion. The audio is then available to the Profile server over the router. When one is working in an all- digital environment, challenges present them- selves. One challenge we faced was in creating a mix -down of the four audio tracks. The station operates as stereo over one AES/EBU channel. The DVC decks provide a single channel of AES/EBU for only two tracks of audio. While the Profile servers provide four tracks of audio over two channels of AES/EBU, the Profiles are not capable of mixing across the tracks. Whole clips of audio can be copied across tracks and individ- ual level control of each track is possi- ble, but it is not possible to mix tracks one and two to a single track within the The KCPC1 newsroom lobby. Profile. In the analog world, as part of the edit package, Tektronix provides a due to the archiving of news material. of weeks for the staff to get used to Rane, IRU, four-channel mixer to ac- At the end of each day, audio and video operating on an automated playlist with complish a mix -down. In the digital are played out to the DVC decks at the drag- and -drop capability. Initially mir- world, our choices were a 36 -input news feed desk and the servers are then roring the automated newscast saved AES/EBU console or an eight-input AES/ purged. the show a few times. Tape backups are EBU console. However, a 36 -input con- The analog monitor outputs and AES/ still made for each show, but are no sole was too large to fit on the desktop, EBU outputs track each other as levels longer simultaneously rolled. Automat- and the smaller console was too expen- are changed within the Profile. As we ed play -out has been operating reliably sive for our needs. create a mix -down for an edit station in and efficiently since March. A few hic- The solution was the NVision card - the AES/EBU world, we duplicate the cups early on were attributed to NT frame- based NV1055 AES/EBU mix- same mix -down in the analog world configuration issues, software switch- ing modules and the NV9055 control with inexpensive mixing modules. This es, and possibly, operator error. interface. The card frame holds up to 16 analog mix is fed back to the edit suite cards, and the 9055 controller is capa- where it is monitored on a pair of Weather at the top of every ble of creating a dynamic mix on each Dorrough loudness meters and self pow- hour card. Each module has two AES/EBU ered speakers. KCPQ purchased a Barron 250kW, inputs and outputs, and any single - high- definition Doppler weather radar input track can be mixed to any output KCPQ news at lo unit that is located at the transmitter 20 track. The NV9055 control panel is NewStar's lineup forms the heart of miles southwest of Seattle. Another unit located in the technical center next to the news room automation system dur- will be installed on Orcas Island, ap- the card frame. A preset mix level is ing the on -air process. NewStar is an proximately 40 miles north of Seattle. determined based on the function of the ODBC program that displays and con- This will allow KCPQ real -time radar server channel. Play -to -air channels of trols all elements in the newscast. By coverage from Vancouver to Portland, the server are mixed as full mono over dragging and dropping story "slugs," a OR. a single AES channel. Edit stations and producer can quickly change the story WSI weather graphics are used for the news feed desk are also configured lineup and all associated elements that forecast and satellite photo presenta- to mix to a single channel of AES/EBU follow the story. This includes all of the tion and animation. These are based on VIVO with some twists. Tracks 1 and 3 are devices that make up the elements, such SGI 02 systems with Miranda mixed down to track 1, and tracks 2 as character generators, still stores, tele- SGI to SMPTE259 interface. A weather and 4 down to track 2 of the AES prompters and clips. graphics station is located downstairs channel. This keeps reporter tracks from When the system was first implement- in the newsroom with a full duplicate of the field and voice -overs created within ed, backup DVC recordings were made the news set. The WSI system provides the edit suites together, while protecting and simultaneously rolled against the about 30 seconds of disk -based video. ambient audio tracks. This is necessary NewStar automation. It took a couple The WSI video clips are played out live

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Decision makers from DTV pioneers like KITV (the nation's even the highest priced digital systems, at a price that's comparable first fully -licensed digital television station) and FOX, as well as to many analog systems. a variety of commercial and in -house production companies, RELIABILITY exceptionally have chosen the video tape format that delivers the quality they - durable construction and long - wearing heads have demand today and the technology they'll need tomorrow. exceeded the expectations of even the most demanding users. These are just a few of the reasons why thousands of DIGITAL -S units are in operation today: PRACTICALITY-the format's robust half-inch metal particle tape provides up to two hours of recording time, and has the data EXTRAORDINARY IMAGE QUALITY-made possible by capacity necessary for DTV today and HDTV tomorrow. 4:2:2 color sampling and a 50 Mbps data rate, resulting in The reasons perceptually lossless 3.3:1 compression. are dearer than ever. And the list of satisfied users is growing rapidly. Look into DIGITAL -S, and it will become your INCREDIBLE VALUE -image quality indistinguishable from format of choice, too. JVC PROFESSIONAL 1- 900 -]VC -5825 www.digital -s.com Circle (41) on Free Into Card www.americanradiohistory.com der to determine ancillary data content and decide where to allocate its audio channel group data. Receiving disembedders are also cascaded and Solutions for the must have a preset determination of which audio group to extract. See Fig 3.

The result of this methodology is that it becomes difficult to determine channel location as more channels are added. For example, the first chan- Embedded Audio Blues audio group may be nel pair from the first received as the first channel pair of the second group, placing channels 1/2 as channels 5/6. The In the past we have explained the difficulties systems, any efforts to synchronize audio data more channels inserted, the more difficult it encountered with systems that utilize embedded with the video information can be lost if the becomes to determine location. audio within the digital video stream. Those diffi- video paths have differing processing delays. culties include the frequent inability to perform a See Fig I. clean switch of the audio content due to timing CLEAN SWITCHING - The NVISION Answer errors and confusion regarding the actual channel Unfortunately, it is impossi- allocations in multi -chan- Vale ble to ensure that all audio nel audio systems. Current and video data is always cor- users will know these prob- rectly timed so that recov- lems well by now and, ered audio framing is main- although we have often tained. However, if audio provided explanations as to '4g framing is correctly timed at why these issues exist, we the insertion point, a higher have never offered a solu- percentage of error -free tion. ar switching is achievable. In Figure 3: Cascading Embedders Disembedders order to ensure satisfactory and The engineers at audio reception, it is neces- NVISION, Grass Valley, sary to take care of data California, have pondered DETERMINED CHANNEL ALLOCATION - The NVISION Answer alignment at the point of the technical issues in insertion and subsequently SD4I50 Audio Embedder search of affordable The new NVISION provide a method of error module provides for one group of four audio answers for some time, and concealment at the point of inserted into the SDI data stream. are now pleased to channels to be extraction. (This is similar to other available products.) announce that, with the Flynn b Internal ~ono e1 N. NYIOION and 1041110 than four channels are desired, introduction of the new $04110 However, if more module (the SD4155) provides for an 4000 series of processing modules, they can another NVISION has developed new embedder and dis- additional twelve audio channels (three groups) finally provide the industry with the necessary embedder devices that incorporate our proprietary to be directly fed to the SD4I50 for allocation solutions. audio re- framing circuitry that ensure all audio Dgaal video out data carried within each video stream is correctly PROBLEM I - Noisy Audio Switching timed. The output circuits provide constant AES framing patterns, regardless of input signal; this When a switch is made between two video NVISION ensures that AES receivers maintain constant lock Multichannel sources that contain embedded audio data, it is Embedding due PLL (16 channel marl very difficult to resolve a clean audio transition at and eliminates aberrations to receiver recovery. Also, our error detection vwnrai Interval circuits within the disembedder

62650 ensure effective error concealment, regardless of the embedding Dg1Nl video n Digital video out 52,59 W method or device used during the 2 2sAES insertion process. NVISION AES3 On Fnmee output 0 4810111 See Fig 2. Multichannel D merebedding (16 channel marl 6r AES PROBLEM 2 - Arbitrary Channel Output Figure 1: Timing Charts Allocation the receiver, due to two primary factors. (a) The When more than four channels are required, the Figure 4: NVISION Multlehennal Embedding audio data is commonly asynchronous to the normal technique is to cascade embedders togeth- and Disembedding (16 channel max) video data and other audio channels. (b) In NTSC er. This process relies on the ability of the embed-

NVISION. Inc. NV 000 sens New catalog of products with application Digital Audio formed to develop of terminal rates - received as educational standard Processing Surte HDTV 8 digital equipment as it focused on the 'how to aspect of (DAPS) ntroduced audio equipment. released NV5500 system design, rather than product Several CD Dual Standard NAB. Company name rnastenng from maste SPG NV5500 ,eloped NVISION's NAB facilities adopt 2d formula released recerves NV3256 data router debut. slows NV4448 as dotado generation = any number. NV2000 pick of show released at NAB. standard for Patent for 20 bit = NV3512 award A new design vision number multi-channel sample rate Time Code Ato D and E>Sardable NV3128 providing max of N lines. transmission conversan processing D to A a product AES 8 Time NV3064 data router released 256 dynamic data ports NVISION = Code router mid -size introduced. 128 gird Delivers first Patent for resolu ion Patent granted released routers ports with new large multi- orle shot for mixed ECL 8 released 'Dynamic Port' Patern independence channel designs architecture circuit issued. transmission CMOS granted Dynamic port system architecture

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Newly developed specifically for the DTV ens I- 2RU frame cali hold up to twel e indn (dual mod- S0411Ì - Digital Video distribution amplifier with ronment, is the 4000 line of digital signal pro- ules, but the FR4002 can provide sixteen A to D reclocking. 270/360 Mbits, I input. cessing modules. This new line is based on a processors in the same space. 8 outputs. choice of two rack mount module frames, the The following is a listing 4000 Series FR4001, a IRU frame that holds up to four mod- of products that are being introduced S04150 4 Channel AES audio embedder. ules and the FR4002, a 2RU frame to hold up to during the first half of - For insertion of 4 audio channels a eight. 1998: into SDI video data stream. Includes NVISION re- framing technology to ensure correct These new frames have been designed to accom- New Equipment Frames: audio data alignment. modate the latest in high speed processing mod- ules for HDTV signals as well as our traditional FR4001- IRU frame with optional redundant power supply will processing products, while remaining compliant accommodate up to SD4I55 - Expansion module for SD4150. Allows 4 -4000 series modules. with US and International safety and emissions for the addition of up to 12 audio regulations. channels (6 AES inputs) and ensures FR4002 - 2RU frame with optional redundant channel allocation and timing is power supply will accommodate up to maintained. The basic module layout is a departure from our 8-4000 series modules. Includes alarm previous designs, as each module is mounted hor- function. S04160 - 4 Channel AES audio disembedder. For izontally in the frame and is a double width the extraction of 4 audio channels from a SDI video data stream. Includes board. This new layout allows us to incorporate NVISION re- framing technology to complex designs or to include dual processes a New Processing on Modules: ensure correct audio data alignment as single module. For example, our new 24 bit AES well as 'switch point' error concealment. DA4DID AES A to D (DA4030) contains two individual A to - fan-out distribution amplifier. I input with loop, 8 outputs (twisted pair D's, allowing us to supply the highest S04165 - Expansion module for SD4160. Allows quality of or coax options). for the extraction of up to 12 additional processing module at lower cost and greater uti- audio channels (6 AES inputs), provid- lization of rack space. The successful 1000 DA4011 AES removing NV - jitter distribution ing a total of 16, and ensures that chan- amplifier with reclocking and EQ. nel allocation and timing is maintained. I input with loop, 8 outputs (twisted pair or coax and insertion. This method provides two benefits: options). H04270 - 1.5 Gbit Electrical to Optical converter. 1. The exact channel group location can be deter- Provides conversion of 1.5 Gbit serial 0A4030 - Dual AES A to D converter. Superior video mined by the single embedder module. 2. "Piggy- data on coax to optical for signal performance. 24 bit converters with distribution by fiber. Required for any backing" embedders is unnecessary; therefore, sample rates from 28 to 96Khz. 2 installation where 1.5 Gbit signals need costs are drastically reduced. See Fig 4. individual stereo analog inputs, 2 AES to be received at 100 meters or more. outputs per stereo pair. The disembedder (SD4160) module can detect H94271 Optical to 1.5 Gbit Electrical converter. DA4040 - the presence of channel groups and allow the - Dual AES D to A converter. Superior Provides conversion from optical signals performance, 24 bit operator to select which group to extract. If the converters with sent over fiber to 1.5 Gbit serial video sample rates from 28 to 96Khz. 2 embedded data contains multiple groups, the data via coax. individual digital AES inputs, 2 stereo addition of an SD4165 expansion module allows analog outputs. HD4272 Optical to Electrical / Electrical to a single disembedder - to extract all channels in the Optical converter. Provides for order received. If the data was inserted by an 514410 - Master Digital Audio Reference bi-directional conversion of I.5Gbit NVISION SD4150, then all channels are extract- Generator. Will generate constant digital serial video signals from coax to fiber tone and silence at 44.1/48Khz or ed in the order inserted and therefore no operator R vice ver.a. 88.2/96Khz as well as SDIF intervention is required. If the data was inserted (wordclock). Can lock to PAUNTSC/ by another manufacturer's product, then the oper- HD 1125- 60/59.94 or 750-60/59.94 as For more information, ator can select which group appears at each set of well as AES or SDIF inputs. Will outputs. A further feature of the disembedder is provide phase accurate outputs from contact: 800 -719 -1900 audio input reference. the built -in, monitoring quality D to A converter www.nvisionl.com and mini headphone jack, for convenient S04110 - Digital Video distribution amplifier. output channel assignment. U 270/360 Mbits, I input. 8 outputs.

NV11CResolution Independence

Awarded The first THE BOOK, contract to build New High speed NVISION An Engineers a massive catalog routing design guide Dods. Guide To The THE synchraqus New ASIC BOOK issued at arch ecture The Video Digital routing drpset supplied as system NAB9T. vented and Transi ion. reference matenal for government developed for Received Engineenng finalized Guide to released at NAB AES to UCLA. Utah agency. Switch FCC tests with Dig, al Audio. audio Pick of synchronize. State and sizes announces 1.5 Gigabit pubi shed Show F nishing Northwestern 2048x512 DTV circuit tion and re- Award at Icuches applied University and 1024 x 1024 decision, designs Major tram ng NAB 9T Designs for Ic map, new broadcaster First routers with show NV3084,SA, Precision to PBI new modular selects delivered Patera strodreef a success Patent issued. with synchro- Broadcast processing arrrooduuctions at NVISION Issued for nroduction Patera SMS7000 nous AES Interface systems near NAB98'. synchronous rode Tare Code issued for phasecomparator router (PBI completion Approximately audio routers signal a multiple circuit for bi- controller introduced spec ficetions 20 new products for 96' Summer processing frequency phasecoded at NAB created prepared for deSIgn oscillator Olympics signals announcement circuit

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www.americanradiohistory.com www.americanradiohistory.com Building HD remote trucks By Jim Boston

Now that the first wave of DTV stations are moving from the planning to the implementation stage, with air dates this November, thoughts are quickly turning to filling the ATSC programming pipeline. As we all know, stations are wrestling with which entries in ATSC's Table 3 to offer viewers. Looming over these considerations is the fact that Congress has let it be known that they want their HDTV. Network- affiliated stations will naturally look to their networks for cues as to the digital infrastructure they will adopt. In most cases, HD will play some part in these plans. HD paths imply HD programming. A large inventory of programming shot on 35mm film provides an excellent start for the HDTV roll out. But to provide the same variety in HD as SD (standard definition), it's important to start building electronic HD production facilities. It's generally accepted that HD really demonstrates its value in field production. Until recently, HD field acquisition was an EFP type activity. Now, complete mobile HD production facilities are getting ready to hit the road. These facilities are commonly known as remote or OB (outside broadcast) trucks. A few years ago traditional, analog OB trucks saw their first digital offspring. Now, this digital generation is about to witness another big evolutionary step with the arrival of the higher bit -rate HD digital truck. This article will examine the logistical and engineering challenges facing the builders of these trucks. Three -in -one First, let's come to grips with the scope of a project like this. For those who have added digital infrastructure to an existing analog facility, you know the result is generally a digital layer over the existing analog layer. A common lament in this case is that if building from scratch, one could build a digital-only plant. But those who have had the luxury of building a digital facility from scratch will tell you that even in this case, you still end up with both analog and digital layers. The same holds true when building an SD digital truck from scratch. Many have already surmised what must happen when building an HD truck. You still need an analog NTSC layer, a serial digital interface (SD -SDI) layer, and an HD -SDI layer. To build an HD truck, you really have to build three trucks in one. Let's look at why this is so. Although most sources will have an HD path through the truck, not

Photo: Remotes will be the first, and probably the most important, source of new HD programming. Trucks like the National Mobile Televisions's DX -4. equipped by Sony, will be reincarnated in HD versions. This story illustrates the design process required to bring an HD truck from concept to reality.

June 1998 Broadcast Engineering 79 www.americanradiohistory.com Building HD remote trucks feed, historically known as the "back - mentioned in the previous paragraph haul." This would mean an ATSC -type would cost $4,000,000 to $5,000,000 signal might need to emanate from and on an NTSC truck. An SD digital equiv- all sources have HD outputs yet. Al- be processed on the truck. Add a ma- alent would come in at $6,000,000 to most all have SD -SDI, so some sources chine- control layer to the truck, and we $7,000,000. The HD example could will also need paths to an HD upcon- have eight layers of signals, each proba- easily approach double the price of an verter. Additionally, just because you bly requiring routing capability. NTSC truck. Most big trucks on the have an HD truck doesn't mean you still road today have trailers that range in won't have SD customers. Therefore, HD means heavy -duty length from 48 feet to 54 feet, and have many outputs of the truck will have to demands expandable sides to increase the interi- be downconverted back to SD. Up/ Superficially, we have just stated what or "people" space. A ballpark figure of down converters are not cheap; they currently top out at over $100,000. This forces a desire to limit the number of these used on a truck. This also means that an SD digital router is re- quired, along with the HD router. Today's remote trucks often have up- ward of 150 monitors onboard. Few of these usually need to be high -quality evaluation monitors. So, it makes eco- nomic sense to use lower- priced moni- tors (often with analog inputs) for less critical applications. Because most HD (and SD digital) gear also has NTSC analog outputs, this infrastructure, com- plete with its own router, is usually desired. Surprisingly, the HD router matrix may be the smallest, and the NTSC router matrix maybe the largest. In some cases NTSC waveform mon- All trucks start out as shells. Here, the NMT HD -1 truck is shown in the Girling Associates itoring still makes sense. Many video factory being modified prior to equipment installation. These modifications included adding ' expando' sections, which are needed as much for more people as for operators find that camera balance and equipment. matching are easier to perform using NTSC test equipment than SD or HD fabric needs to be woven into an HD the weight for an empty trailer of this digital component test equipment. This truck. However, the truck has to be size is 40,000 pounds. Most trucks this is because baselines are easier to quan- deemed useful and worthy of its clients. size will end up approaching the bridge tize. Plus, the NTSC test equipment is What amenities must be loaded into the weight limit in the United States, which much cheaper. Generally, the only paths van to accomplish this? Most first -rate is 80,000 pounds. Generally, an NTSC that are solely in the HD layer are those trucks today must carry at least 12 truck could just make this weight and tangential to the production switcher cameras, but trucks carrying over 20 still carry all its assigned equipment, and DME/DVE. cameras ply the interstates. A dozen but SD digital trucks have a harder time The audio side of the truck undergoes onboard VTRs is not uncommon and accomplishing the same feat. a similar stratification. The main audio operational space and seating for a cou- Many trucks today travel in tandem layer today is AES, but often a sizable ple dozen people is not considered un- with utility trucks. Or some of the op- analog audio layer is also present. The reasonable. On top of this, it is assumed erations or functions, such as graphics two audio layers will generally each have that the mobile facility will be extreme- or VTRs, are off- loaded onto a second- their own routing matrices. A third level ly flexible and highly fault tolerant, ary truck. Whereas an NTSC truck will probably evolve over time as 5.1 hence all the routing and patching on all might need 20 racks to house the need- surround sound, which requires six chan- the layers previously mentioned. And ed equipment in the truck, an SD -SDI nels of audio, might have to be encoded we have to keep the interior warm in the truck of similar capability could require into one or two AES channels. Most winter, and more importantly, cool in up to a dozen more racks. This obvious- VTRs today still accept only four sepa- the summer. ly cuts into the people space, hence the rate audio feeds. This leads us back to As expected, everything about an SD- single -, then double -, and now triple - the video. If a network distribution stan- SDI truck is more than an NTSC truck, expando trailer. dard (network to affiliate feed) becomes and everything in an HD -SDI truck is The first expandable trailers had sin- dominant, this might extend back to the more than an SD-SDI truck. Let's start gle-expando sides that came out from origination truck, or the contribution with price. To produce the facilities the curb side of the trailer. A second

80 Broadcast Englnaaring June 1998 www.americanradiohistory.com expandable segment of the trailer was age of that consumed power in any mission standards) specify bit -shuffling the area where the monitor wall would facility actually ends up as useful sig- algorithms designed to create lots of be in a production compartment turned nals, the generated heat is considerably "edges," which are needed in a self- lengthwise. The third expando trailer higher in SD -SDI and HD -SDI trucks. clocking system. In fact, enough edges area is now out the back of the truck. These high current requirements found are created so that for all practical pur- An HD truck with similar capability to on digital trucks mean that giving the poses, both signals can be considered our NTSC example and SD -SDI trucks truck the option of running on single square waves. Each bit cell, 1 /2706/sec could require up to 40 racks full of phase is no longer a viable option. Most for SD -SDI, and 1/1.5E9/sec for HD- equipment. of these new trucks will require three - SDI, can be thought of as half the period There several ways that all this new phase service. Whereas 10 tons of cool- of that square wave. equipment will place new demands on ing capability would suffice for the What does it take to make square the truck's design. Where an NTSC NTSC truck, 15 tons would be prudent waves? From Fourier's teachings, we truck's rack- mounted equipment would on the SD -SDI version, and 20 tons on know that signals with even symmetry, be in the 8,000 -pound range, the SD- the HD -SDI version. Actually, the envi- such as a square wave, require a funda- SDI truck might weigh in at 10,000 ronmental power requirements, lights mental sinewave and the odd harmonics pounds, and the HD -SDI truck could and air conditioning, usually consume to construct. Thus, component SD -SDI add several additional thousand pounds. the bulk of the power. Our hypothetical requires a 135MHz fundamental sine - More equipment naturally means more HD truck's tech power would probably wave, and the odd harmonics. The third power, but digital SD and HD add be around 50kW. The other +80kW harmonic, which is 405MHz for com- another element. Component SD -SDI would be to just maintain the internal ponent SD -SDI, is the most important has a clock rate of 270MHz. HD -SDI environment. one. When the third harmonic's ampli- (all high-definition formats, along with There is another reason why the hur- tude drops below 6dB above the noise all ATSC formats are component) has a dle is raised when contemplating the floor, the dreaded "error cliff" has been clock rate of up to 1.458Gb/s. High HD facility. There is energy content in reached, as the SDI signal has effectively clock rates tend to force equipment to an HD signal that only half jokingly stopped being a square wave and has run in high current conduction states a seems closer to light than DC. In an become a sinewave. This prohibits the greater percentage of the time, increas- NTSC truck, any energy running serial receive circuitry from reliably de- ing the power draw of that equipment. through the coax that was higher than tecting "edges," and self- clocking at the receiver becomes problematic. How is HD -SDI different from SD in this regard? Multiply by six and you're there. HD -SDI's fundamental is around 750MHz and its third har- monic is a mere 2.25GHz. This will severely limit your choice in cabling Keep in mind that this six times differ- ential equates to picture quality also. Whereas a SMPTE 259M SD -SDI pic- ture would have 691,200 active ele- ments in a frame of video, SMPTE 292M HD -SDI has 4,147,200. This means that a wide shot of the ballpark in HD will be nearly as good as sitting in the stands. Weighty issues This segues into cable size and weight, another challenge in building The videotape and control area contain nine racks. The first five racks. shown above. contain five HDW -500 recorders and associated monitors. The next four racks provide the HD -SDI facility, be it on wheels or video control for up to 16 cameras. Note the large black box on the right. It is used to cement. An interesting corollary is house one of two HDM -20E1U high- definition monitors. racked equipment weight vs. overall An NTSC truck might consume 75kW 10MHz was noise or spurious har- cable weight. They usually are close to to 80kW of power under full operation monics. In an SD -SDI truck, energy each other. On a truck it is imperative to The comparable SD -SDI truck would over 1GHz down the coax was nor- eliminate any unnecessary weight. One require in excess of 90kW. The power mal. Now with HD, energy approach- way to do this is to use the lightest, and requirements of the HD -SDI truck ing 4GHz is desired. therefore usually the thinnest, cable would probably require at least 130kW Why so high? SMPTE 259M and possible. The trade -off is that thinner of service. An extremely small percent- SMPTE 292M (SD and HD serial trans- cable tends to have greater loss as a

June 1998 Broadcast Engineering 81 www.americanradiohistory.com Building HD remote trucks mixers are serious DSP devices, and pensive than SD -SDI or NTSC test equip- they tend to be driven by elaborate ment, AES test equipment is more ex- computer-based systems. This means pensive than analog audio equipment. function of frequency. Thin coax for that UPS power systems need to be NTSC tended not to work as it rolled employed to ensure that power glitches Cameras and test the chroma off. Then it seemed to hit its do not become major audio events. Cameras become slightly different stride with SD -SDI. However, it still Auxiliary analog mixing systems used animals in the HD world. The triax tended to roll off higher frequencies as fail -safe backups should always be camera is no more. Triax is basically much faster than lower frequencies, but employed on HD trucks. Equipment coax with an additional shield. Although the lengths used on trucks didn't cause with AES interfaces also requires a ref- the losses with triax are slightly less the third harmonic in SD -SDI signals to erence timing signal. This can be either than regular coax, after a few hundred attenuate to a level anywhere near prob- AES's Word Clock or an analog video feet, the HD -SDI signal will have fallen lem levels. This is not so with HD -SDI. reference. It is often customary to feed apart. Also, as discussed earlier, the Whereas an SD -SDI signal might trav- the video reference into the AES mixer, HD -SDI signal will consume most of el 600 feet down mini coax with no and to use the mixer's AES Word Clock the available bandwidth of the cable. In problem, an HD -SDI signal would be reference output to lock the other equip- triax camera systems, we not only need limited to 200 feet down the same coax. ment. to get HD video from the camera head So, as far as trucks are concerned, the AES allows flexibility not possible with to the camera -control unit, we also renaissance of mini cable seems to be in analog audio and it allows audio to be usually want to send control, return the SD -SDI domain. As alluded to ear- embedded into the video. Up to 16 video, intercom, and often audio, not to lier, cable weights for NTSC, SD -SDI, and HD -SDI trucks should be in the 8,000 -, 10,000- and 14,000 -pound ranges in association with the weight of the racked equipment. Cable weight on an SD -SDI truck might break this rule due to the use of mini cable. Cable size found on the truck is not only dictated by the flavor of the video coursing through it - audio has similar problems. If AES -3 audio is used over twisted pair, it requires true 11012 ca- ble. This is because AES audio pumps energy into its cables comparable to NTSC video. Reflections at these fre- quencies become important. 11012 ca- ble tends to be larger than 60011 cable. With analog audio, the upper frequen- cy limit is typically limited to 20kHz. Even if cable with the wrong imped- ance is used, the reflections are such a HD -1 will with a full complement of Sony high- definition small percentage of overall path length The NMT truck be quipped cameras. Shown here is the Sony HDC -700 being used to record the 1998 Rose Bowl that they are not noticeable. But at AES parade. frequencies, they would cause prob- lems. This means that AES requires the channels are supported, but the major- mention power, down the same piece of right impedance, and therefore, larger ity of equipment today uses only four copper. Triax just isn't going to work diameter cables must be used. The re- channels. Eight -channel use is just now for HD. A special fiber /copper cable is sult is that AES audio adds to the cable beginning to be accommodated. How- needed. This cable has two single mode weight and space required on the truck. ever, embedding and unembedding this fibers, two wires for camera control, AES adds complexity in some other audio adds to system complexity. Plus, and four conductors for power. Its di- ways also. Large AES mixers can be routing at the SDI level doesn't tend to ameter is approximately 0.36 inches, thought of as audio routers with inter- support embedded audio breakaway. and it comes in 50m or 250m lengths. A nal digital processing. This means that AES routers are generally smarter about 250m cable weighs 57 pounds. At least outputs are not hard -wired to any par- the serial bitstream than SD/HD -SDI seven of these 250m cables can be con- ticular purpose and can usually be spec- routers (AES routers often decode the nected together, which means camera ified to be analog or AES. bitstream, whereas most SDI routers runs of over 9,000 feet (limited prima- Deciding which layer AES mixer out- don't). A final consideration is that like rily by copper size) are still possible. puts belong in can be confusing. AES HD test equipment, which is more ex- Sync and test generators in the HD

82 Broadcast Engineering June 1998 www.americanradiohistory.com rA.awcts3 10' 16'-11- 26' -0- 109' GEAR ®R REF 11 3/6

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Note the expanding section shown above is primarily "people space" and adds about 180 square feet of working room. NMT's HD-1 will be the first digital high -definition truck to hit the road. The project was handled by Sony's Systems Integration Center. realm aren't yet as capable as their SD One additional note about monitor- monitor in three separate positions in ancestors. It still might be necessary to ing in this new world - truck custom- the truck during the production. This is use an analog or digital SD sync gener- ers usually want the ability to view all insurance that the signal is usable in all ator as the absolute reference. the formats on a video and waveform worlds. This multiformat monitoring is usually located at the TD/director, shad- EQUIPMENT LIST ing, and QC positions. Routing Switchers: NVision Envoy 6464HD serial high definition; Sony DVS - HD integration is like everything else 6464B SDI 4:2:2 and DVS -A3232 (dual) AES Audio; Ditech 5881 128x160 NTSC we compared between HD -SDI, SD -SDI, Production Switcher: Sony HDS-7000 HD digital video switcher and NTSC. It just takes more planning, Audio Console: Sony Oxford digital audio mixer more DVE Equipment: Sony HDME-7000 two- channel DME understanding, and more fortitude Recorders: Sony HDW -500 digital HD videotape recorders and DVW -A500 than the earlier SD formats, not to men- Digital Betacam recorders tion more money. But if we can enlist the Special Effects: eight -channel HD DDR (Vendor TBD); Chyron Infinit! character viewers to subscribe to the advantages of generators (upconverted HD) to high -definition viewing, everyone will Audio Effects: 360 Systems Digit -Cart II Audio monitoring -spot locations: Wohler panels benefit. Audio recorder: Sony KM -800 Waveform monitors: Tektronix The author would like to thank Peter Ludé, DM: Sony digital and analog video DAs and monitor DAs; NVision AES audio senior vice president of Systems Engineering DAs; Leitch analog audio DAs and Marketing, Sony Electronics' Broadcast Monitors: Sony HDM20E1 U, HDM2830 HD, BVM14F1 U SDVNTSC and PVM & Professional Group; Jim Oster, Alan Bourke, series NTSC monitors Chris Pyle, Nequin Scott, and Joe Metzger, engineers with Sony's Systems Integration Encoder /Decoder Up/Downconverters: Sony HKPF -525 HD downconverters and Cen- ter, and Kent Green, an engineering consult- HKPF -103 HD DA's; Snell and Wilcox HD5050 upconverters and HD2100 Up ant, for their technical guidance and help. and downconverters Cameras: Sony HDC -700 HD studio cameras, HDC -750 HD field cameras and DXC -HD HD POV cameras (model TBD) Jim Boston is senior product support engineer, Lenses: Fujinon HA66x95ESM lens high -definition and HA20x75ERD HD hand- automation and transmission systems, Broad- held lens cast & Professional Group, Sony Electronics' Intercom: 80x80 RTS Adam intercom matrix Inc.

June 1998 Broadcast Engineering 83 www.americanradiohistory.com PREVENTING ILLEGAL COLORS

With all of today's standards, it's easy to create signals that exceed the limits.

By Michael Robin

In all scanning standards, the composite analog monochrome signal amplitude is, nominally, 1Vpp. Figure 1 shows the well -known signal amplitude characteristics of the 525/60 scanning standard as used in North America. The peak -to- peak signal level, from sync tip to peak white is 1V or 140 IRE of which 100 IRE (714.3mV) is luminance (monochrome) and 40 IRE (- 285.7mV) is sync. Peculiar to North America is a black level of 7.5 IRE (53.SSmV). Figure 2 shows the significant video signal levels as a percentage of the transmitted negative -modulated video carrier amplitude. As shown, 100 IRE represents 12.5% modula- tion allowing for a carrier overmodulation safety factor aimed at avoiding video carrier cancellations resulting in intercarrier "buzz." In all analog color television systems, primary green, blue and red (GBR component) signals generated by a camera are processed to produce an analog composite video signal (NTSC, PAL or SECAM). All systems use a wideband luminance (Y) signal, equivalent to a monochrome signal, and two narrowband color- difference signals (B -Y and R -Y). The chrominance signals are scaled in amplitude using different scaling factors, depending on the system (for more information, see "Transition to Digital,"

84 Broadcast Engineering June1998 www.americanradiohistory.com June 1998 Broadcast Engineering 85 www.americanradiohistory.com PREVENTING

ILLEGAL COLORS 75, is shown as a dotted outline of the CCU monitoring and "gain riding," luminance bar. transmitter overmodulation is unlikely May 1998). Each of the color -difference Under normal operational conditions, to occur. signals modulate an assigned subcarrier color signals generated by cameras will in a manner peculiar to the specific tele- not result in transmission overload. The THAT WAS THEN, THIS IS NOW vision system. The luminance and color encoder is part of the camera and In recent years, there has been an chrominance signals are frequency -divi- its adjustments are carried out by qual- increasing trend toward the use of com- sion -multiplexed to obtain a single -wire ified maintenance personnel, so opera- ponent video equipment in television composite video signal with a total band- tors have no direct access to it. The studios. The advent of the component width suited to the specific transmission camera GBR gain controls are entrusted video technologies has opened a new standard. to qualified technical personnel so, un- era in television technology. Compo- The addition of the scaled chromi- der normal conditions, with well- adjust- nent operation means keeping video nance information to the luminance in ed cameras, careful and knowledgeable signals in component form throughout the production process including switching and special effects. WHITE The new era came about because of LEVEL the appearance of component analog 100 IRE videotape recorders offering reason- (714.3mV) able performance at an affordable cost. These "small- format" videotape re- corders offered considerable operat- BLACK VIDEO LEVEL ing advantages, and manufacturers and INFORMATION 140 IRE 7.5 IRE broadcasters were quick in recogniz- (1 V (53.5mV) p-p) ing them. This equipment was initially used as a replacement for obsolescent one- and two -inch VTRs, using com- BLANKING It was LEVEL -E. posite analog NTSC interfaces. O IRE quickly recognized that improved over- (OmV) SYNC all performance could be obtained by INFORMATION using component analog interfaces. SYNC TIP This type of equipment interconnec- LEVEL many of the pitfalls typical -40IRE tion avoids (- 285.7mV) of composite video NTSC signal distri- bution and processing. Unfortunately

Figure 1. Significant amplitude values of a composite video signal in the 525/60 several mutually incompatible analog standard.

VIDEO LEVEL increase of the formation results in an SYNC TIP -40 IRE video signal amplitude. As shown in a Figure 3, 100/7.5/100/7.5 color bars BLANKING 0 IRE signal results in a signal with a peak BLACK 7.5 IRE positive amplitude of 130.8 IRE for the yellow and cyan bars. This signal will severely overload analog video transmit- ters. The situation would have been worse 100 IRE if the color- difference signals had not WHITE 120 IRE - - - .41-- 0°0 12.5% 70 75°C 100"-° been scaled down. The developers of the NTSC system relied on the fact that high -level yellow and cyan colors are not 1 commonly encountered in nature and assumed, therefore, that transmitter over - modulation would never occur in prac- tice. To avoid video transmitter over - modulation, transmitter tests are carried out using a 75/7.5/7517.5 color bar sig- nal (see Figure 4), resulting in a peak positive amplitude of 100 IRE. A subset Figure 2. Significant video signal levels shown as a percentage of carrier amplitude in of this signal, identified as 100/7.5/75/ negative amplitude modulated systems.

86 Broadcast Engineering June 1998 www.americanradiohistory.com component video signal formats coex- GAMUT ist, making equipment interconnection The gamut of a set of component difficult and resulting in the possible video signals (GBR or Y, B -Y, R -Y) generation of illegal encoded NTSC describes the range of voltages that the signals. signals are allowed to assume. Signal The advent of character generators voltages outside of this range, that is and other digital equipment has result- signal exceeding the gamut, may lead to ed in the possible generation of valid clipping or other distortions. component video signals which, when The range of GBR analog component encoded into NTSC or PAL, can result video signals is described in the SMPTE in composite signals that overload a 253M standard. With a 100 /0/100/0 video transmitter. The situation is fur- color bar signal the GBR signals feature Figure 5. Modulated ramp test signal. ther complicated by the coexistence of a maximum positive signal value of mutually incompatible component an- 700mV, no setup, and a maximum neg- without setup, as well as the absence of alog signal formats. A number of rela- ative signal value of 300mV (sync). Vari- sync. In the latter case, the sync is carried tively new terms characterizing color ations of these signals are likely to be separately on a fourth conductor as com- video signals have evolved, and their encountered in a studio situation. These posite sync (vertical sync combined with meaning, effects and correction are variations could be peak signal ampli- horizontal sync) or on two separate con- examined in some detail in this article. tudes of 714.3mV (100 IRE) with or ductors (vertical sync and horizontal sync) with signal amplitudes varying be- tween two and four volts, negative or w Y C G M R B BLK positive going. 130.8 130 8 The normalized range of Y, B -Y, R -Y 116.4 component video signals is described in

100 100 3 the EBU N10 standard. With a 100 /0/ 93 6 100/0 color bars signal, EBU N10 nor- malized Y, B -Y, R -Y signals feature a Y

59.4 signal with a peak positive value of 700mV, no setup, and a maximum neg- 170.8 IRE (1.22 Vp-p) ative signal value of 300mV (sync). Both 48 1

2 color -difference signals are bipolar and have a p -p amplitude of 700mV. - 7.5 Beta 0 3.9 cam and MII component analog signals .T 72 have different signal amplitudes (for more -8 9 information, see "Transition to Digi- 20 3 3 23.3 tal," May 1998). -40 LEGA. =tuts Figure 3. NTSC 100!7.5/100/7.5 color bars signal waveform. A set of component analog video sig- nals is considered legal if each compo- nent is contained within the specified

w Y C G M R B BLK voltage range of the format (e.g., 0 to 700mV). Even if a signal is within the 100 100 00 amplitude limits of one format, it can 89 2 exceed the limits when translated into an 76.9 77 1 72.1 alternate format. Component signal dis- tribution channel gain- errors can result 6.4 in illegal signals. These gain- errors may be due to misadjustments or format in- 37.9 140 IRE 2 (1 Vp-p) compatibility. 7.5 12.3 f 73 VALID SIGNALS -4.8 A video signal is considered valid if it -15 6 15.6 remains legal 2 when translated into any other format. Color bars are always -40 valid. If properly generated, processed and distributed to compatible equip- Figure 4. NTSC 75/7.5/75/7.5 color bars signal waveform. ment, they reach, but do not exceed,

June1998 Broadcast Engineering 87 www.americanradiohistory.com PREVENTING

ILLEGAL COLORS Y, B -Y, R -Y signals as previously de- lems may be encountered when test sig- scribed for GBR component analog sig- nals are transcoded into an alternate the gamut limits. A valid signal is al- nals may not help here. format, resulting in incorrect conclu- ways legal, but a legal signal is not sions. Let's examine some of these cases. necessarily valid. TEST SIGNAL CONSIDERATIONS For example, a character generator A wide variety of video test signals have THE MODULATED RAMP operating in a GBR format may gener- been developed aimed at allowing users The modulated ramp is a special com- ate yellow characters with component to determine whether a specific piece of posite test signal used in the measure-

D

TEST NTSC B DIGITAL NTSC VECTOR GENERATOR DECODER PROCESSOR ENCODER SCOPE E' D R

Figure 6. Test setup for measurements of hybrid equipment.

Figure 9. The red component of a decoded 7. The green component of a Figure 8. The blue component of a de- Figure modulated ramp. decoded modulated ramp. coded modulated ramp. Note the signifi- cant (illegal) negative signal excursion.

signal amplitudes of 700mV. These sig- equipment or system meets certain per- ment of an analog composite system's nals are legal in the GBR format. When formance requirements. These signals non -linearities. As shown in Figure 5, encoded into an NTSC signal, they will have well- defined characteristics, and this signal consists of a luminance ramp result in a composite video signal with a when used properly, are useful in pin- with a p -p value of 100 IRE on which is positive amplitude of 130.8 IRE. This pointing sources of trouble and quanti- superimposed a constant phase chromi- signal is illegal. If transmitted on -air, this fying the impairments. However, prob- nance subcarrier with a constant p-p signal will cause severe transmitter over- load and intercarrier buzz. This situa- tion can be avoided by sequential display monitoring of the GBR component sig- nals (using a component analog wave- form monitor, such as a Tektronix WFM 300), and ensuring that they do not exceed 525mV peak amplitude. Alter- nately, the GBR analog component sig- nal amplitudes could be limited by de- sign or signal clipping to 525mV and NTSC signal ampli- thus avoid encoded Figure 11. The encoded composite analog tudes exceeding 100 IRE. Figure 10. Sequential display of oversized NTSC signal generated by the Y. B -Y, R -Y component analog Y. B -Y. R -Y ramp sig- A legal set of Y, B-Y, R -Y signals may component analog ramps. Note the sig- nals on a component analog waveform nificant - and illegal - negative and result in illegal GBR transcoded signals, monitor. These signals are legal in the positive exclusions. as well as illegal NTSC or PAL encoded component analog format. signals. Sequential signal monitoring of

88 Broadcast Engineering June 1998 www.americanradiohistory.com amplitude of 40 IRE. This signal is fed to nent analog test signals, while perfectly such as GBR (with or without setup), the input of an analog or digital compos- adequate for testing component analog EBU N10, Betacam (with or without ite video system or piece of equipment. or digital systems, should not be encod- setup) and Mil (with or without setup). Subcarrier phase changes at varying lu- ed into composite NTSC signals. Similarly, some bit -serial digital 4:2:2, minance levels with respect to the burst 270Mb/s to analog component video result in luminance level related hue OTHER COMPONENT VIDEO TEST signal converters offer the same choice changes and are measured as differential SIGNALS of component analog output signals. phase. Subcarrier amplitude changes at A host of test signals specifically devel- Such converters are useful when Beta - varying luminance levels with respect to oped for component video equipment cam or MII VCRs must be integrated the burst amplitude will result in lumi- are available to the user and permit the into a bit -serial digital 4:2:2, 270Mb/s nance level related saturation changes performance assessment of equipment. distribution system. and are measured as differential gain. Users should note that these signals are Carefully design your facility to avoid The assumption is made that the equip- not meant to be encoded into analog interconnect incompatibilities. ment to be tested does not convert the composite NTSC signals or transcoded Use component waveform monitors signal into a different format. As shown into an alternate component video set. at critical locations and establish com- in Figure 6, some hybrid analog/digital The exception is the color bars signal ponent video signal monitoring proce- devices feature analog component I/O ports, while internally, the signal is de- coded into GBR components for pro- cessing. Figures 7, 8 and 9 show the decoded GBR component analog signals resulting from the modulated ramp. Note that the blue signal features a high -level negative component that is clipped in the internal digital processing. When encod- ed back into composite analog NTSC, the signal will be distorted and a reading of typically 10' differential phase and 10% differential gain will be measured. Figure 12. Diamond display of a legal sig- Figure 13. Diamond display of an il egal These measurements are essentially nal. signal. wrong and are the consequence of the fact that the modulated ramp is illegal which is suitable for encoding into a dures to ensure the component signals when decoded into GBR component composite analog format if the equip- are legal at all times. signals. When fed with legal video sig- ment in/out interconnect ports are sig- Where possible, encode the signal nals, such as generated by a camera, this nal- format compatible. into composite analog NTSC and mon- type of equipment operates correctly. itor the signal for NTSC validity. PROBLEM PREVENTION Tektronix has developed a special com- THE COMPONENT ANALOG Y, B-Y, While prevention may appear simple, ponent analog monitoring display called MY RAMPS care must be exercised to avoid generat- the diamond display. This display mode Testing the individual linearity of com- ing illegal signals. By following several allows users to determine whether a set ponent analog Y, B-Y, R -Y channels rules, illegal signal generation can be of component analog Y, B-Y, R -Y signals requires feeding full -size or oversize avoided. These are: are legal when format -converted into ramps to the three channels for display Understand the different component GBR component signals. Figure 11 shows and measurement on a component ana- video formats. This may require training the diamond display of a legal signal. log waveform monitor. Figure 10 shows for technical and operational personnel. Note that the vectors are confined to the a sequential display of this set of ramps Standardize on the EBU N10 compo- diamond shaped area. Figure 12 shows on a component analog waveform mon- nent analog video interconnect standard. the diamond display of an illegal signal. itor. This signal is perfectly legal in the Use N10 compatible equipment. Note that the vectors exceed the area of component analog format, and the over- Use format adapters known as the diamond displays. Consistent use of sized portion of the signals is used to transcoders to normalize the signals to the diamond display allows users to verify that the A/D converters meet the the input characteristics of the equip- determine the validity of the component specifications, in terms of analog signal ment. Although you may be tempted to video signals and alerts users when ab- overhead. When encoded into analog normalize your equipment by readjust- normal situations occur. composite NTSC, an invalid signal re- ing the input and output gains, it will sults (see Figure 11). Note that the p -p leave your equipment non -standard. Michael Robin, former engineer with the CBC engineering headquarters, signal value of the NTSC encoded signal Some analog component video to bit - is an independent broadcast is 231.9 IRE. consultant in Montreal, Canada. He serial digital 4:2:2, 270Mb/s signal con- is a co-author of "Digital Television Funda- The conclusion is that some compo- verters offer a choice of input signals mentals," published by McGraw-Hill.

June1998 Broadcast Engineering 89 www.americanradiohistory.com Pick Hits

, , '

' - , N ,;, :4)) I AB '98 .=11,/(r By Steve Epstein, technical editor

In many ways, NAB '98 was much the same as every other recent NAB - too little time and too much to see. However, in other ways, r iC;(.1 this year's show was quite different. Attendance broke the 100,000 S.,,- mark, even . and though the FCC announcement came just before last , year's show, this is the first year that vendors and attendees had an opportunity to really plan for the new DTV paradigm. Although many have predicted that DTV will bring revolutionary changes to broadcast, it is becoming clearer that those changes will likely be more evolutionary than revolutionary - albeit at an accelerated pace. This year, as in years past, Broadcast Engineering's team of judges scoured the NAB convention floor, looking for unique products that will help broadcasters and video professionals move their facilities into the 21° century. As usual, the winners are a diverse group. And I am happy to say that most of these products are already shipping. Instead of the vaporware we have seen in the past, many of the products found throughout the show floor were real. This is a positive change in the industry that I truly hope continues. Here, in no particular order, are the Broadcast Engineering Pick Hits of NAB '98.

Tektronix PQA -200 picture -quality analyzer Based in part on the Sarnoff Corporation's JND- metrix, the PQA -200 offers repeatable results in a variety of formats, typically in less than a minute. These results strongly correlate to human viewer trials, and are independent of the types of impair- ments present, the compression system used or the video material itself. This Windows NT -based system consists of two main modules, one to generate test sequences and the other to compare those sequences against transported, reconstruct- ed versions. Numeric results are provided in two forms: a PQR (picture -quality rating) value and a peak signal -to -noise ratio (PSNR). Graphical, tab- ular and summary data, as well as a JND (just noticeable differences) map, are also provided. The PQA -200 system offers standard 270Mb/s serial component inputs and outputs, with analog composite I/O op 503.627 -2830 or 800-547 -8949: fax 503 -627 -5593; www.tek.com Circle (250) on Free Into Card

90 Broadcast Engineering www.americanradiohistory.com ,1 I \\l. k D -K Audio MSD600C MKII four -channel color LCD ttr audio display

The MSD600C MKII master stereo display offers four - channel analog or digital inputs (user configurable in pairs). This new version features a TFT display with enhanced brightness and contrast ratio, and a VGA output provides for an external monitor if desired. Oscil- loscope functions can be assigned to channels one and two or three and four. The PPM bars and the oscilloscope trace colors can be user defined in six different colors, making channel identification easier. Surround -sound monitoring can be enhanced with the optional surround - sound software which offers a "jellyfish" display, instead of the vector display. There is even a built -in pseudo - surround decoder. To complete this display package, an FFT- spectrum analyzer is also available. +45 44 53 02 55; +45 44 53 03 67; www.dk- audio.dk Circle (251) on Free Info Card

Zandar Technologies MVG16 multivideo window display card The MVG16 can display up to 16 PAL or NTSC video sources along with flicker -free graphics in real time on a video and/or computer monitor. Each video source can be scaled and positioned easily. The unit consists of two PCI cards linked through an expansion connector. Through the use of an onboard scan converter, computer -generated graphics and text can easily be mixed with the live video display. Twin S -VGA overlay engines allow real -time simultaneous display of two indepen- dent video sources on the unit's VGA output. The two sources displayed are the multi -image display available on the video output and an auxiliary input. +353.1- 2908 -945; fax +353 -1- 2808 -956; www.zandar.com Circle (252) on Free Info Card \C. 1 A, 'I

:7 Wohler VAMP -1 -SDI K`Lltái` It you need a compact monitoring tool for digital audio and video, Wohler's new VAMP -I -SDI might suit your needs nicely. This 2RU device includes a built -in LCD display and a pair of amplified speakers. Volume controls, a headphone jack and LED peak meters provide additional capabilities for monitoring up to four embedded AES/EBU audio channels. Embedded audio channels are demuxed from the videostream and converted to analog. The conversion equipment needed to convert SDI signals to analog composite video is also included in the unit. An analog output allows the converted video to be viewed on analog monitors and test equipment. 550588 -1355; www.wohler.com Circle (253) on Free Info Card

June 1998 Broadcast Engineering 91 www.americanradiohistory.com eidria e-trim e -trim allows video to be logged almost anywhere. Based on the Palm Pilot, it lets you collect clip names, scene names, reel names and other audio/video data information into a database that can be easily uploaded into an edit suite. a -trim's machine - control capability allows users to operate RS-422 or LANC- compatible decks and cameras remotely, while capturing time - code information. With the a -trim package and a video deck or camera, users can create, edit and delete clips. Saved clips are descriptively marked for later review. In the suite, information can be transferred using the Palm Pilot's cradle or a wired/ wireless modem. LogWriter software, which works with Maclntosh or Windows 95/NT systems, is included. 530.478 -9119; fax 530 -478 -9889; www.eidria.com Circle (255) on Free Info Card

Doremi Labs V1D Video Channel for the V1 server An "accessory" for Doremi's V1 video server, the V1D offers a built -in LCD monitor (optional) and SDI input and output. Analog video I/O is handled through component and composite interfaces. Each V1D provides the server with an additional I/O video channel and is designed for high -end video and broadcast applications. Variable data com- pression (motion JPEG) allows users to configure the recorder for the best image quality (2:1), editing image quality (34:1) or anything in between. In addition to video, the unit can handle up to four tracks of 48k1-12/18 -bit audio. A built -in time -code reader/generator supports both LTC and VITC. External control is available through RS -422 and Ethernet interfaces. 213-874 -3411; fax 213- 874 -3401; www.doremilabs.com Circle (256) on Free Info Card

Adherent Systems Limited AT970 ATSC Stream View 4aß )tom,- .1 U _ L /iii// / / r i The AT970 provides a system level so- ////////////// - lution for real -time monitoring of multi- / / plc gital video streams. Up to four // / / //de / / / / /.ofi / /// f streams can be monitored simultaneous- - - // / / / / / / / / / /// - - ly in real time to verify conformance with // / / / / / / / / / /// MPEG -2 and ATSC specifications. De- signed to integrate seamlessly into a mon- itoring and control network, the AT970's intuitive GUI provides status of the broad- cast network at a glance and reduces operator training. In addition, remote control is available over standard interfaces, including SNMP via Ethernet and RS 232. Configurable alarm outputs, including contact closures, provide the means to alert operators in the event of problems. Dedicated error logs provide a history of the status of each monitored transport stream. +441223 421120; fax +44 1223 421112; www.adherent.com Circle (254) on aree Info Card

92 Broadcast Engineering June 1998 www.americanradiohistory.com \\l: I\ f Samsung ARX -100 ATSC ú- r<

360 Systems Zip Drive add - on for the Instant Replay The Instant Replay has been around for several °'LUUIJUI,:JIJId years, however, new this year is a SCSI port that ULL; U lLlln, provides additional connectivity. Among the items L`CLi_.ii that can be connected is Iomega's Zip drive. Zip disks, in their original implementation held 100MB per i( I:_;LJizJIJLiLJUI1JLiL3i L. iL disk. Newer Zip plus drives now provide up to l _. .'Lij i=±iJLÌ.,31136.36012., i . 120MB per disk. Both 360 Systems' DigiCart/II and Short/cut models also support the Zip drives, making L._ ll,; Iwl,;!ui it easy to transfer files from these and other non - networked systems, whether they are across town or across the country. The SCSI port can also be used to support a variety of devices, including increased on- line storage or archival systems. 818 -991 -0360; fax 818 -991 -1360; www.360systems.com Circle (257) on Free Info Card

Yamaha 01V digital mixing console This full- featured rack -mountable digital mixer has 24 input channels, including 16 built -in analog inputs (12 with +48V phantom power), plus eight optional digital inputs. Digital formats that are available include ADAT, TASCAM and AES/EBU. There are four assignable analog outputs and ex- pansion options for four more or eight assignable digital outputs. A digital expansion slot provides connection to devices such as a multitrack recorder through various interface cards. Coaxial digital input and output connectors, along with balanced XLR -type output connectors, make it easy to con- nect the unit for a variety of applications. The TO HOST connector allows the unit to be connected to a personal computer, as well as another 01V for increased mixing capacity. 714-522 -9011 714 -739- 2880,www. amaha.com Circle (258) on Free Info Card

June 1998 Broadcast Engineering 93 www.americanradiohistory.com Dolby DP567 digital encoder Dolby's DP567 is a two- channel encoder with both digital and analog inputs. Already encoded signals, such as Dolby Digital 5.1 channel surround sound, pass through the system unaffected, if desired. Front -panel controls allow local setup, and front- and rear-panel serial interfaces allow the unit to be configured from a PC or other remote devices. A separate AES/EBU input can be used as a clock reference signal and as an input for a bitstream multiplexing feature that allows multiple encoded audio signals to be included in a single AES/EBU signal. Multiple DP567s can be connected in a daisy-chain fashion. General- purpose I/O connections provide status and control signals. 415 -558-0200 or 800-33- DOLBY; fax 415-863 -1373; www.dolby.com Circle (260) on Free Info Card

Sencore SV953 MPEG -2 Stream Station The SV953 allows users to record, playout, monitor and analyze MPEG -2 transport streams. Eight gigabytes of hard - drive space provide plenty of room to record MPEG bitstreams at rates up to 60Mb/s. The SV953 provides complete analysis of recorded MPEG -2 transport steams and performs both MPEG -2 and DVB conformance testing. In addition to its real - time monitoring capabilities, users can define conditions in which the bitstream would automatically trigger a recording of the entire stream or selected PIDs. A pre -trigger buffer allows the recording of events prior to the trigger point. An easy -to -use Windows NT interface allows for updates as technology changes. 605- 339-0100 or 800 -769- 2287(AAVS); fax 605 -335 -6379; www.sencore.com Circle (261) on Free Info Card

Leader LV 5150D HDTV digital waveform monitor The LV 5150D provides a way to monitor high - definition digital and analog 1,125/60 signals. It has two serial inputs, plus one three -wire analog input (SMPTE 240M). The unit features waveform, vector, picture and stereo monitoring, as well as full EDH error reporting with alarms. An active serial switched (A or B) output allows the unit to feed a monitor. Operating capabilities include a component vector display with the choice of standard external -illuminated graticule or an electronic scale. Full line select includes a variable (one to 15 lines) window and locator strobe on the picture display. Other features include storage for 10 front- panel setups and remote control capability. 516-231-6900 or 800-645-5104; fax 516-231-5295; www.leaderusa.com Circle (262) on Free Info Card 94 Broadcast Engineering 1998 www.americanradiohistory.com NVision enVoy series of universal digital routers Cll'C; l'L-ZT,lffL , These routers allow you to route any standard rate SDI and HD -SDI signals within the same /99 switcher at the same time. Starting at a minimum size of 8x8, the enVoy series is expandable in increments of eight inputs or eight outputs up to a maximum of 256x128 in a 23RU frame. The crosspoint structure is combined with various I/O modules to accommodate several data rates. Input and output modules include SDI (143, 177, 270 and 360Mb/s) and HD -SDI at 1.5Gb/s. Dual references allow simultaneous dual standard 59.94 and 50Hz vertical interval switching, and dual outputs for each destination minimize DA eNVoy 6064 eNVoy8288 eNVoy 6128 requirements. 800 -719-1900 or 530- 265-1000; fax 530 -265 -1010: www.nvision1.com Circle (265) on Free Info Card

Accom APR Attache DDR Attache provides uncompressed digital video, key and audio storage. In the eight -bit mode, Attache can store 32.5 minutes of 4:2:2 video and 26.5 minutes of 10 -bit recording. In addition to pre -read capabilities, a preread offset allows for up to two minutes of non -destructive pre -read. A confidence record feature allows recordings to be checked as they are made. A program-delay function provides a playback delayed of up to two minutes, allowing the Attache to act as a real -time program delay device for % broadcast applications. Both 525 and 625 modes are user -selectable with component digital and analog inputs and outputs. 650- 328 -3818; fax 650-329 -2511; www.accom.com Circle (264) on Free Info Card

Fujitsu PlasmaVision 42 flat -panel display These 16:9 screens offer a resolution of 852x480 pixels (16.7 million colors) with a contrast ratio of 400:1. PlasmaVision tech- nology generates light directly, rather than reflecting it from a screen, providing bright images viewable from nearly anywhere in a room with the lights on. These 42 -inch diag- onal units are less than six inches thick, allowing them to be easily wall- mounted, hung from the ceiling or pedestal- mounted for mobility. Input video signals can be com- posite, component (Y, Pr, Pb) or S -video in NTSC, PAL or SECAM. A 15 -pin D- connec- tor allows the PlasmaVision 42 to be used with PCs or Macs. 973-575-0380 or 888- 888 -3424; fax 973- 575-2194; www.plasmavision.com Circle (263) on Free Info Card June 1998 Broadcast Engineering www.americanradiohistory.com 95 Advanced Digital Systems Group (ADSG) digital audio disk recorder The ADSG digital audio disk recorder offers 16 -, 20 -, or 24- bit uncompressed digital audio recording on 16 individually selectable record/play channels. Continuous audio output is available at speeds from stop to 1.5x play speed. Among the units' feature set are seamless punch -in/punch -out monitor- ing, programmable levels of undo, and flexible cut-and -paste editing to sample or frame boundaries on individual tracks, units or across an unlimited number of machines. A position display provides feet/frames, minutes/seconds and millisec- onds/samples. The ADSG drives (ADSG's version of the Iomega Jaz drives) offer 2GB each, and an external SCSI port allows for additional disk access. The unit can chase time code and be controlled through Sony 9 -pin protocol or over NT network protocols. ` \ 310-244 -5523; fax 310 -204-2123 Circle (266) on Free Info Card

Harris FlexiCoder The FlexiCoder is a modular MPEG-2 and ATSC -compliant video and audio compression encoder that supports one to six channels of standard- definition encoding with a built-in multiplexer. Users can add to and modify its performance through a series of compatible "hot- swappable" building blocks. FlexiCoder can start as a single -channel standard- definition encoder, and over time, it can evolve into a multichannel, multistandard encoder. If needed, interfaces for DS -3, OC -3 DVB or E -3 are available. To ensure reliable operation, the system supports automatic fail -over switching to optional redundant back -up modules. Multiple FlexiCoders can be stacked for additional redundancy. 217 -222 -8200; fax 217 -224 -1439; www.broadcast.harris.com Circle (267) on Free Info Card

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Mathematical Technolo- gies Inc. Intellideck Intellideck is a self- contained computer -based sys- tem that provides resolution- independent uncom- pressed video recording and image processing. Use- able in a variety of applications, the unit is geared toward HD telecine transfers. It provides a full range of aspect ratio and broadcast format conversion. A fully- integrated Intellideck can provide noise/grain and dirt/scratch removal processing, as well as an intelligent interface with color correctors. Through a selection of real-time automatic and non -real -time operator controllable filters, Intellideck can address and correct a wide variety of film -related artifacts. It can even be used to correct videotape problems, such as dropouts and banding. Once complete, video mas- ters can be output in any distribution format in real time. 818-562-6544 or 800 -566 -6544; fax 818 -562 -3342; www.pvpburbank.com Circle (268) on Free Info Card 96 Broadcast Engineering June 1998 www.americanradiohistory.com THE RULES The Broadcast Engineering Pick Hits judges operate anonymously. Each year they look for new products that meet the following criteria:

1. Products must be new and not shown at a previous NAB convention. In some cases, distinguishing a new product from a modified older one is difficult. For "Pick Hits" purposes, a new product is one with a new model number or designation.

2. Products must have some positive impact on the intended user's everyday work. Judges search for equipment to be used on a regular basis. Products should provide new solutions to common problems.

3. Products must offer substantial improvement over previous technology. Unique circuit architecture need not be included, but some new approach or application must be involved in the product's design.

4. The prices of the products must be within reach of their intended users. The judges seek products appropriate to a wide range of facilities.

5. The products must be available for purchase within calendar 1998. Equipment must be on display and currently (or imminently) in production. Judges take the exhibitor's word on availability dates.

THE JUDGES:

Steven Blumenfeld Stephen Damas Marvin Born Director, Strategic Technical Design Vice President Alliances Supervisor WBNS- AM/FMITV GTE Imagetrek WGBH Columbus, OH Carlsbad, CA Boston, MA

David Felland Director of Engineering Ken Hunold Martens and Operations, Brad AudioNideo Project Director of Broadcast WVMS/WVMT, Engineer Engineering and Director of ABC Engineering TCI Engineering Laboratory Littleton, CO Wisconsin Educational New York, NY Communications Board \iilwaukee, WI

Philip A. Mendelson Karl Renwanz Jim Starzinski Vice President of Vice President Project Engineer Engineering Video Transfer Inc. NBC Hollywood Digital Boston, MA New York, NY Hollywood, CA

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_ -,¢, ''.iv%ä `. www.americanradiohistory.com Discovering TABLE OF CONTENTS DTV gold Video servers, storage and playout 100 Routing switchers, cable and connectors 112

Format conversion and synchronization equipment 120

Video compression- transmission applications 132

Video compression- studio applications 144 Automation systems 150

Cameras and lenses 154

Robotics and camera support 162

Production equipment 166

Video editing systems 170

Video accessories and projectors 174

Audio for DTV 178

Test equipment 181

TV RF 183

Video balance between more with a few notable exceptions, are mov- servers aggressive compres- ing away from M -JPEG in favor of storage sion (lower quality), MPEG or DV. The reason for this is playout and lower cost. clear - broadcasters are demanding While compression the ability to move video directly from has been employed in their acquisition format to storage with- disk products for a out an intermediate step to analog or number of years, it 601. They want to avoid the generation is only over the last loss caused by the decode and subse- By Brad Gilmer few years that manu- quent encode. They also find the pros- facturers have begun using significant pect of moving video around facilities at Brad Gilmer is president of Gilmer íßr Associ- ates Inc., a technology and management con- compression to store video on tape. faster than real -time an interesting prop- sulting firm. Compression was typically employed osition, and this is something that can- in disk products because of their high not be accomplished in the analog or This year there were many companies cost relative to tape (about 75:1). Now 601 domain. offering video storage products. The there are many tape -based products Since there are no field- acquisition two predominant mediums have been, available using compression, most no- products in everyday use with M -JPEG and still are, tape and disk. While I am tably the Panasonic DVCPRO, D5 for outputs, this leaves M -JPEG products sure they were represented at the show, HDTV, JVC's Digital -S and Sony's SX as legacy equipment. It will continue to I did not see any of the format. Also included in this group are be used, but an end to the useful life of magneto- optical, laser the data tape formats typically used in these products can now be anticipated. disk, or other storage storage silos, including DLT, DCT, and The other part of the storage equation technologies this year. DS -3. that relates directly to disk storage these While the storage me- Disk manufacturers continue to em- days is how these devices interact with dium has remained es- ploy compression in their products in a both computer -based technologies and sentially confined to tape big way on the air -playback side. How- traditional broadcast video products. and disk over the last ever, several manufacturers of post -pro- In the former case, computers like to five to 10 years, one duction equipment offer devices that deal with files. They generally like things major trend is clearly store video totally uncompressed, en- with a beginning and an end, and do not developing. There is a major war going suring that what goes in is what comes deal well with the concept of frames. Of on in the world of compression for- out. Among the major compression tech- course, a typical VTR knows nothing mats, and this directly affects storage nologies employed by disk manufactur- about file names, but is generally based products. Compression's impact on stor- ers are M -JPEG, MPEG 4:2:0 and 4:2:2 on the concept of a field or frame of age is mostly in the area of cost. Gener- and DV. video. This difference between the two ally, broadcasters are trying to strike a My sense is that most manufacturers, must be bridged for broadcasters to use

100 Broadcast Engln.sring June 1998 www.americanradiohistory.com ATSC MONITORHIl IF YOU HAVE TO KEEP A CLOSER EYE ON ATSC DEVELOPMENTS, READ ON .. . If you want to see the future of Digital TV then it's time you took a look at AT970 Stream View ATSC ////////////// _ ////////////// the new Stream View from Adherent. ////////////// As you would expect from an active ////////////// ////////////// ' I member of ATSC it's ground ////////////// breaking - with the capacity to - ////////////// automatically monitor more channels ////////////// than ever before. ////////////// " ////////////// The new AT970 Stream View from Adherent: real time monitoring of four streams: Remember. Seeing is believing. continuous measurement of essential For further information contact ATSC parameters; our North American representative ATSC , rack mounting with local or Sencore, tel: I -800 -SENCORE or remote control through (605) 339 -0100. standard networks; Web: www.sencore.com comprehensive error reporting, Web: www.adherent.com alarm and triggering functions.

Check out the latest product from the people who brought you the MPEG -2 Stream Station.

Circle (44) on Free Into Card

computer -based technology effective- eight video streams simultaneously at tion, Cachebox is suited for applica- ly in the future. standard play speed. Its VTR -like pro- tions, such as NVOD, time delay and tocol allows slow motion and shuttle program /commercial distribution. Video servers and playout sequences and edits can be Cachebox uses DVCPRO compression Hewlett Packard announced two wide controlled using a typical edit decision and provides six hours of random ac- area networking (WAN) connectivity list. Odetics control protocol is also cess storage. It supports 4x real -time products for its MediaStream prod- supported for playout operations. transfer and has four independent vid- ucts. The HP MediaStream Connect Drastic Technologies' VVW-5000 10- eo channels. Clipbox can now support provides WAN connectivity for appli- bit uncompressed server is one of several 14 independent channels cations that require near real -time trans- new products in the new VVW series. Doremi added several new capabili- fers, while the MediaStream Connect+ Other products include the VVW-1500, ties to its V1 video server. At the heart provides support for applications in a low -cost DDR, the VVW-2000, an all - of the system is the file server and video which time -critical data and/or large digital DV/DVC editing DDR, and the storage unit (VSU). The file server reads amounts of content are moved. Both VVW-3500 dual -channel M -JPEG serv- video and audio data stored in the VSU products allow for the easy exchange of er/workstation/DDR. The VVW system and transfers it to video channels, which compressed video content. is both hardware and software based. consist of the family of Vl VDRs. The Panasonic showed two DVCPRO- Modules are hardware independent and VID video channel offers analog and based video servers, the AJ- DR7000 can be used on any of the VVW hard- digital I/O, front -panel controls and a and the AV- SS500. The AJ -DR700 is a ware platforms. Among the software built -in LCD monitor as an option (see PCI bus Windows NT -based platform modules are logging software, playlist "Pick Hits of NAB'98," p. 90). The Vl with four physical I/O ports. The unit management and batch digitizing. is an analog version of the VID, while has sufficient internal bandwidth to Quantel's Cachebox is designed to be the Vle is a low -cost 1RU version con- support seven DVCPRO streams. It is the perfect partner to the Clipbox and trollable via RS -422. supplied with 2.5 hours of storage, for stand -alone applications. When used Philips has been active in the automa- which can be expanded with external with Clipbox, Cachebox provides ad- tion and video server markets for sever- drives. The AV -SS500 is a compact eight- ditional channel bandwidth and dis- al years, and this year they introduced channel server that operates like a mul- tributed storage for regional variations/ the Newsbreaker networked news -edit- tichannel disk recorder. It can transfer sectionals. In a stand -alone configura- ing solution for the Media Pool digital

June 1998 Broadcast Engineering 101 www.americanradiohistory.com video server. Also announced was a pression formats are planned. Compat- framework for storage from gigabytes cost -effective archive solution for the ible with all DV -based acquisition de- to terabytes. For more information, circle Media Pool. In conjunction with Stor- vices, AirSPACE accommodates up to (300) on Free Info Card - I/O operations. Multi- ageTek, Philips is offering the rack 10 simultaneous Disk storage mountable TimberWolf 9730, which ple units can be linked via Fibre Chan- Digital Video Systems ProntoVision can hold up to 7,000 30- second inter- nel for increased I/O capabilities. Air - provides for concurrent storage of vir- stitials at component video quality in SPACE features an internal bandwidth tually all interlaced and progressive only 17.5 inches of rack space. The of more than 100Mb/s, RAID -3 protec- SDTV and HDTV formats in a single TimberWolf series accommodates vary- tion and hot-swappable drives. system. ProntoServer is an uncom- ing levels of storage needs with features SeaChange introduced its Broadcast pressed multichannel digital video serv- that include automatic error recovery MediaCluster for play -to -air applica- er with shared storage for component and a patented vision system designed tions. MediaCluster is a patent-pend- and composite video. for automation. ing computer cluster architecture that MountainGate's CentraVision 6200 ASC, manufacturer of the VR300 vid- extends the concept of RAID to com- VDR is based on Fibre Channel network eo server, announced the NEWSFIash puters or nodes within a cluster. Re- attached storage. When used in conjunc- system for server -based newsroom oper- gardless of the number of nodes, the tion with the CentraVision file system, ations. A key advantage is the ability to system acts like a single fault resilient these VDRs allow shared access to me- share information with an on -air video video server. The Broadcast MediaClus- dia. Storage can be expanded as needed server system on the same Fibre Channel ter can scale from a single server for to more than 40 hours uncompressed. Arbitrated Loop. The ASC VR300 serv- modest I/O and storage requirements to Videomedia showed the 2XS, a Win- er uses FibreDrive, ASC's patent -pend- a multinode cluster with dozens of in- dows NT-based dual- stream DDR that ing Fibre Channel architecture. Fibre - puts and outputs. It offers terabytes of uses mathematically lossless compres- Drive enables users to have instant, si- storage and interfaces to tape library sion. The 2XS fits within a 6RU chassis multaneous random access to shared archives. and accommodates up to 36GB of re- Fibre Channel RAID storage. The VR300 Among the many high -end computer movable storage. also features RAID- For higher ca- soft, a software pacity applica- RAID technology Broadcasters are demanding the ability tions, the system that eliminates the to move video directly from their can handle up to need for additional 126 drive con- hardware. acquisition format to storage without an nections using Thomson Broad- Fibre Channel cast's Nexstore is a intermediate step. technology for video server de- an aggregate signed to integrate data rate up to 200MB/s and up to easily into a broadcast facility. It offers solutions at Silicon Graphics, was the 2.2TB of storage. The VIP -Suite is a line 270Mb /s video Studio Central 1.1. Studio Central ad- of station automation software mod- I/O, AES/EBU and analog audio I/O, as dresses increasing digital media demands ules that can be used in a variety of well as RS-422 ports. With up to 72GB by providing a solid infrastructure for applications, including spot and com- available storage, it can provide more sharing, repurposing and securing dig- mercial insertion. The newest addition than one hour of uncompressed high- ital assets. It offers a customizable frame- the Videomedia's VIP -Suite is the VIP - quality video. For increased capacity, work that includes software driver keys Play List which is capable of executing the compression can be increased to to a variety of content servers. Win- time -line sequences from as many as 31 7:1, and an external UltraSCSI port dows NT and Windows 95 C ++ client V-LAN controlled devices. allows for increased storage if needed. support allows users to build powerful The DPS Whiplash is a slow -motion/ At the Concurrent Computer Corpo- custom desktop applications. Improved instant -replay system that allows video ration's booth they were demonstrat- query capability makes it possible to clips to be played back in forward or ing, the MediaHawk line of video serv- build complex searches, making it eas- reverse at any speed from zero to 100% ers. These high -performance UNIX - ier to locate specific assets. of play speed. The Whiplash combines based servers use MPEG -1 or MPEG -2 MegaDrive has changed its name to the Perception VDR with custom soft- compression for interactive video -on- dataDIRECT Networks. The company ware to provide smooth slow- motion demand applications. The systems are provides data storage solutions for Stor- playback. Also new at the DPS booth based on an open system architecture age Area Networking (SANs), allowing was the DPS Simply Hollywood. This that is scalable to support future growth. users to share uncompressed video pre- configured system combines the Pluto unveiled its AirSPACE multi- (SDTV and HDTV) and image data Hollywood board set with a PCI bus channel broadcast server. It will initial- between an unlimited number of mixed expansion chassis, requiring only a one- ly use DV compression at 25Mb /s and network clients. The EV-1000 RAID half length PCI slot to connect it to any DVCPRO50 at 50Mb /s, other com- storage solution provides a scalable

102 Broadcast Endlnsoring June 1998 www.americanradiohistory.com Finally, a place to sticic the FCC's DTV requirements.

Introducing the world's only video jacks to surpass SMPTE® 292M specifications for uncompressed HDTV

You're looking right up the business end of the SVJ -2 Super Video Jack from ADC Telecommunications. A breakthrough jack that can do far more than help convert your station to digital television - it will take you all the way to HDTV That's because ADC Superjacks don't just pass SMPTE 292M specs, they blow them out of the water. Our standard -size SVJ -2, for example, can handle bandwidths up to 2.4 GHz. And our mid -size MVJ -3 can go to 3.0 GHz and beyond. Which means these jacks could

realistically outlive your entire network. That's why we call them "future proof." No matter what DTV format your station adopts now, you won't have to upgrade again. ADC Superjacks. The r.,+ll fot o free Te<_ri Bnef on the DTV 'tory ana cornplete product best place in the world to stick FCC ii for mot ur on ADC Superjacks

requirements for DTV As 1.800426.4266 Or visit us dt www.adc.com/ 111--"' you'd expect, ADC is innovating Products/AVproducts/ index.html the broadcast industry.

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www.americanradiohistory.com Intel or DEC Alpha Windows NT storage management software embrac- Also discussed was a 100Mb /s exten- workstation. es an open systems architecture. Fi- sion of Panasonic's DVCPRO format, Fast Forward Video (FFV) showed its breNet SAN software includes features DVCPRO 100. Omega line of VDRs. New this year was of Transoft's StudioBoss Lite, Standard New from JVC were the BR -D92 and a Fibre Channel option that allows for and Pro versions with advanced sup- BR -D52 Digital-S studio VTRs. Both video transfers at rates up to 100MB/s. port for I/O throttling, new fabric decks provide four channels of inde- With these speed increases, the Omega switching technologies and higher per- pendently editable 16 -bit PCM audio. decks can be configured for multichan- formance Fibre Channel networking The BR -D92 also has the added feature nel server applications with up to 15 cards. of front -panel editing control of any channels of play from a single common For those wishing to store stills rath- RS -422 capable studio VTR. The DY- disk array. Also at FFV were the Bandit er than full -length spots or programs, 90 camcorder allows up to two hours of and Bandit SG animation recorders. Spencer Technologies was showing its footage to be captured in the field using These random -access recorders can be Still Store -2000. The SS -2000 features JVC's new D -124 metal particle cas- controlled via SCSI II by a Windows PC a high- resolution GUI that eliminates sette. or Silicon Graphics workstation. In the need for confidence monitors, an Among the new tape -based products addition, they can be used as stand- internal DVE for picture in picture, a found at Sony this year were the DSR- alone devices. powerful database, and Ethernet con- 70 portable editing recorder, the DSR- The Attache DDR (see "Pick Hits of nectivity. The NEWSTORE is a clip - V 10 video walkman player /recorder and NAB '98," p. 90) from Accom offers a store that holds all the video and audio the DNW -A25 portable Betacam SX variety of useful features including a source material needed for a typical VTR. On the HD side, the HDW-700 non -destructive pre -read. Also camcorder is a 2,000,000 -pix- new this year at the Accom el RGB camcorder that uses booth was the WSD /2Xtreme Moving video around Sony's BCD series HD 12 -inch video disk array, which offers facilities at faster than metal particle tape. It's studio switchable 525/625, 8/10 -bit companion, the HDW-500 uncompressed digital video real time is an interesting editing VTR, records and storage. It is available in 5-,10 - plays back HDTV signals con- or 20- minute configurations. proposition. forming to SMPTE 274M. Another device that provides Video I/O signals are time delay for broadcast is the 1,920x1,080 (16:9), 2:1 in- Time Machine from Prime Image. The news production. terlaced, 10 -bit digital component sig- Time Machine can actually be used to From Miles comes the M25 Not-So- nals at field rates of 59.94 or 60Hz. The build delay, as the delay through the Still- Store, that allows real -time multi - unit features video and audio pre -read unit can be shortened or lengthened layer compositing of SDI stills, logos and a full- featured menu -driven con- dynamically. For an interesting com- and animated clips. A 160 -frame video trol panel. ment on delaying live video feeds, see RAM cache allows instant recall of pre- Although the Ampex DCT format Paul McGoldrick's "EOM" on p. 212. selected images and an internal hard continues as a product, the main thrust Mercury Computer Systems was dem- disk and PCMCIA memory card pro- is on the data storage products of the onstrating its SuiteFusion. This scal- vide non -volatile bulk storage. DST line. The DST double-density prod- For more information, circle uct line includes the DST 312 stand- able system provides shared storage (301) on Free Info Card for multiple video workstations. It of- alone tape drive that can accommodate fers no single point of failure and is 50GB, 150GB and 330GB cartridges. suited for use in quick- turnaround vid- Tape storage At the top of the line is the 812 -auto- the most part, there were no new eo facilities. For mated -cartridge library that stores introduced this year, Rorke Data's StudioNet -FC is a com- videotape formats 12.8TB of data and provides an aggre- new levels of existing formats plete Fibre Channel network and stor- however, gate data throughput of 80MB/s. and discussed. Digital -S age system. Standard network storage were shown Panasonic announced the AJ- records at 50Mb/s. configurations range from 16GB desk- from JVC currently HD2200, a portable D -5 field recorder. shown that top arrays to 2TB+ tower systems. The A 100Mb /s version was The unit operates on 12Vdc and records bandwidth to record 1/2- system offers fast full- duplex serial com- provides sufficient compressed 10 -bit 1,125i signals on from JVC is an munications at rates up to 200MB/s. a 480 -60P signal. Also inch 63- minute cassettes. On the the D -VHS format. - StudioNet -FC's drive arrays can be con- HD extension of DVCPRO front, a dockable, switch new will be able to record figured as just a bunch of disks UBOD) These decks able 25/50Mb/s DVCPRO recorder was 19.4Mb/s ATSC/ or as RAID 0. They can also be config- all of the proposed shown as a 4X play studio VTR. For at full specs, including ured for single or multiple host storage. DTV signals those looking for a tape library system, 720p. These units are capa- Also on the subject of networked stor- 1,080i and Panasonic's Smart Cart can hold up to ble of maximum bitrates of 28Mb /s and single rack - age is Transoft Technology Corpora- 210 DVCPRO cassettes in a record time of 3.5 hours. tion. Its new FibreNet networking and a maximum sized unit.

104 Broadcast Enginsoring June 1998 www.americanradiohistory.com Q U A L I T Y

The Penta Standards Converter, time -base corrector, and video synchronizer operates on our exclusive five -field interpolation system that reduces judder motion two -to -one. Most video standards can be Fully digital.Thoroughly input or output including NTSC, PAL, and SECAM. Penta also acts as tested. Wholly guaran- a transcoder for a variety of signals. teed. Every product from Prime Image is designed and built to be a little better than it has to be.

COMMITMENT

The Multi -II accommodates whatever mixture of video signal processing devices you require in a single, accessible, easily controlled For more than a dec- rack -mounted frame. Select as many as IO cards, including ade, we've devoted transcoders, vertical interval switcher, video distribution amplifier, ourselves to turning time -base correctors, standards converters, synchronizers, audio delay, bulky, expensive video and logo insertion. Handles all common standards simultaneously or processing equipment independently. into inexpensive, pow- erful circuit boards.

SERVICE P hrífirJc 141

Prime Image can ana- "the Time Machine creates additional commercial time. It is the lyze your setup and only time -shifting device available that works without data compres- recommend products sion. Selected amounts of audio and video are dropped in an unde- that will take you far- tectable process that maintains sync. And the Time Machine works in ther than you planned real time, so pre- recording or pre -processing are unnecessary. to go, and make sure you get there.

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www.americanradiohistory.com On the subject of video library systems, mulation that delivers the high perfor- Two of the behind- the -scenes systems Elettronica Industriale, a systems inte- mance needed for digital recordings at will be the routing switcher within your grator based in Italy, offered an all - 288MB/s. These new videocassettes are broadcast facility and the connecting inclusive chain for broadcasting 8 -VSB available in recording times of 63 and cables between routing clusters and the signals. At the beginning of this chain is 124 minutes. Also from Maxell is an equipment; in other words wire, fiber the Cart Machine, a multistandard auto- advanced cleaning solution, CL -S, which and connectors. matic emission unit that can accommo- is environmentally safe and non -flam- This year will be the year of the rout- date 120 to 600 videocassettes and four mable. It does not degrade rubber or ing switcher and maybe next year too. to 10 professional VTRs. It can also plastics so it can be used to clean pinch For the last few years we have been operate in four different standards si- rollers as well as metal transport parts. shown literature outlining the advan- For more information, circle /s /s multaneously. (302) on Free Info Card tages of using 270Mb and 360Mb AAVS, a French systems integrator, routing within digital facilities. The cost offered a tape library system. The DNA is less than higher speeds (e.g. 1.5Gb /s) videocart system is available in and present digital equipment is com- DVCPRO, Betacam and S -VHS con- patible. However, these speeds require figurations. The latest implementa- compressed HDTV formats and deal- tion, the DNA DVCPRO holds up ing with compressed video is a prob- to three VTRs, with a library of lem when you want to process (read 160 cassettes. c /7Routingswitcbers,8 that "supers, lower thirds and bugs ") Odetics unveiled its TCS45 PRO cable the video. Another surprise is the cost connectors_ automated video library. The new ...d-... of the compression and decompres- system accommodates medium sion hardware that is required to get and large DVCPRO cassettes and into and out of these routing switch - can hold up to 332 hours of video ers. Innovative broadcasters have material. The SpotBank Pro was found that greater than 32 ports are sporting several enhancements at necessary for modest facilities, so com- NAB. Among them are resource shar- By Marvin Born pression in and out of this size router is ing for VTRs and DDRs used for media Marvin Born is a mice president at WBNS -AM/ expensive. in Columbus, preparation and recording and View - FM/fV OH. However, last NAB and earlier in the few years will see Base, a powerful new database manage- The next major chang- year in major meetings, a major net- ment tool. es in the broadcast industry, especially work suggested the use of 1.5Gb/s rout- While on the subject of tape storage, the selling and purchasing of equipment. ing within the facility. The major ad- let's take a quick look at the storage First, will be the transmission equipment vantage of 1.5Gb/s is that the digital lines medium itself. Quantegy introduced a including antennas and transmission video is non -compressed. The major full line of Betacam tapes for profes- for ADTV. Followed by studio origina- disadvantage was the extreme cost. Scary We will be seeing video sionals. The DBC line is designed for tion equipment. numbers were discussed regarding the Digital Betacam and offers high dura- tape machines for HDTV probably as cost of a large router system. Even less how- bility and output. The BSP line is for the first studio piece of equipment; than a year ago a full bandwidth HDTV ever, there has to be a method of getting Betacam SP decks and provides excel- router seemed impossible. lent picture and audio reproduction for those bits around and switching from Several manufactures have been work- professional ENG/EFP and studio ap- one bit -bucket to another. ing to bring a product to the market that are ex- plications. The BC line for standard Presently, local broadcasters lowers the overall cost of digital rout- receive a Betacam recording offers a consistently pecting to DTV program data ing. The use of large flat plane routers low head wear ratio and low dropouts stream in the late fall of 1998. While the has been replaced with a cluster routing of clean, clear picture quality. Also avail- exact specifications are still being deter- concept. For example there will be a mined, it appears that the HDTV pro- able is a new line of S -VHS tapes. 32x32 routing system in the newsroom, will be 1.5Gb /s as source BASF had a full line of videotapes that gram material a 64x64 router in the tech center and included professional broadcast and material. It will then be compressed to another 32x32 in the production con- something like 44Mb /s for transmis- studio media. Tape lines include Beta - trol room. Each of the above routers is sion to a broadcast center. Decom- camSP, Digital Betacam, S -VHS, VHS, connected via tie lines. The routing for one -inch type C and a Security Master. pressed to be processed transmis- control system must know how to deal re- to 44Mb/s Sony announced several new video- sion and then compressed with such connection, since two cross tapes this year. Among them are the again and sent via satellite or terrestrial points must be active rather than just PDV-M series of DVCAM master grade connection to the local broadcaster. one to move material from one system for videocassettes and the Betacam SXA There, it will be again decompressed to another. Additionally, the use of tie compressed, series. processing and then again lines requires some discipline, in other ATSC 19.39Mb/s, to be Maxell introduced a family of D -5 this time to the words, users can't just leave a satellite fed into transmission system to the cassettes. These tapes use a new for- the receive up all day just to see what is on viewer.

112 Broadcast Engineering June 1998 www.americanradiohistory.com Ace Server

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The V1 Video Server from Doremi Labs Instant access to a h offers an elegant solution to the challenge of instant access to No dubbing- multipl,. huge libraries of recorded video for meltiple users. As a cen- Expandable- add more storage. more ide tral server containing the complete library, the VI Server is No mechanical moving parts- reduced ma networked to every workstation and provides complete soft- Tapeless solution for your recording and plat ac ware control and monitoring capabilities. if your facility needs Simultaneous access to the server by up to 24 video ch a video server. check out these feature: and see why the VI Full 4:2:2 CCIR 601 picture resolution Labs is the ace of the park Variable compression ratio 2:1 up to 34:1

Call today for a brochure: Doremi Labs Inc., 3631 Cahuenga Blvd. West, Los Angeles, CA 90068, USA el: (213) 874 3411, Fax: (213) 874 3401 www.doremilabs.com Ircle (46) on Free Into Card

www.americanradiohistory.com the bird. Of course the other consideration is "Tom, we bought that the manufactures are providing rout- ers at greatly reduced costs. One such manufacturer is NVision of Grass Val- another radio ley, CA. Its enVoy series of routers (see "Pick Hits of NAB '98," p. 90) now station last operate at both SDI and HD SDI at 1.5Gb/s rates within the same frame. The input and output cards provide for night." either operation. The frame sizes avail- able are 64x64, 128x128 and 256x128. enVoy supports simultaneous SDI and HD -SDI signals at 59.94 plus others within the same frame. In other words, the Envoy can switch SDI and HD -SDI signals in the same router and the router can be changed at will by changing the input/output cards. An SDI router sys- tem for present needs along with a small island of HD equipment switched within the same router. As needs changes, the island can be made larger by changing the cards. enVoy supports or will sup- port both copper wire connections and fiber connections and the control system keeps track of which is which. Most importantly, it is reasonably priced. Two must -have items from NVision are a couple of books titled The Book, an engineer's guide to the digital transition The SIL ri i and The Video Engineers Guide to Dig- Wondering TI rnultiplen , ital Audio. Talk NVision out of a set of transmits (nil how to handle prow these books and make them required audio for S77.'.ß. reading for your studio maintenance growth? More 7SL:s and intercity groups have links, data for remote people. now a division placed their trust control, automation. Utah Routing Systems, and LANs and voice of Artel Video Systems has an interest- in Intraplex than for off-premise exten- ing product called the Utah 300 and its any other digital sions and inlenvm. companion Smart Architecture system. transmission The 300 allows 143Mb /s NTSC com- solution. Consoli posite and 270Mb /s component to op- program audio, erate in the same switcher frame. The and phones over 300 reclocks on the output to reduce one high quality jitter and is available in three frame digital line. With types: a seven RU for 64x64 video; a STL and TSL at 1T seven RU for 32x32 audio and video; any distance over any and a 12 RU for 128x128 video only. Expansion beyond 128 is possible. terrain. Even better, you'll be ready ; While the 300 series is its flagship handle the next station. And the next. system, Utah offers a 1500 router which Call us at 978 -692 -9000 or visit our Intraplex, Inc. is a full 1.5 Gb /s HDTV switcher in a six web site at www.intraplex.com. 3 Iyberty Way RU frame. The control system talks to Westford, MA 01886 all of the Utah products, again allowing 978.692.9000 978.692.2200 fax an island of HDTV equipment to be http:/hrww.intraplex.eo u i built within a facility of NTSC and or 270/360Mb/s digital systems. Another high -end router is the Venus Circle (47) on Free Into Card

1 14 Broadcast Engineering June 1998 www.americanradiohistory.com THE 1- 30O0W: PREPARING YOU FOR THE DIGITAL TELEVISION ERA.

Z -3000W The new Z -3000W is truly the camera for the 21st century. With it's new SPECIFICATIONS: 640,000 pixel CCD's the Z -3000W is ready for today's 4:3 NTSC require- 850 TV lines resolution ments, and with the push of a button, is ready to perform in tomorrow's 16:9/4:3 one button switchable aspect rata world of 16:9 aspect ratio Digital Television. 0.5 lux (f1.4), +24dB gain and ultra -gain f11.0 sensitivity at 2000 lux The advanced new single -chip DSP enhances color reproduction accuracy, 65dB signal to noise ratio (DNR on) as well as providing sharper cleaner images. The DSP is fully digital Plug -in memory card to store user setups from the video processing to the encoder. The built -in digital noise Docks to DVCPRO, DVCAM, DIGITAL -S and other reduction assures superb low -light operation. major formats Flesh tone detail, 6- vector and linear matrix Designed for the demanding needs of studio /field production, the Built in star filter Z -3000W is built to last with die cast frame that is lightweight and Large aperature high resolution view finder offers provides great strength. This new design also provides a lower center switching between 16:9 and 4:3 aspect ratios of gravity for optimum shoulder balance and the lower profile greatly Color temperature readout in viewfinder during improves the right side visibility for added safety. white balance mode Multicore and triax systems available Why not us show you how let just affordable the future can be for you. Optional D1 output available cv2-r NOT JUST DIGITAL, HITACHI NNW' HITACHI DIGITAL. HITACHI Hitachi Denshi America, Ltd.

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www.americanradiohistory.com by Philips, which features very high - railroad -cross sign on each page). Sier- ers. Its MAV 1616 series is a 16x16 density frames. Venus is an HDTV rout- ra's booth at NAB featured a number of matrix that comes in several configura- ing switcher in that it offers wide band- electric trains, which attracted a large tions, including video and stereo audio width analog video, composite or com- number of visitors. (the MAV 1616), video only (the MCV ponent. As a digital switcher capable of The Ponderosa series is SVS's large 1616) and stereo audio only (the MSA 400Mb /s serial digital, it is completely routing system, and is available up to 1616). Each comes with RS- 232/422 standards independent. Additional cros- 1,024x1,024 with data rates of 143,177, control and a front-panel controller. A spoints can be added for AES/EBU dig- 240, and 360 Mb /s. Special -order data preset feature allows up to sixteen I/O ital audio and RS -422 for fully auto- rates are available up to 2Gb /s. You configurations to be stored in memory. matic routing of machine controls. should call or e-mail Sierra and request Extron also unveiled its CrossPoint 1616 Configuration is available from 32x32 its catalog. Not only is it complete as to series switchers. These 16x16 matrix to 352x128. Typically a 64x64 requires product, but it is quite educational. The switchers also have 16 memory presets. only 11RU and a 160x128 requires product descriptions are quite detailed PESA Switching Systems' new Tiger only 44RU. Additional frames can be and offer quite an education to DTV 144x144 claims to have the smallest stacked with ribbon cable within the components and how they work. footprint of any large scaleable router frames connecting the busses. All com- AutoPatch has several small to medi- available today. Also new is the Alli- ponents are modular and can be re- um sized matrices, some of which offer ance Master Control Switcher, which is moved or replaced while the system is in wideband video performance up to based on NEC's Multi- Format technol- operation. 400MHz. The 8Y -XL offers 180MHz ogy. The Alliance allows stations to use Tektronix offered a group of digital bandwidth with matrix sizes up to a single platform switcher for both video products at NAB, which included 64x256. The 1Y- SDTV and HDTV broadcasting. its new M- 2100 -HD master -control 16 offers matrix Datatek introduced a high -density dig- switcher, the 110HD production switch- sizes from 4x4 Get your ass ital video addition to the D2800 sys- er and the series 7000 HD routing to 16x16 and tem. The unit meets digital video stan- over here! switchers, which offer full bandwidth 400MHz dards to 360Mb /s and a 192x192 ma- HDTV switching and are com- trix fits in only 22RU. All of Datatek's patible with the existing series routers use the same built -in con- 7000 matrices and control sys- trol system, which offers avail- tems. System compatibility is able tie -line management, important in that it allows small Windows -based RouteMaster islands of HDTV equipment to PC control, matrix mapping exist in the same plant as analog and a virtual tally system. and 270/360 DTV formats at Datatek also introduced the DIGITAL TV affordable costs. Tektronix also D2627 AES/EBU synchronizer, offers a small "Performer HD" series which permits error-free switch- of 10X utility routing switchers for uses ing of asynchronous signals. The such as monitor switching and as by- bandwidth with multiple I/O board com- D2627 phase aligns signals external to pass switching for master control. Just binations. For small stand -alone appli- a routing switcher so that clean switch- think of this product as a digital HD cations, the Half-Y is a 1RU unit that es can be made by an otherwise asyn- version of the famous Grass Valley 10X switches video and stereo audio with chronous digital audio router. switchers. To work with its routing and professional specifications in a matrix Purchasing and installing larger or production switchers, Grass has intro- size up to 8x4. small digital routing switchers is one duced a line of HD distribution ampli- Avitel offers some small matrix rout- thing, connecting them together is some- fiers that provide six 1.5 Gb /s outputs ers that fit a variety of needs, among thing else. A quick review of switcher with no reclocking. them are standard definition routers specifications reveals that copper wire di -tech of Dear Park, NY offers a with matrix sizes of 16x16 and 32x32 has a short run length when dealing series of utility routing switchers offer- Another manufacturer of small matri- with 1.5 Gb /s data. You could almost ing D -1, D -2, D -3 and 360 Mb /s video ces is Network Electronics. This com- measure it in inches, actually 10 feet is switching. The comapny offers an NTSC pany has analog and digital matrices for a good number. Therefore one must output port for monitoring by adding both audio and video. New this year is conclude that the major connecting runs an optional plug -in card. These small the PRO XL series, a 3RU 32x32 ma- will be fiber optics. And of course, the switchers are offered in 12x4 and 12x8 trix that can be used for audio, video or wire and fiber must have connectors. configurations and have optional AES/ data. For video, the bandwidth is One interesting wire product is EBU or analog audio matrices. 125MHz. The unit is programmable Belden's "MediaTwist," which is an Sierra Video Systems offers a 130 - and can be remote controlled using an unshielded twisted -pair cable with four page catalog of digital equipment, the RS -232 port or a MIDI port. pairs of conductors within the same majority of which is digital switching Extron, known for its scan convert- jacket. The product is constructed with (the page numbers are located on the ers, was showing several routing switch- "extremely uniform dimensions and

116 Broadcast Engineering June 1998

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Circle (49) on Free Into Card www.americanradiohistory.com physical spacing," which provides performance WARD -BECK PROFESSIONAL BROADCAST EQUIPMENT internal beyond 100MHz, with some usability to 350MHz that makes it useful beyond TIA/EIA Category 5 standards. MediaTwist is constructed of a bonded pair system that has a crescent shape such that each pair is locked into place, reducing pair to pair movement during installation. This STANDS ALONE insures that the crucial "mirror image" of the pairs is maintained for exact balance. This cable has been successful- Legendary design ly tested to 270Mb /s on a 135MHz system. MediaTwist is 10012 plus or minus 1511 to beyond 100MHz. Legendary quality Belden has also added two new 7511 SDI video cables to its line -up. Number 1855A is a miniature SDI cable for use in Legendary construction mobile trucks where both digital and analog signals are used. This miniature cable is designed to reduce space require- ments and reduce actual vehicle weight to comply with vehicle axle weight requirements. 1855A is approximately 30% smaller and is 50% lighter in weight than the industry standard RG -59/U cables it replaces. Belden's other new cable is Belden 7731A, which is a replacement for long run RG -11/U. It is intended for studio and post -production houses and useful for HDTV applica- tions. 7731A exceeds the limit of 300 feet for normal installations of 1.SGb/s, and is available in 10 colors for easy coding. An interesting fact is that the colors match the EIA standard for resistor color codes. Mohawk/CDT offered its usual line of audio and video cable; however, looking closely reveals a line of hybrid fiber- optic camera cable that has a pair of single mode optical fibers and four 20 AWG and two 24 AWG copper conduc- tors. There is a stranded steel strength member and all is covered by a copper braid and black Dura -Flex jacket. They are UL approved to 300 volts. Another line is the Tactical ':c:^4- -t: qrt Fiber Optic Cables. Obviously, they are intended for ENG, ;ï.. SNG vehicles and other outdoor heavy -duty applications. Both single and multimode cable are available. Canare, famous for its line of colored cables, also offers patchbays, connectors, snake systems and cable reels. Its serial digital video cable is available as a single -run or multichannel digital coaxial cable and up to five cables are contained within the jacket of its V CFB series. Canare displayed a new combination coaxial cable stripper, the TS100E, which has five strippers in one single hand tool. Just (-WB) WARD -BECK SYSTEMS LTD. turn the knob and you are ready for another type of cable. No TORONTO, ONTARIO, CANADA M1H 2X4 more changing blades or adjusting set screws. FAX: (416) 438 -3865 TOLL FREE 1- 800 -771 -2556 TEL: (416) 438 -6550 see a website: www.wbsltd.com e -mail: wbsltd @istar.ce At the CommScope booth, attendees could continuous demonstration on the maximum lengths of various types of HDTV signals. Also on hand was CommScope's - PODS cable carrying 4 M selection of coaxial and optical transmission cables. On display at the Lemo booth was its line of connectors for nearly every occasion. In addition, Lemo offers patch panels as well as fiber -optic applica- PODS.._ for HDTV, audio and video, tions. If you have special requirements, they can provide you with cable assemblies and even custom design services. The secret to lowering costs. improving performance Trompeter was showing its line of patch panels and acces- is knowing with whom to consult. Make sories. Its new J124W series patch jack offers an extended loss of less Ward -Beck your first call. bandwidth of DC to 1.5GHz, with a typical return than -30dB through 750MHz and -25dB through 1.5GHz. Audio Consoles. Digital Audio Products, Analog Audio Distribution Products, Metering Products, Pods - low cost The J214W is designed for data rates up to 750Mb /s. A self- Broadcast Problem Solvers. Standard and Custom lines.

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The EQ 100 permits total control over image quality by provid- Precise detail tuning from 0 MHz to 6 MHz for unlimited adjust- ing independent, fine adjustments to signal detail at six distinct ment of the image sharpness video frequencies. Video equalization represents an entirely new LCD window and onscreen displays make adjustments and approach to adjusting image sharpness because it goes beyond settings intuitive the single detail or sharpness control. Outputs composite, S- Video, component, and digital video simul- taneously regardless of the type of input signal

Each input can use its automatically saved picture settings The EQ 100 is a full, six -band video graphics equalizer that or may be customized to any of five additional settings stored in memory allows all six bands (from 0 MHz to 6 MHz) to be fine tuned Compatible with all international video formats, including NTSC individually and independently. It is compatible with all interna- 3.58, NTSC 4.43, PAL and SECAM tional video formats and can output to any display device with a A digital three -line adaptive comb filter provides crisp, stable output composite, S- Video, component (Y, U, V) or digital (4:2:2) RS -232 serial port for third party control of all features and functions input. It also accepts signals from any video output device. The RS -232 loop out allows the EQ 100 to be connected to Faction's A/V switchers for audio follow video The EQ 100 gives you complete control over the picture on your screen. Video equalization - the way picture control should be. The EQ 100 has a list price of $4,995.

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www.americanradiohistory.com terminating version is the J214WT. Also vision, one challenge that has always Not all the challenges came from oth- at Trompeter were its BNC connectors, commanded attention is conversion. er industries. The TV industry devel- designed to perform at 2GHz. Straight, Early television brought several conver- oped several unique encoding and de- 90° and 45 °versions are available. sion challenges. Local news coverage, coding systems to circumvent the reso- ADC's new ST series of patch cords documentaries, commercials, and most lution limitations of NTSC. Compo- are available for both standard and programming were produced on film, nent signals including Y/R-YB -Y, Y/C midsize switching coax jacks, and dra- which had to be converted to video for and YUV gained popularity and im- matically improve performance of broadcast. Station IDs and other stills proved image quality, but required con- patched serial digital and high defini- were produced on version to NTSC for broadcast. tion signal. The STS standard -sized 35mm slides, Until now, signal conversion for broad- patch cords provide a true 7511 inter- which again re- cast in the US possessed one common face when used with ADC's SVJ -2 su- quired conversion thread - NTSC. No matter what the perjack family. They are compatible to video. The an- signal, no matter what the media source, with other industry jacks and provide a swer to these early it was always converted to standard nominal 7551 interface. The midsize conversion chal- NTSC 525 -line 15.75kHz video. Until STM patch cords provide a true 7511 lenges was the film now. Enter the age of digital television interface when used with midsize jacks, chain. Until rath- and high- definition television. DTV and such as ADC's MVJ -3 family. Addition- er recent history, HDTV are upon us, and the FCC's al patch cord features include molded the film chain or clock is ticking. strain relief boots and gold-plated cen- film island was an integral part of every The NTSC TV standard, the frame- ter conductors. Various colors and TV station in the country. work of the American TV industry, is lengths are available. As the industry evolved from film to about to disappear. What will replace Kings Electronics was showing the videotape and from monochrome to it? 1,080i? 1,080p? 720p? 480p? Digi- 7400 -5 miniature video jack. Up to 32 color, PAL and SECAM brought an- tal standard -definition or high-defini- of these will fit in a standard 19 -inch other set of conversion challenges to the tion? Will there ever be a universal rack jackfield. The 7400 -5 is self -nor- American broadcast industry. News and video standard within the broadcast malling and self- terminating. It features information was transmitted via satel- industry? If so, what? If anyone knows true 7552 impedance matching for ex- lite around the globe in different TV the answer to the latter question, they cellent return loss over a 1.5GHz band- standards and it required conversion to probably will become wealthy. width. The same design is available NTSC for broadcast on American tele- As for the balance of the questions, unterminated as the 7400 -7. vision. One of the first attempts to after talking with a variety of chief Beck Associates featured the SCP -10 resolve this conversion problem was engineers and equipment manufactur- control patch panel. This 2RU unit pointing an NTSC camera at a monitor ers, the answer heard most often was offers 20 DB9F RS-422 connections displaying the other TV standard. This "probably." The second most- often- and comes complete with 10 patch technique did not work well, and fortu- heard answer was "keep all your con- cords. The SCR 4x8 serial data router nately the standards converter was de- version options open until the digital can be used to route four controller/ veloped. dust settles." editor inputs to any of eight devices. The computer age has brought with it It is probably safe to say that the For more Information, circle yet another set of challenges to the complete transition to digital televi- (303) on Free Info Card broadcast industry. Computer video sion will not occur within the next few cards, unless specifically designed for years. But as the transition does television, possess some rather unique progress, the replacement costs for characteristics. With an ever-grow- equipment will be expensive. Good ing need to increase computer res- business practices dictate that any olution, video cards such as CGA, equipment presently operating within EGA, VGA, SVGA, and XGA de- a facility should be fully amortized Format veloped, and the computer - before it is retired from service. conversion, graphics industry began using These reasons will mandate the imple- Sync SGI and Sun workstations to de- mentation of several different types of velop high -resolution images. conversion devices to economically equipment Unfortunately as computer card bridge the analog and digital worlds, as and workstation resolutions in- well as the SDTV and HDTV worlds. creased, so did the horizontal scan The NAB convention was a looking rate of the image - to well beyond the glass into the immediate future of digi- By Bob Bergfeld scan rate of standard television. For tal television. With nearly all of today's Bob Bergfeld is president of Presentation Sys- broadcast, all these computer- generat- U.S. TV stations operating in analog tems Design, St. Louis. ed high- resolution signals required con- SDTV, this year's NAB offered a variety version to video. of conversion solutions. From the inception of broadcast tele-

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Circle (59) on Free Info Card www.americanradiohistory.com Snell & Wilcox introduced several HDTV becomes as common as color Tekniche upconverter is a four -field by new products, such as the expanded television, broadcasters will need to four-line processor with internal 16 -bit Kudos IQ modular product system. The continually upconvert SDTV to HDTV. accuracy. The Juno series offers 10 -bit Kudos IQ system now features more Several manufacturers, including Miran- motion adaptive noise reduction conver- than 200 modules, including a new da, introduced products to meet these sion, with impulse noise filtering and advanced frame synchronizer. The conversion challenges. Miranda's Stel- recursive noise filtering also available. IQDQFS advanced frame synchronizer lar modular series of upconverters be- Signal input formats include serial digi- solves synchronization problems asso- gins with the Carina. It upconverts 16:9 tal component, analog component, and ciated with digital video, while simulta- 4:2:2 to 16:9 480p. The Aquila upcon- analog composite NTSC or PAL. Signal neously tracking the associated audio verts interlaced 4:3 or 16:9 4:2:2 sig- output formats include serial digital, an- delay. The IQDQFS handles imbedded nals to 16:9, 480p, 720p, or 1,080i. alog component, in 1,080i, or 720p, or AES/EBU audio signals and ancillary The Aruiga upconverts interlaced 4:3 480p formats. Options include audio data using sample rate conversion, and or 16:9 4:2:2 signals to 16:9, 480p, delay and digital comb filtering. The provides an imperceptible change to the '720p, or 1,080i, and includes digital Juno upconverter will also be co -mar- audio if the video delay suddenly chang- noise reduction, detail enhancement, keted by Leitch. es. The synchronizer operates in either color correction and frame synchroni- Snell & Wilcox exhibited its third - synchronizer or delay modes, and generation upconverter, the HD- also has a full complement of 5050, which accepts a 10- proc -amp controls and gam- bit serial -digital stan- ut legalization. Snell & dard- definition in- Wilcox also introduced put signal. The an HDTV frame syn- output is 1.5 Gb/ chronizer, the s serial digital. a HD4000. It oper- The HD -5050 ates at 1.5Gb/s and supports 1,035 the input is serial and 1,080 ac- digital HDTV, as tive line 1,125/ are the three syn- 60 and 1,125/ chronized outputs. 59.94 inter- Digital Processing laced HDTV Systems Inc. (DPS) formats as well introduced a digi- as 480p and tal frame synchro- 720p. It offers nizer, described by user control of one NAB attend- all output param- ee as "The Swiss eters including size, army knife of frame shape and picture posi- synchronizers." The DPS- tion, as well as digital hori- 470 serial digital component AV syn- zontal and vertical enhancement. Other chronizer provides component, compos- zation modules. One Stellar frame can features include Y/C delay correction, ite, S- video, and SDI I/O. It has 10 -bit accommodate up to six Carinas, four freeze mode, an internal test -pattern 4:2:2 processing, a VITS inserter, a real - Aquilas or two Aurigas. generator, complete adjustment of all time transcoder, and a digital test -pat- Leitch has added a new product fam- input and output blanking parameters, tern generator. If it detects a heterodyne ily to its "Glue" line. The HDTV Glue four system memories, and 20 user dis- source, the internal TBC is automatical- line is based on DigiBus and products play memories. Snell & Wilcox also ly engaged. An internal four -channel include a frame synchronizer, test gen- displayed two downconverter products, audio synchronizer provides balanced erator, logo generator, serial DA and the HD200 compact downconverter and analog, AES/EBU digital and embedded conversion products. The conversion the HD -2100 studio downconverter. SDI audio inputs and outputs. The auto - products convert analog video to YEM Inc. debuted the HSC -1125D 1 A. track mode allows all four audio chan- 1.5Gb /s HDTV and vice versa. Leitch This HDTV upconverter offers easy nels to dynamically track the internal also introduced an HD upconverter switching of output frequencies from delay of the video synchronizer. Up to 40 with inputs for all formats (SDI, NTSC, 60Hz to 59.94Hz and effective scanning fields of fixed delay can also be added PAL and PAL -M). Outputs are serial lines of 1,035 to 1,080. The unique from the front panel. 1.5Gb /s and/or analog component. horizontal and vertical image enhancer, For more Information, circle Tekniche offers the Juno series of up- in conjunction with YEM's proprietary (304) on Free Info Card converters with a number of standard motion adaptive digital conversion sys- Up /down conversion models, each with different interface and tem, offers high-quality picture resolu- For the foreseeable future, or until processing features. The core of the tion and clarity. According to the corn-

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...rote" Grab hold of a Tiger... a smart investment for the DTV transition. ita You can do it! Call...1- 800 - 328 -1008 Circle (611 on Free Info Card PESA Corporate Sales Melville, NY 11747 Switching www.pesa.com 2 Systems es, "Go www.americanradiohistory.com dard analog composite and compo- to incoming computer signals with hor- 1 "x 0.7 ". Decoding scenarios offered nent video output in either NTSC or izontal scan rates up to 105kHz. The include component analog to 4:2:2 dig- PAL. It accepts computer signals up to converter can be controlled by the front ital, composite analog to 4:2:2 digital, 1,024x768 at 75Hz. Also new to the panel or via the RS -232 interface (Win - S -Video to 4:2:2 digital, composite an- scan converter is the addition of an RS- dows '95 and NT drivers are included). alog to component analog, and com- 232 remote port. Other features in- The converter features dynamic pan posite analog to S- Video. The picoLink clude phase adjustable gen -lock, a built - and zoom, gen -lock, an internal test- line also includes a composite aspect in test -pattern generator, image freeze pattern generator, freeze- frame, special ratio converter to and from 4:3 to 16:9. and magnify, and two stages of anti - filters for flicker reduction, and an in- New from Snell & Wilcox was the flicker filtering. For ScanDo Pro C ternal memory that stores 25 user -de- IQDMSDP multistandard decoder de- owners, an upgrade path to the Pro/D fined configurations. Standard outputs signed for the Snell & Wilcox Kudos feature set is available. Communica- are PAL and NTSC component and frame. The decoder includes an integral tions Specialties also introduced composite, and optionally serial digital frame synchronizer, 10 -bit adaptive Duece, an intelligent video scaler. component. Folsom also offered an asymmetric field comb decoding, auto- Directed primarily toward the line - optional HDTV input. matic noise floor measurement and con- doubler display market, Duece con- Another important part of the bidirec- trol, pattern and caption generation, as verts video signals to six selectable tional bridge to DTV, especially in our well as adaptive recursive noise reduc- computer resolutions and supports 16:9 global community, is the necessity to tion. display formats. convert to and from other TV stan- Leitch has expanded its "Digital Glue" Extron Electronics has redesigned its dards. New this year from Video Inter- products to include both a digital en- Super Emotia II scan converter to in- national Development is the DTC 1660 coder and decoder. The ENC -6801 en- clude a 200% zoom feature. The new Quattro digital standards converter. It coder supports 4:2:2 serial digital, as zoom controls include panning, hori- is an eight-bit four -field/four-line bidi- well as NTSC and PAL -B standards. zontal and vertical size/shift, underscan, rectional digital standards converter, The encoder has 10 -bit overall accura- overscan, and freeze -frame. The output multistandard converter, video format cy and achieves its output stability by signals are composite or component converter, TBC, frame -based recursive 2x oversampling with 12 -bit internal video. For input, the unit accepts com- noise reducer, and frame synchronizer. digital processing. The outputs provide puter signals up to 1,024x768. Extron The Quattro supports analog compos- video pre -equalization, and variable tim- has also redesigned the Super Emotia II ite and analog and digital component ing via a built -in 2.5 line buffer. The GX. It is similar in function to the Super video formats. The Quattro also sup- DES -6801 decoder features hot switch- Emotia II, but includes phase adjust- ports most forms of PAL, SECAM and ing, gen -lock, full frame synchroniza- able gen -lock. NTSC. Standard features include digi- tion, infinitely variable H and V phas- New this year from RGB Spectrum is tal encoding and decoding, phase ad- ing, and a three -line adaptive comb the RGB -1650 scan converter. It ac- justable gen-lock, digital adaptive noise filter decoder. The DES -6801 converts cepts interlaced or non -interlaced RGB reduction, digital comb filtering, select- either PAL or NTSC video signals to with resolutions up to 1,600x1,200. able aperture filtering, an internal col- component digital video. Output signals are NTSC and PAL com- or-bar generator, RS -232 control, and AJA Video introduced new encoder posite and component video. Addition- full EBU/SMPTE broadcast standard and decoder cards. The RD -20D de- al features include gen -lock, pan and processing. coder card features 10 -bit adaptive comb zoom with zoom presets, flicker elimi- Snell & Wilcox exhibited a new single filter decoding, composite and S -Video nation, RS -232 control, and full 24 -bit RU 24 -point aperture standards con- inputs, four serial digital outputs, auto- color. verter. The CVR500 10-bit digital stan- matic PAL/NTSC selection, config- ZoomConverterHD was introduced dards converter contains Snell & Wil- urable pedestal and narrow /wide HN by PC Video Conversion and is a scan cox's proprietary 24 -point interpola- blanking. The R20E encoder features converter targeted to the HDTV mar- tion aperture. The new converter pro- 10 -bit encoding, four composite out- ket. The ZoomConverterHD accepts vides serial digital inputs and outputs in puts (three of the outputs are config- computer signals up to 1,024x1,280, both 525 and 625 standards. Features urable to component video), two re- and HDTV signals up to 1,080x1,920. include horizontal and vertical enhance- clocked serial outputs, configurable The gen- locking converter has program- ment, video proc -amp controls, auto- pedestal and narrow /wide HN blank- mable zooming and includes panning matic gamut (illegal color) correction, ing, and jitter filtering. Both cards are capability. Output signals are HDTV and a built -in test -pattern generator. compatible with the Leitch 6800 frame. (SMPTE standard) NTSC and PAL com- The bidirectional bridge naturally in- Prime Image introduced transcoder ponent and composite video. There is cludes both digital and analog encoders boards for its Multi -Channel series prod- also a non -HDTV version available. decoders and transcoders. Miranda ucts. The 10X- TR -D1 -IN transcodes Folsom Research exhibited a new scan Technologies' new picoLink decoders serial component digital to composite converter with an optional serial digital provide a number of decoding solu- and component analog video, as well as component output. Folsom's 9700XL tions. The picoLink products are ex- reclocked serial digital component. The loop -through inputs automatically lock tremely compact measuring just 4 "x 10X -TR -D1 -OUT board transcodes

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Circle (52) on Free Into Card

www.americanradiohistory.com composite and component analog video to serial digital Marke,, ELECTRONICS component. Both boards offer an optional synchronizer. Numerous manufacturers were exhibiting a wide range of Available from: A/D and D/A solutions. The new ADA -1125 A/D -D /A Converter from YEM provides complete two -way A -to -D Television Equipment Associa es, nc. and D -to -A conversion. The system automatically re- Bill Pegler. sponds to vertical frequencies of 59.94Hz and 60Hz, PO Box 499 adapts to both 1,035 and 1,080 scan lines (or optionally to South Salem, N.Y. 105900499 Ta 720 progressive signals) and can be selected to operate with YPbPr or Tel. 914- 763 -8893 Fax. 914- 763 -9158 GBR signals. www.matthey.co.uk Sigma Electronics new DNC -2170 converts digital 4:2:2 to analog color differential. The converter is offered in both card and stand -alone (DNC -2670) form. Leitch introduced the ADC -6801 A -to -D converter. The converter has a 10 -bit signal path and allows conversion from 525- and 625 -line analog component, to 525- and 625 - line serial digital. Features include automatic calibration, line standard switching, built -in color bars, and 2x oversam- pling. Prime Image introduced D -to -A converters specifically for analog monitors. These units are designed to convert serial digital component to analog video. Both the DC- powered version and the internally powered AC version measure 1" x 3" x5" and are designed to Velcro to the rear of the monitor. Nova Systems, a Videonics company had its StudioFrame line on display. StudioFrame is flexible, modular and scale - VIDEO A -D /D -A able. It offers a wide range of processor modules including 10 -bit serial digital converters, component -to- composite en- CONVERTERS coders and noise reducers. There are two chassis types available for these analog and digital interface modules. Redundant power supplies, networked remote control and hot- swappable modules are some of the features available. DISTRIBUTION As conversion technology becomes commonplace, it is finding its way into a variety of new products. One such AMPLIFIERS product is from Zandar Technologies. The MVG16 multi - window display card (see "Pick Hits of NAB '98," p. 90) allows computer graphics and up to 16 video signals to be sized and positioned on a single screen. AUDIO Avitech International also offers multiwindow displays - the Avitech mvp2 system displays up to 16 real -time video MUX/DEMUXES windows on high -resolution monitors. Networked mvp2 systems can be used for videowall systems, Avitech's Clover4 series can be used to display four live videos on VGA, SVGA, XGA and NTSC or PAL monitors. PAL/NTSC In much the same vein is the Kaleido from AAVS. Up to 16 sources can be displayed simultaneously on a VGA monitor. ' DECODERS Each picture can be individually sized, and each can be accompanied by graphic source identification. Additional . functions that are available include display of tally indicators or fault alarms, control of external functions via GPI contacts FIBRE OPTI and display of up to 32 VU or peak reading meters for audio levels. eilrl ,: LINKS Although not specifically a conversion product, one other item deserves mention. The technology was developed by Snell & Wilcox and deals with multiple -generation MPEG encoding problems. "Mole" makes it possible to perform DI ROUTERS standard production processes, such as real -time cuts, cross - fades, wipes, and complex DVE moves between multiple Circle (53) on Free Info Card

1 30 Broadcast Engineering June 1998 www.americanradiohistory.com moGAmi BNC -2964 NO TWIST REQUIRED !

Align the arrow to the guide pin and While holding the plastic just push -on. BNC will lock in place. shell, just pull to release.

LIGHT WEIGHT CABLE! FLEXIBLE! ONE TOUCH! PUSH -PULL BNC CABLE ASSEMBLIES Only available combination of Mogami & Tajimi. Both have supplied high quality products, and for the first time ever, have now introduced cable assemblies that are perfect for field engineers. This cable is a dream come true for those with professional analog and digital video applications.

Available in both 500 & 75 f2 .

One Touch "Push -Pull' locking mechanism is markedly effective in high density patch panels, considerably reduces installation time, and perfect for applications requiring foruont connection and disconnection.

VY TYPS OF DIGITAL INTERFACE ARLES ESSENTIAL fro THE CÖ TRUCTION 0 PROFES TUDIO SCSI -2 /SCSI -3 VESA VGA RS -232

MECHATR01 TWISTED-PAIR OVERALL SHIELDED CABLE SERIES

MIDI RS -422 IEEE 1394 FIRE WIRE G P -I B P/N 3037 PARALLEL DIGITAL VIDEO CABLE

console wiring cable. multicore snake cable. 110Q AES /EBU DIGITAL AUDIO CABLE long roneagle good 1

There are some cables which are unique to Mogami : SCSI round cables that satisfy the SCSI standard perfectly, VESA VGA Cable with plug and play feature that can be used up to 100 Ft, and more. Ask your local Mogami distributor for a catalog to learn more about these cables.

MOGAMI (Japan) Home Page URL : http : // www.mogami -wire.co.jp /

USA Distributor : Marshall Electronics, Inc. Mesmer 5649 Ave., Culver City, CA 90230 Tel :(310) 390 -6608 Fax : (310) 391 -8926 e -mail : Lmarsgo @ix. netcom. corn URL: http : // www. mars -cam. corn/ Circle (54) on Free Info Card www.americanradiohistory.com MPEG sources, as well as the insertion spectrum and the virtual doubling of the blocks that can be used to form a versa- of captions or logos into the picture number of stations on the air through tile digital microwave system. without the signal degradation normal- the addition of DTV channels has made Broadcast Microwave Services intro- ly associated with multiple decoding/ it difficult to accommodate the needed duced the BMT19BMR19 transmitter encoding of MPEG signals. MPEG -2 allocations. Several companies showed and receiver series, a modular system encoding information is imbedded in products designed to work in this envi- that allows users to configure STUTSU the MOLE format and "burrows" itself ronment at NAB '98. ICR systems to their own requirements. within video through conventional stu- Microwave Radio Communications Using the basic chassis, the user can add dio equipment, then emerges at the showed the capability to transmit a dig- single or redundant power supplies, con- other end to reconstruct the MPEG -2 ital ATSC MPEG -2 transport stream figure the system as a single -channel stream without the concatenation er- and a digitized NTSC analog video sig- transmitter or receiver, a hot-standby or rors at each re- encoding. nal, multiplexed together over a single redundant transmitter or diversity re- Prime Image introduced A/V Twister, microwave channel. A demonstration ceiver or a duplex transmitter/receiver, which allows video or stereo audio to circuit is in place between the model all within the same frame. The system be transmitted through twisted pair HDTV station, WHD -TV in Washing- can be configured to handle analog vid- cable. Video can be sent up to 3,000 feet ton, DC, and PBS headquarters in Alex- eo with up to six audio subcarriers or a (with a self- powered line amplifier at andria, VA. It uses an MRC model DS3 (44.736Mb/s) digital payload. The each 1,000 -foot interval), and audio DAR45 DS -3 digital radio system and chassis provides individual and summa- can be sent up to 5,000 feet. Each operates in the 7GHz band. This capa- ry alarms and all modules can be hot transmitter can feed up to 15 receivers. bility is likely to be critical to broadcast- swapped. For more information, circle (306) on Free Info Card ers, as they begin the construction of Specializing in miniature and submin- DTV stations later this year. iature microwave equipment for ENG Also new from MRC is the DMR18 and sports applications, Global Micro- digital microwave radio system. This wave Systems (GMS) showed a variety new system opens up the less congested of compact microwave transmitters and 17.7 to 19.7GHz band for medium- to receivers. The STM/SRM frequency -ag- short-haul digital STL and TSL links, as ile multiband transmitter /receiver com- well as other backhaul requirements. bination is a compact platform suitable The DMR18 can be configured with for portable applications. A single trans- digital modems for operation at mitter or receiver serves as the basis for 34Mb /s or 45Mb /s, as well as analog operation on the2GHz, 7GHz, or 13GHz modems, as needed. The key to the band, with the use of additional compact performance of the new radios centers band adapters. Also shown by GMS was on the use of YIG frequency sources, the StarCam, a fully integrated wireless which results in greatly improved phase camera system intended for single- and noise specs. multicamera remotes. StarCam is com- Nucomm demonstrated the transmis- patible with a variety of Ikegami and sion of an ATSC HDTV transport stream Sony camera models and features full and a digitized NTSC program, multi- control of camera functions via a 900MHz plexed on a single microwave channel, spread- spectrum telemetry link. For more information, circle (307) between Las Vegas CBS -affiliate station on Free Info Card KLAS -TV and the Las Vegas Conven- tion Center. A key component in the Nucomm system is the GA -Link, devel- Fiber -optic transmission oped in cooperation with Samoff Cor- Multidyne showed the DTV-200 series By Philip Hejtmanek poration. This universal MPEG inter- of modular digital products, designed to Philip Hejtmanek is director of technical op- face can solve a variety of connectivity provide a cost -effective solution to the erations at WWJ -TV, Detroit, Ml. problems within a DTV facility. It can be problem of transporting high data rate With the advent of DTV, TV broad- configured as a format translator, a digital signals. DTV- 220 -FTX and FRX casters are facing new challenges with multiformat DA or a multiplexer/mo- modules combine to form a single -mode respect to the prob- dem. The GA -Link can accept any bit fiber transport system capable of han- lem of getting a TV rate up to 270Mb/s. dling virtually any type of digital signal picture from the Nucomm also showed a series of com- from DC to 1.5 Gb/s. DTV-220 equip- studio to the trans - ponent products designed to implement ment supports SMPTE 259M SDI, 4:2:2 mitter.Traditional- the transmission of DTV over micro- component, 540Mb /s 4:4:4:4, SONET/ ly, microwave links wave links. The FT/FR7 DIGI -QAM SDH and ATM standards. For less -de- provided this func- radios, 70DMT/DRM7 modems and manding applications, the DTV -230- tion, but the loss of DIGI -MUX Multiplexer are building FTX and FRX modules work with mul-

132 Broadcast Engineering June 1998 www.americanradiohistory.com SNELL & WILCOX O O DO YOUR SIGNALS PASS THE CLEANNESS

www.americanradiohistory.com 5 YOUR B HIE R Why does my signal need to be spotless in the new digital era? Digital TV could impress your viewers with enhanced picture quality. But going digital calls for new standards of signal conditioning. Any noise or decoding artifacts such as cross -luminance and cross -chrominance that remain in your video signal will be encoded and transmitted along with the picture. As well as using up expensive bandwidth, these will be magnified if the picture is upconverted to HD. The solution is precision decoding and signal conditioning.

What am Your racks may be full of decoders, but for the missing with high -end decoding that is essential in the my current transition to digital you need a quantum leap decoders? forward in quality. The best approach is to use intelligent decoders that analyze the picture

on a pixel -by -pixel basis and change the decoding parameters as appropriate. You also need to be sure that your decoder is using the best possible algorithms to guide its processing decisions.

Will my archives be able to match these new digital quality standards?

In the digital era, much of the program content will be archive material. Because this will often be mixed with digitally originated sources, it's vital that you use high quality signal processing when you retrieve it. Without precision decoding and really comprehensive signal conditioning, differences in quality will be clearly visible to the eye of the viewer.

www.americanradiohistory.com O O

What sort of filter do I need to remove different types of noise? There is no single filter that can handle all types of noise.

Transmission systems such as satellites can cause random broadband noise and impulsive noise like "sparkles ", depending on atmospheric conditions. Analog recording onto videotape can produce noise and dropout. And then there are the scratches, dirt or grain found on film transfers. Good signal conditioning will offer combinations of recursive, spatial, median and linear filters, designed and sequenced to deal appropriately with these problems in any particular environment.

Can cleaner signals help me to save money? Yes. Dirty, noisy signals mean inefficient compressors. That's because compression encoders cannot distinguish between noise and the real image. Worse than that, noise, being random, occupies even more of the compression bandwidth than predictable picture differences. If you clean up your signals thoroughly, you can either broadcast more channels at the same bitrate or provide your viewers with much better quality pictures.

Circle (64) on Free Info Card

www.americanradiohistory.com t? 6 SNELL & WILCOX O O THE CLEAREST CHOICE IN SIGNAL PROCESSING FROM SNELL &WILCOX Precise decoding, noise reduction and signal conditioning will maintain excellent picture quality in your transition to digital television.

MDD2000 /MDD550 Digital Decoders MDD1000 Digital Decoder Unique proprietary technology ensures the highest A patented Digital Gate combined with line comb filters standard of decoding currently available, no matter for accurate decoding of even imperfect, unstable sources. what the nature of the source.

MDD500 Digital Decoder Prefix CPP100/CPP200 Pre -processors Adaptive field comb decoder provides crisp, sharp The single -box solution to pre -processing, significantly pictures with minimum delay mode operation. reduces bit rates while enhancing picture quality. CPP200 adds digital audio embedding. `My signals

have never NRS500 Noise Reducer Seven advanced digital filters tailored precisely to been o different noise characteristics make this the definitive image enhancer. clean'

NRS50/30 Noise Reducer Multi- purpose noise reducers combining 3D median, recursive and spatial low -pass filters.

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For more information and product details call us on: 408 260 2800., E -Mail: info @snellusa.com www: snellwilcox.com t?

www.americanradiohistory.com timode fiber and bit rates from 10 to or camera control. Signals are sent over 270Mb /s. a rugged military fiber connector that is SAflIX® Also from Multidyne, the FTX -95/ only 6mm in diameter. FRX -95 combination provides a low - Fiber Options manufactures a wide new concept cost fiber transport solution for analog range of broadcast and professional vid- video, 20 -bit digital stereo audio and eo fiber-optic transmission systems. New "Capacitive- Discharge" auxiliary data. Units are available in this year is the 601B serial digital video 800Hz PULSE GENERATION portable or rack -mounted configura- system which offers up to 400MB/s and tions, for use with single -mode or mul- is HDTV ready. Also introduced was BULK ERASERS timode fiber. the 1315B for AES/EBU serial digital FAST Ortel showed a new set of low -cost audio applications. COMPACT fiber -optic transmitter receiver For more Information, circle and (308) on Free Info Card modules for L -Band and 70 /140MHz EFFICIENT IF signal transmission in earth station RELIABLY ERASE Satcom products applications. The new products includ- METAL TAPES ed model 10346A transmitter and model LEV introduced a new line of outdoor mounted TWT amplifiers for satcom All Models operate on 117V at 3 Amp. 10446A receiver for transmission of 24 hour continuous duty, no heat build -up. 950- 1450MHz L -Band signals, model applications. The Stellar uplink ampli- 10347A transmitter and 10447A re- fiers use EEV's latest Traveling Wave Tubes to provide a compact (16 "x 8 "x AIN ARIL ceiver for use with 950- 2050MHz L- ,1 band signals and model 10357A trans- 7 "), lightweight amplifier, with a typi- asoo +BOO mitter and 10457A receiver for 70/ cal output power of 150W at the flange. 140MHz IF signals. Each of these prod- These products provide the high linear- ucts plugs into a standard frame, and up ity dictated by digital satellite applica- to eight modules may be installed in a tions, and offer an integral L -Band to single frame, in any combination of RF up- converter as an option, eliminat- transmitters and receivers. They pro- ing the need for an external upconverter A vide a cost -effective alternative to coax- and allowing lower -cost system inte- 3800 4800 ial cable for satellite system interfacility gration. Also shown was a 350W C- For BETA- CAM -SP For D2(D1) M. Digital BETACAM, MII, BETACAM -SP, links. Band TWT amplifier in a 3RU package, VHS, Beta etc. Digital BETACAM, and a wide variety of solid -state and 1/2"w METALOXIDE U-matic, etc. By integrating fiber optics into cus- 3/4 "w1 /2 "w TWT in METALOXIDE tomized products, Force Inc. of Chris- amplifiers, both rack -mount tianburg, VA, filled a niche in the mar- and outdoor configurations, for C- and ..11111. 5500 Ku -band. For D2(D1), 03, D5 ket and provided solutions for signal Large and MS "transport" problems. Force offered a Communications and Power Indus- 3/4 "w1 /2 "w all cassette "DTV" link which is a 1.5Gb/s serial tries (CPI) offers a variety of amplifier METALOXIDE digital video fiber link. This product products, including TWTs, and solid - TABLE TOP MODEL transports 4:2:2 and D -1 uncompressed state units, as well as accessories. The signals up to 50km in single -mode or CPI compact satcom MPA was among 1km in multimode. Some of the appli- the new products on display. This high- cations would be studio to studio links, ly efficient unit is only 3RU tall and switched digital links between studios features microprocessor control, mod- and large -scale sporting events, as well ular construction and built -in fault di- 6000 agnostics. Also on display were CPI's C- For D2(D1), D3 DCT as arena applications. Large and MS The new Digital Viper from Telecast and Ku -band satellite transceivers. 3/4 "w1 /2"w Standard Communications showed the all cassette. Fiber Systems can be used in a variety of Up to 1 "w14" reel new Alteia series of MPEG -2 DVB inte- )A all Reel Type digital transmission environments. The METALOXIDE system uses plug -in modules to mix and grated receivers and decoders for pro- ol MASTER ERASER match multiple analog (NTSC or PAL) fessional broadcast applications. The REQUEST FULL -LINE CATALOG line includes receivers with QPSK in- video signals with ITU -R 601 serial U.S.A DISTRIBUTOR digital video streams. Signals can be puts, 8 -PSK and QPSK inputs and de- RTI- RESEARCH TECHNOLOGY INTL. coders, which can be ordered with sent up to 30km without repeaters. 4700 CHASE AVENUE Aimed at both fixed and mobile appli- MPEG -2 DVB 4:2:2 profile @ Main LINCOLNWOOD, IL 60646 U.S.A. cations, the Digital Viper can accom- Level or 4:2:0 Main Profile @ Main PHONE:847- 677 -3000 FAX :847- 677 -1311 modate four video channels, eight au- Level processing. All Alteia IRDs fea- dio channels (analog or AES/EBU), two ture an analog bit error rate meter, a channels of intercom and up to four gen -lock port, VBI capability and a SAIIIX CORPORATION TOKYO, JAPAN FAX:81-3- 3702 -9654 channels of high speed data for machine remote -control interface. AC-3 audio is Circle (74) on Free Info Card

June 1998 Broadcast Engineering 137 www.americanradiohistory.com optional, as well as a DVB ASI trans- port stream option, with a coaxial and fiber interface. BAF Communications offered a com- plete line of customized ENG, EFP and SNV vehicles, for a wide range of appli- cations. Satellite trucks ranged from van -based systems, weighing less than 10,000 pounds GVWR, with analog or digital satellite capability, to larger ve- hicles weighing up to 35,000 pounds. ENG vehicles ranged from units based on the Chevrolet Suburban chassis, through full -sized vans, with a front- or rear -mounted mast. BAF also manufac- tures the Navigator FSU 1.5, a flyaway system that packs a 1.5 -meter antenna and all of the necessary electronics for a satellite transmit- receive system into equipment cases capable of air ship- ment. LNR introduced two new earth -sta- tion antennas, a 3.7m and a 4.5m C- band Cassegrain design in an azimuth - THE over- elevation mount configuration. The LNR Digital Video Exciter com- GREAT NEWS: bines an advanced compression encod- er with state -of- the -art modulation and IT'S A SCAN D RF frequency conversion technology. The unit can be used for L -, C- or Ku- band transmission and is a plug -and- With the new Scan Do Pro/D, you can integrate scan converted output into high -end digital video production, editing and play replacement for existing analog graphics systems. Leave it to Communications Specialties to put equipment. the power of serial digital interfacing (SDI) within your reach. For those simply looking for a way to get a camera or antenna in the air Scan Do Pro /D converts computer resolutions up to 1024 x 768 and easily, the Hilomast from (up to 75 Hz refresh) to NTSC and PAL in serial digital component, quickly composite, Y/C, YUV and RGB formats. It also delivers all the Allen Osborne and Associates can be feature -rich performance you expect from Scan Do Pro: fully used in a variety of applications, includ- timeable genlock, image magnify with panning, two -stage ing ENG, field -strength measurements anti -flicker filter, built -in test pattern generator and much more. and even temporary floodlighting. Plus, it even comes with an RS -232 remote control. A neat little product from PESA Switch- And, unlike any other scan converter offering a serial digital ing Systems is the LNS -8 Live News output, Scan Do Pro/D costs an astonishingly low $4,295! Switcher designed for mobile applica- tions. This 8x2 audio -follow -video It costs even less if you upgrade your existing Scan Do Pro to a switcher offers 250MHz bandwidth in Scan Do Pro/D - just $2,495. Or, if you don't need serial digital output but still demand superior performance, ask us about a compact 1RU unit. It includes eight Scan Do Pro or Scan Do Pro /C. Whichever you choose, you'll know loop- through inputs, a PVW and PGM Communications Specialties' advanced technology and support bus with two outputs per bus AFV with are built right in. And that's the greatest news of all. breakaway, and both busses may be secured with lock pushbuttons. For more information, circle Phone: 516-273-0404 / Fax: 516-273-1638 (309) on Free Info Card Communications E -mail: info ©commspecial.com NESpeciatties Inc. INTERNET: http://www.conanspecIal.com Tw4e,a Call 1-888-4-FAX NOW or Digital transmission Fnvisoning the future Exceeding expectations X 1 -516- 273.1710 to retrieve information products Scan Do Is a registered trademark and FaxNOW is a trademark of Communications Specialties. Inc. All other trademarks are property of their owners. ©1998 Communications Specialties, Inc. ADC Broadband Communications added the capability to transport an Circle (18) on Free Info Card See us at SIGGRAPH Booth #2430 ATSC -compliant 8 -VSB transport

138 Broadcast Engineering June 1998 www.americanradiohistory.com If You Want To Appreciate The Incredible Design and Construction of Sennheiser Lavalier Microphones, You Have To LOOK CWSELY

ME 104 The world's smallest true -cardioid microphone

You don't actually need to see a Sennheiser lavalier mic to appreciate its benefits. That's the point. Our mics are designed to be visually anonymous, yet they deliver the finest sound you can get from a lavalier.

Our MKE 2 provides outstanding sonic accuracy in an exceptionally tiny package. The ME 102 and 104 capsules are part of a modular family - interchangeable components facilitate their use for virtually any application. Is it any wonder that EVERY major network chooses Sennheiser for their news teams as well as N, their entertainers? Or that major broadway shows \choose Sennheiser for their productions? Stop in at your Sennheiser dealer or call us to \ find out how Sennheiser can help you get the best out of your audio investment.

To Appreciate Our Incredible Fidelity and Performance JUST THE EVOLUTIONLUTE OF AUDIO grSENNHEISERp

SENNHEISER ELECTRONIC CORPORATION P.O. BOX 987, DEPT: 213, OLD LYME, CT 06371 TEL:860 -434 -9190 EXT. 213 FAX:860-434 -1759 CALIFORNIA: TEL 818 -845 -7366 LATIN AMERICA: TEL: 525- 639 -0956 SENNMEISER CANADA: 221 LABROSSE AVE.. PTE -CLAIRE, PQ OAR 1A3 TEL 514-426 -3013 FAX:514 -426 -3953 World Wide Web: http- /www.sennheiserusa.com

Manufacturing Plant: Am Labor 1, 30900 Wedemark, Germany

Circle (75) on Free Info Card i1.11141G11 EEV SATCOM AMPLIFIERS USA: 1- 800 -DIAL EEV Fax: (914) 682 -8922 CANADA: (905) 678 -9811 Fax: (905) 678 -7726 UK: +44 (0) 1245 493493 Fax: +44 (0) 1245 453725 Circle (76) on Free Info Card

www.americanradiohistory.com stream to the company's widely used LYNX.sc spread -spectrum radio and combination of these two products re- DV6000 uncompressed digital video provides an alternative to leased analog sults in an attractive alternative to leased transport system. The DV6000 is a 16- lines, digital T-1 circuits or traditional lines or the headache of frequency coor- channel, 2.4Gb/sdigital fiber -optic trans- licensed microwave paths. The system dination in the crowded 950MHz Sil mission system that can transport a provides a bidirectional digital system band. few trancmiccinn and hackhaul of un- Weaener Communications had a vari-

handles multiple TV channels and structed and timed to mesh seamlessly integrated transport stream multiplex- performs 4:2:2 video compression, with similar systems at the destination. er that can operate at data rates up to MPEG multiplexing, ATM adapta- Tiernan Communications had a full 90Mb /s. This capability can support tion and network termination. It also line of MPEG compression products the transmission of an HDTV channel provides a SNMP -compliant control for DSNG, contribution and distribu- along with multiple SDTV channels in and element- management system. tion. The TE6 is a high- performance a single transport stream. Running on a standard PC with Win- MPEG -2 encoder that can provide Philips claims to offer a complete end - dows NT 4.0, the system offers an 4:2:2P @ML and MP @ML encoding. to-end solution for digital broadcasting evolutionary path for TV communi- The TDR600 is an integrated receiver/ that incorporates the industry's finest cation services over broadband net- decoder that complements the TE6. MPEG -2 video encoder, the flexible works. Other products include the TokenMux multiplexer, high- perfor- Rather than a product, Castle Trans- TMOD1000, a QPSK /DVB modulator mance modulators for satellite and ca- mission offers services. Castle provides for encoders and the TUI10 Universal ble, and a range of commercial and infrastructure and services for analog Network interface for digital turn- consumer digital receivers. These are or digital broadcast transmission and around of satellite and terrestrial links. enhanced by Philips CryptoWorks con- wireless communications. They have Vela Research came to NAB with the ditional access system, StatCast statisti- been providing these services to the Argus MPEG encoder. Argus supports cal multiplexing, the fully integrated BBC and the U.K. for 70 years, and are 4:2:2P @ML and uses Vela's Cineview Compression System Manager (CSM), now at the forefront of digital terrestri- Pro, an MPEG -2 decoding board based and an MPEG -2 transport stream splic- al television network development. on PCI bus architecture that can be gen- er. The digital broadcasting solutions At the QEC (Quintech Electronics & locked. Also on display at Vela Re- are available for single channel systems Communications) booth, (such as business televi- attendees got the chance sion applications), multi- to look over its line of For higher quality, MPEG -2 channel applications (such proprietary and custom as terrestrial digital broad- frequency converters. 4:2:2P encoders are available. casting), or large direct- Units can be fixed or fre- to -home systems with mil- quency agile, and in both lions of subscribers. up and down configurations. QEC's search booth was the Rapid Access NDS Limited was showing products Q- switch, Magic -Q and Q -stack prod- compression system. designed to assist broadcasters with ucts are designed to facilitate the tran- Thomson Broadcast was showing a contribution, distribution and DSNG sition from an analog to digital plat- variety of products for contribution for DTV. Among the products were form. and distribution networks. The ATM 4:2:0 and 4:2:2 MPEG encoders for Scientific Atlanta's PowerVu digital multimedia encoder /decoder uses ETSI 8PSK and 8VSB transmission. NDS also video system offers end -to-end solu- compression and a data rate between showed the Reflex statistical multiplex- tions for the delivery of digital video. 7.5 and 28Mb /s. For higher quality, er. For conditional access, the Video- This modular system can be configured MPEG -2 4:2:2P encoders are available. Guard can be used for not only revenue for a variety of applications including The DBE 4120 uses Thomson's propri- protection, but also sophisticated mar- SDTV and HDTV broadcast. PowerVu etary chipset and provides 4:2:2P@ML keting opportunities, such as targeted is a multichannel system that offers and MP @ML encoding. It comes stan- market segmentation and viewer -pro- MPEG -2 compression and 4:2:2 sam- dard with an SDI video input, and an gramming choices. pling and can provide contribution, optional composite input. Along the same lines, Macrovision distribution and broadcast quality The versatile RE 4220 MPEG -2 cod- was showing a line of conditional video signals. Other services and fea- ing platform from BARCO now sup- access products. Macrovision provides tures offered in the PowerVu line in- ports ATSC -compliant MPEG -2 cod- a variety of scrambling products such clude EPGs, bit-splicing, data broad- ing at MP@HL for high -definition DTV as the VES -TM Minicrypt, a minia- casting and even and earth station applications. The RE 4220 also sup- ture scrambling system that can be control system. ports Main Profile and 4:2:2 taken on remotes to ensure the video FiberHydrant from Synctrix enables Profile@Main Level for multichannel sent back remains private. The Mini - facilities to send, receive and manipu- SD applications as well. Encoders can crypt II is a pocket -sized unit. The late high- bandwidth data in real time be configured with up to three SDTV VES -MX transmission multiplexer over public and private telecommuni- encoders per chassis, with additional system can be used to combine two cations networks. Users can send fully - channels supported through the addi- channels of video for transmission duplexed high- bandwidth digital video tion of a second chassis. Decoders sup- over a single -channel microwave, satel- and audio, such as SMPTE 259 and port NTSC, SMPTE 259M and SMPTE lite or cable/fiber link. For more Information, clrci. AES/EBU audio, from any RS-422 con- 292 analog interfaces, as well as DVB (310) on Free Info Card trolled device to other FiberHydrant- and ATSC transport stream interfaces. equipped facilities. The signal is recon- The RE 4220 encoders also feature an

142 Broadcast Engineering June 1998 www.americanradiohistory.com This is as close as some receivers ever get to true 4:2:2 decoding.

Face it. A receiver is either compliant with MPEG IRD can: the unique partnership of Standard 4:2:2 Profile at Main Level or it's not. Communications and NDS Corporation. So you know And Standard Communications' new Alteia DVB you're getting world -class digital video compression Digital IRD is one receiver that definitely is. and a reputation - two reputations in fact - for The Alteia offers you some of the most advanced delivering quality you can count on. signal processing you can buy, intuitive front panel To find out more about the new standard in broad- control, remote access and a flexible front -end design cast video reception, call, write, fax or that lets you work email us now, and we'll send with a wide variety you more information of satellite and ter- about the new restrial input signals. Alteia DVB The Alteia also Digital IRD. offers something no Just to prove other DVB and that, once again, MPEG -2 compatible Standard we're right on target. 5 Communications SATELLITE & BROADBAND

I N/ I 1 O NJ The Right Technology for Right Now. United States Canada Europe Corporate Headquarters 209 Dundas Street East 23 Watford Metro Centre 1111 Knox Street Suite 203 Tolpits Lane Torrance, CA 90502 Whitby, Ontario Hertfordshire (310)532 -5300 voice Canada L1N 7HB WS1 85B England (800)745 -2445 sales (905)665-7501 voice 44 1923 800 510 voice (310)532 -0397 fax (905)665 -7486 fax 44 1923 800 445 fax Circle (78) on Free Info Card

www.americanradiohistory.com Telephone interface and power protection Henry Engineering showed the Audio OnLine version 4.0 telephone information system. This versatile "listener infor- mation" system handles a wide range of applications where RF COMPONENTS Transmission Line information is given to callers, such as concert information, Rigid/HELIAX weather reports, scores, and news updates. Audio OnLine is Waveguide fully caller interactive and automatic. The system can handle Filters/Combiners up to 16 telephone lines simultaneously and also stores UHF/VHF hundreds of discreet messages on a computer hard drive. Messages can be entered on site or "called in" via a phone line. Best Power offered a complete Uninterruptible Power Supply (UPS) line from 280VA to 220kVA, delivering reliable power TV ANTENNAS protection for a broad range of broadcast and computer UHF LPTV applications. The Patriot and Fortress lines are ideal for VHF Dual mode protecting computer networks, servers and workstations, with loads from 280VA through 3kVA. The FERRUPS line uses patented ferroresonant technology to eliminate the effects of spikes, sags, surges, noise and lighming, while providing full power protection from 500VA to 18kVA. For large load applications, the Unity/I systems provide single -phase cover- FM ANTENNAS age from 3kVA to 8kVA and three phase power protection on Sidemounls in parallel for Pa loads up to 220kVA. Units may be operated C Systems loads up to 1980kVA, to accommodate system growth. Gunner's TS612 makes it easy to interface telco lines into your audio system. The control surface is easy to use and operates like a business telephone, simplifying operator training. Installation is easy, and the system's dual superhy- l . brid technology provides crisp clean caller audio. PANEL ANTENNAS MGE UPS Systems came to NAB with the Comet UPS FM UHF VHF system. Designed for broadcast applications, the Comet UPS is a microprocessor-based 3 -phase unit that provides up to AY 150kVA of power protection and conditioning with 95% efficiency. The on -line design offers continuous isolation and hen correction from utility source or line power problems. For more information, circle (311) on Free Info Card You Want More Than Just An Antenna vrssri w irin

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Circle (79) on Free Info Card 144 Broadcast Engineering June 1998 www.americanradiohistory.com ANALOG? DIGITA L9 HYBRID? Whatever The Future Holds, You'// Be Ready! The DPS -470 Serial Digital AV Synchronizer

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C rc le 165) on Free Into Card www.americanradiohistory.com years, but at the 1998 NAB, it became dec "engines" to first analyze program like tape. apparent that this is the year of MPEG data, then use the data to perform a Tektronix's M2T Video Edge Device compression. In the early 90's when I refined encoding operation. According is an MPEG -2 4:2:2 codec that that started working to Divicom, "The result is a precise uses an innovative encoding algorithm with MPEG, no match between program bandwidth re- to produce MPEG bitstreams up to one knew what it quirements and bandwidth allocation. 4:2:2P@ML that are compatible with was. I even had to Using DiviTrack statistical multiplex- PDH (E3/DS3) and ATM network in- explain it to my ing, service providers can offer more terfaces. The M2T provides high -qual- professional channels of programming while main- ity compressed video and an option for friends. Back taining the same video quality or in- uncompressed audio. then, the descrip- crease the video quality of existing chan- The most interesting Philips develop- tion started with nels." ments are the portable MPEG -2/DVB digitization and The first high -performance encoder Compression Systems, EZcast and the ended with data compression. During within the MV40 `looks ahead,' pre- StreamCutter. EZcast is a portable, go- the discussion, words like algorithm, cisely analyzing video complexity. The anywhere compression and multiplex- discrete cosine transform and psychoa- arrival of video at the second high - ing system in a single 3U box, created coustic modeling were continually performance encoder is slightly delayed. for stand -alone operation. It provides used. At this year's NAB nobody need- Statistics from the initial pass (in the flexible bit rate and bandwidth han- ed that explanation and MPEG first encoder) are used to greatly en- dling plus optional scrambling. The changed from a data compression algorithm to a format. While that may be subtle to some, it is actually Expect to see MPEG become a format a major change. A format entails support across that can be edited just like tape. many different companies and in- dustries with devices made specifi- cally to take advantage of the format. hance the performance of the second StreamCutter MPEG -2 Stream Splicer MPEG is now mentioned in the same and ultimate encoding pass. is a cost -effective solution for switch- breath as VHS, Betacam and DV - In the labs at Snell & Wilcox, they ing MPEG -2 Transport Streams. It of- what a change! What was once only for have developed a revolutionary infor- fers maximum flexibility working with- computer geeks has now arrived in the mation bus format that enables the seam- in multistage MPEG -2 distribution world of glitz and glamour. Enough less cascading of MPEG -2 bit streams. chains. The unit features two switching about that, let's get on to the real task This new technology, dubbed "MOLE," modes: Seamless Splice Point and Near- at hand -a wrap -up of compression helps to eliminate the degradation of Seamless Uniform Color Picture (UCP). and encoding products at this year's video signals during repeated MPEG The StreamCutter allows seamless ad NAB. Products were numerous and encoding and decoding. insertion by preventing decoder inter- spread across both the Las Vegas and According to the company, "When ruptions while switching in the MPEG the Sands Convention Center, and critical MPEG -2 encoding information domain. This is not an easy task. To ranged from the high -end to sub -$200 is stored in the special MOLE format, it ensure proper switching many compo- software encoders. can "burrow" within the video through nents must be taken into account such conventional digital studio equipment as buffer regulation, clock synchroni- MPEG transmission and emerge at the other end to accurate- zation and PSUSI tables. Divicom showed a new statistical mul- ly reconstruct the MPEG stream with- Viewgraphics has released a similar tiplexing solution called DiviTrack. In out concatenation errors. In essence what product - MediaSplice - and claims essence, they have joined two encoders Snell & Wilcox has figured out is how to it is breakthrough technology for seam- together, taking the real -time statistics store all the encoding parameters for a lessly joining together MPEG -2 digital from the first MPEG encoder and feed- macroblock invisibly within the pic- TV segments. MediaSplice makes it ing that into the second encoder. The ture. However, when an effect cuts possible to play DTV programs back to demonstration showed a DiviTrack sys- through a macroblock, such as on a back and insert commercials into DTV tem handling 10 channels of video pro- diagonal wipe, the information from streams in the compressed domain with- gramming, at full 704 resolution, in that block must be recreated and errors out undesirable picture breakup. Some 20Mb/s of bandwidth. The quality was are introduced. While this is an annoy- of the significant features include: splic- fantastic. ance, the overall technological advance ing streams of different bit rates togeth- DiviTrack is incorporated in Divicom's is truly amazing and solves the vexing er; processing multiple streams simul- new MV40 encoder and gives it an question of lossless MPEG -2 cascading. taneously; no decoder buffer excep- innovative "look -ahead " capability. The In light of groundbreaking technology tions, overflow or underflow are intro- MV40 has the ability to harness the such as this, expect to see MPEG be- duced; and no black frames are insert- power of two DVxpert single -chip co- come a format that can be edited just ed at the switch point. As a matter of

146 Broadcast Engineering June 1998 www.americanradiohistory.com secs. Our specs.

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www.americanradiohistory.com fact, they claim the transitions behave tion system for $49,995. The system facility, like a normal video vertical interval includes the Publisher 200 MPEG-2 en- manufa, switch or an insert edit. coder with linear PCM, a Dolby Digital all the fe,

MediaSplice splices several valid CBR AC3 stereo encoder and Daikin Indus- Scenarist 1 transport streams in real time, with very tries Scenarist NT Advanced DVD au- software de modest demands on the host computer thoring software. ports many

system. Streams are processed for splic- The Minerva Publisher 200 supports entry level f ), ing as the data is transferred through MPEG -1 and full- resolution MPEG -2 creative contela?y the MediaSplice interface. Multiple with MPEG layer 2 stereo audio encod- Basic, for the in -frf splicing operations occur simultaneous- ing. However, the 200 only supports market, support, ly. The spliced streams are then multi- CBR (constant bit rate) video encoding tures allowing u r plexed together by the Viewgraphics not VBR (variable bit rate). The DVD DVD titles. MediaPump into one output multipro- Professional EL system is upgradable to Scenarist NT sup, gram transport stream. Everything is support SMPTE 259M input, VBR, vid- ative workflow with done in real time. eo preprocessing and real -time Dolby rive user interface. Si For more information, circle 5.1 by reducing num (312) on Free Into Card Digital surround sound encoding. the This upgradability makes this system a user has to access, res Post -production MPEG great investment to get started in the to- manage workflow. From the broadcast arena, let's move DVD world and as needs expand so can NT's simulation functi into the post-production world of MPEG the system. can emulate scenarios a where there have been great advances. A DVD list would not be complete authoring process, givi Price continues to decline while quality without includingDaikin's Scenarist, one al representation instant and ease of use increase. This year DVD of the first DVD authoring tools. The out leaving the author production was a hot topic. The follow- Scenarist NT product family consists of This product is truly a ing companies' products and knowledge three products: Scenarist NT Profession- with versions for Maci of the market were impressive. al, Scenarist NT Advanced and Scenarist Windows NT making it The new Minerva DVD- Professional NT Basic. Scenarist NT Professional is many post -production EL is a complete DVD desktop produc- for the entertainment industry, pressing Optibase introduced

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148 Broadcast Engineering June 1998

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Circle (68) on Free Info Card \\\cc.Ilumhirun.rum /phili » www.americanradiohistory.com This software/hardware system runs on boxes across the show floor. Also on This week I actually tried th NT and is scalable to accommodate display were a variety of applications ware at home with Adobe Premi future growth. Using their MPEG en- and devices that use the C -Cube chipset. was blown away by its abilities. coding experience, the folks at Opti- Another manufacturer of MPEG chips able to output a variety of form base have developed a powerful inte- is InnovaCom. DVlmpact is a single MPEG -2 program streams; video e grated architecture to simplify the task chip solution for MPEG encoding. Their mentary streams; MPEG -1 syste of creating DVD disks. Other products end -to -end solutions include ATM streams -including VideoCD (Whit in the Optibase booth included the multiplexers /demultiplexers and Book) compatible; MPEG-1 video ele- MPEG Forge and MPEG Fusion pro- MPEG -2 over Ethernet networks. mentary streams; and MPEG-1 audio fessional MPEG -2 encoding family as DVExplorer is an MPEG data stream layer II elementary streams. All this on well as the Video Plex and Video Plus analyzer that can be used in a variety of my home 200MHz MMX Pentium com- MPEG -2 playback systems. compression applications for trouble- puter - simply amazing. For more Information, circle Last on our DVD post -production shooting and verification. (314) on Free Info Card For more Information, circle tour is Sonic Solutions. The company (313) on Free Info Card introduced DVD Creator which inte- grates all DVD production tasks into a Software solutions the most exciting areas of single workstation. It includes an ad- One of the low -cost soft- vanced MPEG video encoder with an encoding was some of not real -time like on -board Dl disk recorder and Dolby ware encoders. While the cost differ- Digital audio encoding. their hardware cousins, substantial. Dolby Digital 5.1 surround sound ences are its MPEG Power encoding is integrated directly into the Heuris showed off DVD software. This amaz- DVD Creator system. It now has the Professional -end MPEG -2 software encod- ability to encode 5.1 channels of Dolby ing high For that Digital audio simultaneously with er has a list price of $3500. price, you get MPEG -1 and MPEG -2 MPEG -2 video. Additionally it has a with variable bi- real -time decode function that allows encoding capabilities layer mul- By John Mamie for quality optimization. trate encoding and transport tiplexing, variable resolution, inverse John A,amie is director, network operations, Sonic has a newly designed MPEG -1 services and control for telecine detection, NTSC and PAL, batch duplication quality and MPEG -2 variable bit -rate video Home !r Garden Television and Cinetel Stu- processing and a much more. Anybody encoder that has four times the search dios, Knoxville, TN. looking get into DVD should look at range of its current MPEG -2 encoding to Heuris's new software and weigh the algorithms. A Dl direct -to -disk video With the FCC mandate comes oppor- time-vs.-dollars issue, but without fear is recorder seamlessly integrates direct- tunities and challenges. Among them of quality loss. to -disk D1 video recording with DVD the prospect of converting your facility at the Sands Convention encoding and authoring. Downstairs to digital and possibly managing sever- Center in a small booth, I found a pretty Sonic also has added file translation al broadcast channels. remarkable piece of software, the key functionality to allow source content What follows is a summary of DVMPEG, made by Darim Vision Co. points from several automation compa- from Media 100 and Avid video sys- It too is an MPEG -2 software encoder, nies offering solutions to the obvious tems to be imported directly, therefore but at a price point under $200. It problems you may encounter. These maintaining an all- digital file path. Fur- doesn't have all the professional fea- systems are geared toward a total mas- ther, DIVX (Digital Video Express) vid- tures of other encoders, but at that ter- control operation scenario. Among eo formatting is supported on all Sonic price, it cannot be beat. DVMPEG driv- the problems we need to face regarding DVD Creator systems allowing DIVX ers are plug -ins for Windows video DTV is the need for asset management title authoring and formatting editing and animation creation pro- of material and datastreams, as well as If you need to protect your DVDs, grams. It is simple to use, simply select the convergence of multiple data net- Macrovision offers tools to help you do DVMPEG as a compression method for works within facilities. just that. They have digital watermarks, video and audio, then let your machine One of the systems on display at NAB and play/record control technologies to crunch out an MPEG -1 or MPEG-2 was Florical's AirBoss, a scaleable mul- provide digital -to- digital copy protec- compliant stream. Darim claims, that tichannel automation system that runs tion capability for DVDs, DVCs and no other program in the world can on Windows NT. This fully automated other digital media. accomplish these things in a one single master -control system controls multi- At the C -Cube booth, the company step. These incredible gains in efficien- ple external sources, including video was showing the latest generation cy and compression are produced with cart machines and video file servers. chipsets for compression applications. a few clicks of the mouse. You can AirBoss can control various master- Although C -Cube is not the only com- produce small, portable MPEG 1 video control switchers and makes significant pany building compression chips, the files or you can produce broadcast qual- use of master-control switcher features, C -Cube MPEG chipsets were found in ity MPEG 2 files. such as audio overs and transitions.

150 Broadcast Engineering June 1998 www.americanradiohistory.com THE NEXT GENERATION IS COMING

DIGITAL DLP PROJECTION 0 420 '350 Fax .1 iìì0) 420 1360 e -mail powernn 1°,n-grtalprojection. com web site:www.digitalprojection.con

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www.americanradiohistory.com umbine JDS is a complete system that absence of audio and alert the operator database of commercial material. A fea- manages all areas of digital TV transmis- with a visual alarm. This feature can ture in MediaPrep allows for inventory sion. From playback to the allocation of facilitate a multiple network playback management and tracks material on vid- bandwidth, TransMission Manager can operation. The D -MAS can also com- eotape, video server or an archive copy. assure the quality of the material, then municate with single or multiple disk Bowser the browser is a new offering plan it for playback and finally manage servers and control downstream keyers, from Odetics that enables users to access the transmission for all your channels of logo inserters and audio mixers. the media database from their PC work- programming. TransMission Manager, The D -ACS is Drake DAI:s interface to stations. The Bowser system stores high- along with master control automation a video file server. Material can be man- ly compressed proxies of on -line and system (MCAS), gives you full traffic ually loaded on the disk server from archive video information. and master-control integration of cart different cassette devices or the material The MC -2095 on -air automation sys- machines, VTRs, switchers, still- stores, can be managed in a cache mode to and tem from Philips Automation can han- character generators, video servers and from a file server. D -MAL is the auto- dle 32 independent on -air channels, while routers. mated measurement and control system controlling 256 external broadcast de- Digital Manager, which works togeth- for MPEG-2 systems. It's capable of vices. Other options are caching of spot er with MCAS, acts as the control center monitoring and testing multiple MPEG- playback material into a video file server for multichannel digital TV transmis- 2 digital TV transmissions. The system and compilation reel software. The MC- sions. This system provides bandwidth monitors the multiplex carrier and can 900 on -air automation system is a low - allocation tools, including control of perform multiple tests. If a signal ex- cost package that handles four on -air encoders, multiplexers, conditional ac- ceeds limits, there is an alarm status that channels and 64 external broadcast de- cess, subscription info, parental guid- can be time stamped and stored in a log vices. ance bit rate, closed -captioning data and file. The Media Manager software package teletext languages. Other pieces of the system include D- logs and tracks program numbers and The ADC -50 from Louth is a low -cost AIS, which is the automated informa- catalogs all media information. Media but high -end solution for automation tion system that links the automation Manager can interact directly with the playback. It can be used with cart ma- with the library computer system. This automation control and the Traffic Man- chines to cache to videodisk, or it can be application is used to find material for ager package allowing conversion of used solely with a file server for a tapeless caching or cart machine material if infor- traffic files. It can track which programs environment. The ADC -50 can broad- mation is missing from the traffic down- or commercials can be purged and can cast up to six channels and is easily load. D -AMA is an automated material be used as a centralized database for all upgraded to the next level, the ADC - acquisition system that automates the video and data information. For mot* Information, circle (315) 100. The ADC -100 runs on a peer inter- steering of satellite dishes, routing and on Free Info Card face that communicates directly with the recording of multifeeds. external devices, such as cart machines. Odetics' Roswell is a media and data This system runs with multiple controls manager for on -line, near-line and off- over various devices and can broadcast line video material. It manages where the dozens of networks. material is stored and how to get it from Louth's Turbomedia system manages one place to another. Included in Roswell all broadcast material and includes the is the station automation for on -air. Spot - ability to dub commercials from tape or Bank is a spot -insertion automation sys- videodisk to disk or archive to a data tem that uses video server storage as the storage devices. The Windows -based playback device and can be configured Autosat satellite control system can for a single- or multichannel broadcast record multiple programs through event operation. SpotBank manages the in- list scheduling. Autosat automatically ventory of spots and their playback, and positions the antenna, tunes the receiver has an option for use of a master -control By Marc Boeddeker and routes video to the appropriate des- switcher. Operators can record in and Marc Boeddeker is in the digital video division tination. In conjunction with Autorecord, play back multiple networks simulta- at Producers Post, Burbank, CA. multiple feeds can be recorded simulta- neously with all networks accessing one neously. common commercial storage system. "It was the best of times, it was the The D -MAS system from Drake DAL SpotBank can control multiple external worst of times. You know Spock, back provides control of broadcast transmis- devices, including video servers, laser when they first introduced HD, it really sion equipment and runs on a propri- disks, tape machines and routers. was quite confusing for the humans," etary software package. The system al- The Odetics' MediaPrep is a media quoted from Captain Kirk in the year ways uses two controllers that are in manager that automates the loading of 2038. Back here in the present, anyone sync. The D -MAS is designed to handle new spots into the video server. Media planning an entrance into the DTV fu- single or multiple channels and can share -Prep can track events, manage record- ture of broadcasting and media has some broadcast equipment. A unique feature ing of new material, monitor space allo- rather tricky purchasing concerns to keep is its audio silence sensing that will detect cation on the server and maintain the in mind. MPEG is something we'll all 154 Broadcast Engineering June 1998 www.americanradiohistory.com HUGE input/output matrix with up to 64 Inputs & 12 Aux Busses

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www.americanradiohistory.com become more familiar with, but MPEG so local news operations may have dif- able direct from the camcorder. is sure to evolve, perhaps along unex- ferent requirements than a network, web The SX line, which Sony based on the pected lines. So, what do you buy today? or other operation. Larger investments industry standard MPEG -2, 4:2:2; com- DV? Digital -S? DVCPRO? BetaSX? Stor- require more careful analysis, since they pression algorithm, was well- represent- age is one thing, but when it comes to must be amortized in the immediate, ed at NAB. Maintaining an MPEG for- cameras, it's more important than ever rather unsettled future of HD and DTV mat throughout the production process to have a good idea of what you plan to in general. do with the equipment. Low-cost digital On the HD side of DTV, Sony intro- camcorders offer many attractive op- duced the first portable, battery operat- Maintaining an tions for industrial strength productions. ed high- definition camcorder, the HDC- Firewire or other methods that allow 700, as well as the HDC -750, which MPEG format direct transfer to non -linear editing sys- produces HDTV and SDTV outputs si- throughout the tems allow producers to bypass a host of multaneously. These two camera units expensive gear (and rate cards) to deliver interface with Sony's existing studio HD production higher quality to their end -users. equipment, such as the HDC -700 HiDef If you can use it today to make money, studio camera and the HDS -7000 pro- process is an the less expensive gear will pay for itself duction switcher. Several major network interesting idea. quickly. At a higher price point are the shows have already signed on to use this switchable aspect cameras that allow a gear. Sony's line of Digital Betacam prod- single purchase to address the present ucts are already installed in a variety of is an interesting idea, and CNN for production environment, as well as pre- 4:2:2 applications. These products are example, feels that SX is perfect for pare for the DTV future. These cameras not going away, and "Digital Betacam" getting news -quality contribution out to have the added advantage of classing up cameras are the standard for high -end a global (satellite) environment. Each of an SDTV operation of any kind. On the SDTV acquisition. The new DVW- the DNW series camcorders (7/9/90WS) really expensive side is the production 700WS is switchable 16:9. Complex is smaller and lighter than their analog and acquisition gear needed for a broad- setups can be quickly accessed from predecessors and each features color play- cast HD presence. Time is money is time, plug -in cards and color playback is avail- back without an external adapter. The DNW 7 can run for up to 180 minutes on one lithium -ion battery, and the DNW 9OWS is switchable to 16:9. The DNW- Quick Sari 9WS is Sony's newest SX camcorder. It is light, compact and 4:3/16:9 switchable. The Power HAD CCDs and 10 -bit pro- cessing generate superb picture quality. 51 It features variable shutter speeds and computer setups that facilitate produc- tion, and there's an optional color view- finder. This is a good transitional prod- uct for broadcast environments. Anoth- er advantage of the Betacam SP format is its backward compatibility. Available in many sizes and shapes Sony DVCAMs are capable of captur- ing excellent, professional images at all levels of production. The compact DSR- PD1 offers a host of size and portability rS100E COAXIAL CABLE STRIPPER advantages and is compatible with Pro e5strippers In 1 easy to use hand tool DVCAM products for transfers and Rotary knob selects 5 different cable setups editing. It has a flip -out color viewscreen cassettes Replaceable circular steel blade and a color viewfinder. For entry-level Adjustable cable range: .158" OD to .433" OD DV- For all Canare 75sí BNC, RCA & F Crimp Connectors industrial video, the DSR -200A CAM digital camcorder gives anyone who's been shooting analog a cost- effec- tive entrance into the digital domain. A cuts -only system can be built around the CA/VARE i and a DSR -DVCAM VTR REQUEST 531 5th Street Unit A San Fernando, CA 91340 USA camcorder NEW tel: (818) 365 -2446 fax: (818) 365 -6479 and a variety of NL editing systems are CATALOG 9 w w w. c a n a r e. c o m

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www.americanradiohistory.com are also compatible. This camcorder the growing number of 16:9 cameras adapts to any camera with a tidy little is switchable 16:9/4:3 and "well -ac- coming soon to a market near you. interface that provides power and re- quired" images are usable virtually For switchable cameras, an 0.8x con- turns video and audio to "mission anywhere. The newest addition to the verter is available for 4:3 operation. control." professional line of DV camcorders is These lenses have a good operational As broadcasters evaluate their path to the DSR -300. This one -piece unit has feel and are a cost effective alternative HDTV, system flexibility will be cru- most of the function of the dockable for broadcasters to consider. cial. Most new studio cameras offer DSR -130, including 10 -bit DSP and JVC has brought its Digital -S format to multiple output formats to allow the the PowerHAD CCDs, with better the DTV wars. It's a 1/2-inch, 4:2:2 for- equipment to survive the transition from power consumption and a number of mat that currently records at 50Mb/s SDTV to HDTV. The Panasonic AK- operator convenience features (finally with plans to extend that to 100Mb/s. HC880 studio camera and the portable a comfortable shoulder pad). The DY -700U is an economical single - version, the AK- HC830, feature paral- Hitachi introduced the SK -3000, a piece DigitalS camcorder that offers a lel 1,125 -line HD output, as well as multi- standard studio camera that pro- cost -effective set of features. In the right downconverted 525 outputs. Both are vides HDTV and NTSC outputs at the environment, this camera can do a lot available with 16:9/4:3 aspect ratio same time. All processing is done in of good work. The KY-19U and the KY- conversion. These cameras should be the 16:9 format, and the camera fea- D29U are full- featured docking cam- available with final feature sets in the tures 1,200TVL of resolution. The corders compatible with JVC's DV (BR- fourth quarter of 1998. 1.5Gb /s digital output is sent from the DV-10U) and DigitalS recorders, re- Panasonic's DVCPRO format allows camera head via optical cable to a spectively, as well as most other miniDV producers to enter the world of DTV at control unit that provides standard and 1 -inch format recorders. Either of several different price points. The AJ- analog and digital D810 camcorder is a HDTV outputs, and dig- broadcast -quality unit itally converts the signal As broadcasters evaluate their that features three high - to 4:3 or 16:9 NTSC for path to HDTV, system A edbility sensitivity 2/3 -inch IT serial digital or analog CCDs combined with outputs as well. On the will be crucial. DVCPRO's digital com- portable side, the Z- ponent recording system. is a 3000W 16:9/4:3 swit- It is compatible with most chable camera that fea- these units is applicable for producers 2/3 -inch lenses, and is a lightweight, tures enhanced low -light sensitivity who need to deliver on different for- compact unit suitable for any ENG or and 13 -bit DSP. Camera settings can mats dependent on client inclination EFP application. The AJ -D700 weighs be instantly stored and recalled using and/or budget. The DY-90U is JVC's a little less than 13 pounds. The unit Hitachi's SmartCard. Other features, newest DigitalS camcorder. It has four records 60+ minutes on a single cassette such as internal six -vector color cor- channels of audio and good low -light and features low power consumption. rection and Hitachi's flesh tone detail sensitivity. Compact and lightweight, It's quick and easy to set up and use, and adjustments, are part of this camera's this camcorder offers two -hour record it delivers high -quality images, even feature set. One added bonus is that capability. JVC is also offering the KY- under low -light conditions. Affordably this camera is dockable with most D29W, which is switchable from its priced, the AJ -D210 is lightweight (a "popular" formats. Speaking of which, native 16:9 aspect to 4:3. given with the DVCPRO format), pow- Hitachi also offered the Z -V1A, a Camplex offers multiplexing hardware er efficient, and accepts a number of DVCPRO compatible one -piece cam- that allows bidirectional transmission of 4/3 -inch lenses. With an optional inter- corder. video and audio as well as supplying face, you can do digital dubs to another Angenieux introduced a new lens tech- control data and power to remote cam- transport or computer. nology at NAB that uses new glass and eras over regular 711 coax or triax. Cam - DVCPRO50 records 50Mb /s on a advanced electron beam coating tech- plex has a variety of systems featuring slightly wider track to provide the high- niques to deliver better resolution, while price/option combinations that let you er data rate recording needed for multi - reducing flare and ghosting. The new buy just what you need in terms of layer productions incorporating more High Resolution Series is geared for camera control and return signals. The complex chroma keys and graphics. It HD and includes an all- purpose 15x8.3 ultimate package includes all camera - is backwards compatible to DVCPRO ENG lens and a 12x5.3 "wide super - control functions, remote setup and gen- (25Mb /s), and is one possible path for zoom" lens that offers a great combi- lock, and up to three return video streams upgrading to HD. The AJ -D900W is a nation of extreme wide angle and again, on a single cable. Many pro- switchable (16:9/4:3) camera featur- zoom. Both use Angenieux's assisted - ductions would benefit from having ing three 2/3 -inch 520,000 -pixel (wide internal focus (AIF) to provide fast such capabilities coupled with the rel- type) M -FIT CCD image sensors for a fluid zoom control and precise focus. atively quick and easy setup that these resolution of more than 750 lines. The These lenses are compatible with to- systems offer. The new CP 301B is a higher data rate looks great, and the day's 2/3 -inch CCD cameras, as well as primary multiplexing system that "soon- to -be- released" DVCPRO100

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www.americanradiohistory.com (recording at 100Mb/s) is expected to an adapter, but it can be configured introduced the LDK 150 Digital Cam - look even better. for DV or DigitalS recorders, or even corderPlus. It features switchable Panasonic has several mini -DV cam- Ikegami's Dockable Disc Recorder. 50Mb /s or 25Mb /s operation and as- eras, but the AG -EZ1U is the cool one. The 16:9/4:3 switchable HL -45W is pect switching with exclusive DPM sen- This camera can do anything in good also available. As with most dockable sors. Software upgrades are possible via natural light and has many professional units, this camera can be connected serial link, and the 12 -bit video and features that come in handy. I've seen it via triax and can be configured as a high -end audio processing make this a strapped to airplanes and motorcycles, studio camera. Representing Ikegami's "smart" little camera. as well as more conventional mounts, support of DVCPRO are the HL -V73, Thomson's new camera for this year's and it always produces high -quality, HL -V77, and the 16:9/4:3 switchable show was the 1557D studio camera. The cost -effective images. HL-V77W Each of these lightweight 1S57D uses 12 -bit A/D conversion and On the HD broadcast side, Ikegami cameras is ergonomically designed can be fitted with the latest CCD IT has a full line of cameras featuring around 16 -bit digital processing sys- sensors in either 4:3, 16:9 switchable to interlace and progressive outputs that tems with 10 -bit A/Ds. Ikegami fea- 4:3. A picture -in- picture function allow are capable of fitting into virtually any tures such as continuously variable the cameraman to view both the camera HD- implementation scheme. The HDK/ shutter speed and hypergain are just a and return video simultaneously. HDL -79 series cameras support exist- few of the user -friendly design aspects The 1707, also from Thomson, is a ing NTSC operations with an upgrade to remind you that the heritage of the 12 -bit digital camera that includes an option path that allows conversion to HL series stands behind them. all -new digital triax link. This system 1,080i/480i or 480p/720p. With the Philips introduced its line of LDK transmits a 4:2:2 signal without com- HK- 525/525P series, progressive and 2000 digital trueframe progressive stu- pression from camera to CCU. The conventional NTSC signals can be se- dio /field cameras. Immediately these 1707 can be fitted with IT CCDs in lectively output from the base unit, and cameras offer a 50% improvement in either 4:3 or 4:3/16:9 switchable for- the cameras are switchable 16:9/4:3. vertical resolution over today's inter- mats. Features include a detail follow The HK -388 and the portable HK -388P laced pictures. They also allow broad- zoom, which links contour level to the are 12 -bit, full- digital processing cam- casters to leap into DTV with technol- length of the lens, and dual skin detail. eras that feature newly developed ASICs ogy that is not only 4:3/16:9 switch - In addition, camera color tempera- and deliver incredible image quality. All able, but is also able to switch between ture can be set in steps of 100 °K, of Ikegami's studio lines offer full pro- 480 active -line progressive and stan- between 2,200 and 9900 °K. fessional feature sets and enhanced er- dard- definition interlace, while main- Canon's product line is about as com- gonomic design to make the cameras taining 601 SDV output to spec. Philips prehensive as it gets. They have a good - "operator friendly." also debuted the LDK 23HS a high- quality, cost-effective alternative for al- Ikegami also showed the HL -45 high - speed ultra slow motion camera. Tri- most every application so, it's no sur- performance digital camera. Based on ple -speed scanning and recording to prise that when Japan's NHK decided new ASICs and 520,000 -pixel IT CCDs, disc allow replay of sequences even to broadcast the Nagano games in HD, it delivers 900 TV lines of resolution. It before the action has finished. Support- over 80% of the HD lenses used were docks with a BetaSP recorder without ing the DVCPRO50 format, Philips Canon. Their line of HD lenses featur-

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www.americanradiohistory.com ing internal focusing, "IF +" technolo- tems are perfect for motor interiors, products have also fallen, reflecting the gy (HD -IF) is becoming industry stan- computer innards, whatever you've got fact that many of today's camera/lens dards. The HJ9x5.5B IRS/IAS wide - that needs an up- close- and -personal combinations are far less expensive than angle zoom features the widest angle view of tiny components in hard -to- those of a few years ago. At the other for HDTV lenses. Canon's lenses also reach places. One of their new prod- end of the spectrum are units designed take the honors for lightest standard ucts, the "CamPole," delivers another to support HD cameras and provide zoom and longest zoom. Their line of unique POV. It's a combination minijib, film -style shooting for those producing studio HDTV lenses includes the steadicam device that the operator runs material for HDTV/DTV applications. UJ20x7B, which incorporates the from a body mount (the SL) or from a The Miller Arrow 50 fluid head is the Emmy- award -winning IF+ technology tripod (the slightly longer CamPole XL.) flagship of Miller's line of digital support and precise digital servo controls. This The system consists of a miniature systems. Designed for digital format cam- digital servo system not only allows the 3CCD camera in a watertight housing, corders, EFP and smaller studio camer- precise focus control needed in the short- controlled by silent servos, all of which as, it features rear mounting of all major er HDTV depth of field, it can also are mounted on interlocking carbon controls that illuminate at a touch. When transfer lens information to a computer fibre tubes. Pan, tilt and focus are ad- matched with Miller's series II alumi- in a "virtual studio" environment. justed from a control box that can be num or carbon -fiber tripods, it proves to On the camera side, Canon's XL1 is a "worn" or mounted in a variety of be a solid performer, resistant to nasty pretty hot miniDV camcorder. It has ways. This package is ideal for getting environments. The DS-5 and DS -10 are four-channel audio, digital I/O and close -ups when it's hard for the camera - fluid -head tripod systems for the smaller many other great features, but the main person to approach the subject, such as DV cameras. Again, many of the smaller thing this unit brings to the party is when shooting underwater or over the cameras can do good work, in the right Canon's rather extensive line of lenses. heads of a crowd. light with the "right move," even if that In its normal configuration, this is a move is just holding still for a nice wide For more information, circle capable camera, but with the right lens (316) on Free Into Card shot. These cost -effective fluid -head sys- choice, everyone from microbiologists tems are the type of "accessories" that to mountaintop nature photographers can make it all work. should be happy with its performance. Cartoni's new Omega fluid head, sup- Even smaller is the "ZR" which should ports studio and film cameras from 60 come with a secret agent license. For its to 220 pounds. This is a heavy -duty size, this is an excellent "acquisition unit for Cartoni, but it retains all the device" for web publishing, home video subtle performance features of the rest or even some professional applications. of the Cartoni line. The Omega has Fujinon showed the new A19x8.7 illuminated controls and all moving (213 -inch) and the S19X6.5 (' /2 -inch) Pro - mechanisms are sealed against dust and classic Series of lenses for professional moisture. Cartoni's Alfa I & II systems digital video cameras. These lenses of- are tripod/head combinations suited for fer features usually found only on broad- the DV market that bring the smooth cast glass, among them, Fujinon's Cartoni feel and ease of operation to "Quickzoom" which allows you to snap lower-cost systems. into focus and then back out to the New for Vmten at NAB were the Vi- original framing at the touch of a but- sion 8 and 11 systems, featuring the ton. They combine superior optical per- Vision8 and Visioni l pan- and -tilt heads. formance with the highest magnifica- The new heads feature ergonomic con- tion and widest field of view available in trol mechanisms, illuminated controls a lens for pro digital video cameras. A and digital parameter readout. These are "Vformat ratio converter" maintains attractive systems with some impressive the proper field of view when the lenses features for the price. Also new from Vinten was the "Vector 700," featuring are used on cameras with switchable a new "thin film" fluid drag system. aspect. On the HDTV side, Fujinon Sachtler's DV2 and DV4 are depend- introduced the HA36X, an ENG -type By Marc Boeddeker Marc Boeddeker is in the digital video division able, cost -effective tripod systems for zoom lens for HD applications. It weighs of Producers Post, Burbank. DV support. Compact, easy to use and only 10 pounds and is perfect for sport- with a great tradition behind them, these ing events, nature photography or oth- As cameras have evolved, so to have units are well-worth purchase consider- er telephoto applications. their support mechanisms. In many cas- ation. The DV8 &12 were new at NAB Innovision's unique "close focus" lens/ es, this means smaller and lighter units and support slightly heavier cameras camera/control systems have flown over designed to provide professional level under more rigorous conditions. and through some of the most alien features for today's smaller cameras. Gitzo, which has manufactured still landscapes available. Their lens sys- The prices of many camera -support camera supports for over 80 years, in-

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www.americanradiohistory.com I J/ -/ / I A troduced a unique tripod that is able to trol environment, where you create support specified loads with the legs scripts to automate the events involved Ar_1(/- fully spread open for extremely low in a broadcast. Scripts can be updated angle shooting without additional and revised in a rehearsal mode. During spreaders or support. Complementing a broadcast, built -in override and step the sticks is the new G1380 fluid head. functions allow you to run the show in Gitzo also has a line of monopods that fully automated, partially automated, I'd use at times even for Betacam shoots or manual mode. Camera modules con- and which would certainly support a trolled by the system are 750 -line, 3CCD number of smaller DTV cameras. Bo- units housed in compact pan- and -tilt gen also showed a new rolling tripod mechanisms. Location presets store pan/ system, surprisingly called "Roll Pod." tilt, zoom and focus data, plus extreme- The unit is basically a set of big pneu- ly accurate position information. Script matic wheels and a steering handle that Viewer is a full- featured prompter that you mount your tripod and accessories can be integrated with the cameras, and to, and then you're off to the construc- the autoTRACK feature allows the cam- tion site, football game, or any other era to track the talent around the room. shoot in difficult terrain. Chapman's Super Peewee IV hydrau- Telemetrics has a solid reputation in lic camera dolly debuted a new three - the areas of remote camera control and mode transmission featuring conven- triax/coax transmission technology. In tional, crab and round steering modes fact, the Telemetrics staff invented triax that can all be accessed while the dolly camera control over thirty years ago. is moving or stationary, without taking The company's advancements in com- your hands off the controls. Other im- puter- controlled, programmable pan/ provements to the Super Peewee IV WHAT'S UP tilt mechanisms, as well as trolley and include reduced maintenance and en- weatherproof camera systems, have al- hanced "universal head" performance. WITH ALL THESE lowed them to provide a high degree of The DV Steadicam is Steadicam's so- NUMBERS? performance and reliability at a reason- lution for today's lighter DV cameras. able price. Telemetrics displayed a new This hand -held product features the They have the solution serial controlled pan/tilt mechanism same patented technology that's at the dubbed the PT-LP. The unit incorpo- heart of all Steadicam products, pro- FM to these serious rates a serial control receiver and power ducing that smooth, flowing look that problems: supply to facilitate remote operation of is unmistakably Steadicam. cameras with teleprompters. The PT-LP ProFour's product line features small - You can see your handles the additional load with ease, footprint pan/tilt mechanisms that are ,station, but you with smooth variable speed operation unobtrusive and quiet. These systems can't hear it facilitated by heavy -duty cross -roller are perfect for remote operation of cam- bearings and Swiss motors with isola- eras in church and government envi- (Multipath due to side lobes stealing expensive power from tion mounts. The unit's lens connector ronments, or any application where a your main signal) provides an interface to all lens func- low- profile "tech" presence is preferred. tions. Although their forte may be heavy - The desktop control transmitter can Interference from your duty remote systems, Telemetrics also store up to 16 presets for each of eight station affects nearby demonstrated control systems for use remote camera positions. with miniature pan/tilt mechanisms. Panasonic fielded a new professional electronic equipment Parker Vision's PVTV is a cost- effec- production pan/tilt mechanism control (RFR/RFI caused by downward tive broadcast -quality production solu- system. The package includes an 800 - side lobes misdirects your ERP instead of covering your market tion for anyone that needs a "one -man" line CCD camera unit, pan -& -tilt mech- witb single lid signal) TV studio. Small cable and public TV anism, and a series of five available stations, as well as corporate and gov- control panels. The system is easy to use ernment media departments, should and can control up to five cameras. consider this product. One TD can or- In the virtual set arena, several players ANTENNA CONCEPTS INC. :ü11 chestrate multiple camera moves, switch were in attendance at this year's show. III" 66(11C Men ha ndise Way video, key graphics and essentially ac- Radamec's Virtual Scenario. Studio sys- Diamond Sprint;., CA 95619 complish everything needed to do live tem makes use of the Radamec studio Tel: (916) 621 -2015 television. Transition Macro automa- pedestals and pan/tilt heads. This year, Fax: (916) 622 -3274 A tion is at the heart of the system, which they added support for 16:9 studios. The www.antennaconcepts.com includes the CameraManStudio con- widescreen Virtual Scenario can be Circle (73) on Free Into Card

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Circle (86) on Free Info Card

www.americanradiohistory.com switched from 4:3 to 16:9 as needs shooting, and the package comes with a DVS- 7000's multiple timelines can hold change. The heart of the Virtual Scenario complete set of tools for creating and switcher and DME key frames. Addi- is a 2U chassis that comprises an analog modifying sets, special effects and ani- tionally, the DME -7000 DVE has a full to digital converter, a four -field delay mations. palette of non -linear effects, shadows module and video and key processing For more information, circle and lighting capabilities. Alongside these modules. The system works in conjunc- (317) on Free Into Card high -end linear editing systems were tion with the user workstation, which two non -linear suites based on the Sony interfaces between the Virtual Scenario ES -5 and ES -7 editing systems. and the 435VR pan and tilt head and Production On the high end of the video post stores lens calibration information. world, there were new offerings from ORAD's CyberSet O is their top -of- equipment Quantel, including Platinum, a lower- the -line system that uses pattern recog- cost Editbox system, and new offerings nition, rather that feedback from the from the Henry compositing systems camera head. Because of this, hand- line. The Henry V8 and Henry Straight- held cameras can be used within the 8 systems now complement the Henry virtual set environment. New this year V- Infinity to offer a full line of price/ is the CyberSet M, a mid -range solution performance selection. In the upstairs that delivers all the features of the Cy- area of the booth, Quantel was showing berSet O, but at a 50% cost reduction. some amazing demonstrations of the The MindSet virtual studio system By Ed Fraticelli highest of high-definition image manip- from Evans & Sutherland offers "cre- ulation, with a ClipNet system moving Ed Fraticelli is director of engineering at Pro- ativity without limits." Four point cam- 1,080 -line progressive 60 FPS video duction Masters, Pittsburgh. era calibration allows cameras to be signals between HD versions of Quan- quickly relocated and calibrated within tel production gear. A real glimpse at With the development and acceptance seconds. The FuseBox online trouble- the future! -based post-pro- shooting feature makes problem deter- of non -linear computer A new player in the high -end produc- mination and correction fast and effi- duction systems, new and exciting finds tion arena is Snell & Wilcox. They cient. Evans & Sutherland announced in dedicated post equipment have been were showing two new production an agreement to jointly market WSI's rare over the past few NAB shows. switchers. The 12 -input HD1012 and WEATHERproducer service with the Devices such as production switchers, 24 -input HD1024 HDTV production MindSet. WSI provides weather data, DVEs and character generators have switchers offer 1.5Gb /s I/O. Units in- graphics animation systems and pro- seen less advanced clude three keyers (two on the M/E and gramming services which will be ingest- development over one downstream), a program/preset ed into the MindSet virtual set, allow- the newer, desktop bus, border generators, two wipe gen- ing broadcasters to create attention get- systems. But at this erators, time line control and seven ting interactive weather presentations year's NAB, with RGB correctors. An integral hard disk quickly and easily. the three letters D, provides still storage, and both units Accom's ELSET now features the T & V on every- are designed to integrate the future Free -d camera tracking system. Free -d one's lips, these option of a high -quality 10 -bit HDTV allows complete freedom of movement equipment types have seen a resurgence, DVE. without using in- picture pattern recog- from the highest -end HDTV post sys- Panasonic announced an HD switch - nition. A series of coded targets are tems, to the lower -cost personal -com- er line, the Millenium series. These placed in the studio's lighting grid and puter -based tools. switchers are designed for use with are constantly viewed by a small CCD On the highest end are systems such as 1,080i signals and can also handle 525/ camera mounted on the stu- "tracking" Sony's HDCAM. There was a complete 625 SDI signals (optional). The AV- dio cameras. Free -d calculates the stu- HDTV post suite, including HDW-500 HS3110 is a 10 -input (maximum) dio cameras exact position based on VTRs, the HDS -7000 production switcher with 10 basic wipe patterns information from the tracking camera. switcher and the HDME -7000 DVE. and one M/E. The AV- HS3100 offers RT-SET released its third -generation All this equipment was completely inte- 100 wipe patterns and an advanced software (version 2.5) for the LARUS grated in a fully functional system show- control display panel. The high -end unit, Virtual Studio System. The system sup- ing post sys- the AV- HS3200, is a 20 -input maxi- ports the new SGI Onyx InfiniteReality that totally high- definition mum SDI 1,080i switcher with 100 workstation and uses proprietary hard- tems are available today. wipe patterns, two M/Es and two keyer ware that includes RT-SET's FCU (fast Also at Sony was the "Sony Select M/Es. communications unit) which acceler- System" suite for standard definition. Over at the Scitex/Abekas display, the ates camera -computer communications. This Digital Beta -based suite included Brutus DVE took the Dveous DVE a LARUS's 3 -D graphics are continuous- the top -model DVS -7000 switcher. step further. With the Brutus combiner ly updated in real -time during program Along with it's DME -Link system, the

166 Broadcast Enginssring June 1998 www.americanradiohistory.com DIGITAL BROADCASTING COMING ON FAST. -- ready?

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www.americanradiohistory.comfi unit, two twin- channel Dveous units devices as switcher functions, pro- Window -NT-based DVExtreme digi- can be combined into one system, al- gram time lines to run as one effect tal video -effects system, with it's unique lowing manipulation of up to eight live and store setups of these third -party Particle and Painterly effects capabil- images at one time, from one controller. devices into switcher memory. ities. Its "3 +3" capability allows each Of course, all of the powerful Abekas Echolab has also broadened its selec- of the three video channels to have effects are part of the Brutus system. tion of input and output module choic- their own independent key channel. The Synergy Switcher line debuted at es. Any video signal from serial digi- Pinnacle was also showing a version the Ross Video Systems booth this year. tal, composite, YUV to Y/C can be 3.0 software upgrade for the TypeDe- Available in models that range from two accommodated through the choice of ko line of graphics generators. Fea- to four mix/effects levels, the Synergy the appropriate input modules. tures such as a Keyhole Shades; im- line is especially designed for live digital Another PC -based switcher on the proved texture shader and live video production. Innovative features that show floor came from PSP Digital, the in a 2 -D DVE window complement make these switchers especially adept PVS -2. This cost -effective 4:2:2 compo- TypeDeko's real -time effects and text for this function include a built -in DVE nent digital switcher can be used for manipulation. Also announced was for pushes, squeezes and repositioning, AB editing and auto -conforming in the capability for TypeDeko to read as well as "hot buttons" that can be small digital suites or for keying up to Chyron files such as the type used in configured to control external devices two graphics over background in corn - the popular iNFiNiT! character gen- like VTRs, DVEs and character genera- positing applications. The optional con- erators. tors. This line of switchers joins Ross' trol panel allows the unit to be used in Snell & Wilcox's "Magic Dave" post - extensive line of analog switchers. live applications. PSP's ELITE switcher production system has reached the level The Echolab 5000 series was noted is a layering switcher designed for post - of a full -function switcher/DVE combi- last year for its innovative use of an production. It has 16 video inputs as nation. The eight -input system can be integral PCI computer, allowing users well as 16 key inputs, and can process configured with analog or digital inputs to add devices such as the Genie DVE eight keyed layers over background in and outputs, and it features a new, from Pinnacle, the DPS Perception clip - real time. Elite's timeline effect control easier to operate control panel and PC- store and Inscriber CGs, among others. allows complex compositing work to control interface. "Dave's" DVE was This year, the integration is further en- be performed reliably. shown with the new version 3.0 soft- hanced, with the ability to run these Pinnacle Systems continues to offer its ware, that features light sourcing and powerful two- channel effects. High -re solution still manipulation within Dave is also an attractive feature. Affordable Also in the integrated production BROADCAST system group, was Play's Trinity sys- tem, first offered for sale at last year's QUALITY NAB, with an eye- opening price. Well, easy to use this year, the Trinity is shipping, still products at the same attractive price point. Keep in mind that video and audio BRIDGING input/output and storage are purchased separately. An exciting announcement THE GAP from Play was the integration of Elec- between tric Image's high -end 3 -D animation software into the Trinity platform. COMPUTERS This allows users to model, animate HyperConverter Scan Converter and render 3 -D animation in the same keyers, DVE's and Converts high resolution computer to video box where the and switcher co- exist. DoubleScanT' Scan Doubler In the For.A/Video GainesVille dis- interlaced video progressive scan Converts to play were post products for every bud- V/Display" Video Interface Display get and use. The Video GainesVille CV- TELEVISION Displays composite. Y/C video on LCD panels line of component digital switchers were present, along with the new Mighty- PC Video Conversion Mix compact digital switcher. The top 16120 Caputo Drive Suite A Morgan Hill CA 95037 model CV-332 features 32 -bit internal tel 408.779.1280 processing (4:4:4:4 digital video), two - channel DVE and chroma -keyer op- fax 408.779.7868 visit our website at tions. The For.A VPS line of switchers email [email protected] www.pcvideo.com offers advanced options such as 3 -D

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www.americanradiohistory.com DVE with warps, lighting and 120 configured with Windows 95 or NT nally, the Sony Optical Picture Stabiliz- preset effects. operating systems. In addition to typi- er (SOPS) system gently offers frame - In the character generator arena, Chy- cal type manipulation features, Inscrib- to -frame image stability equivalent to ron is as venerable as ever. The well - er includes capabilities such as a logo mechanical pin registration. known iNFiNiT! System is still going compose utility, alpha channel and an At the Cintel booth, they were show- strong. It has switchable aspect ratios, event sequencer for building and play- ing the new C- Reality telecine. C- Reality enabling easy type composition within ing sophisticated transition and motion will initially support 525/625 and true DTV's 16:9 aspect ratio. Optional fea- effects compositions. 2K data. In the fall, upgrades will be tures include the Imagestor still- store, The folks at Ultimatte continue to de- available to support real -time, high -def- Transform II animator and WiNFiNiT! velop the highest level of blue -screen inition scanning. At the heart of Windows networking, which allows matting technology. The fully linear key- C- Reality is Direct Scan, a comprehen- easy image file transfers between sys- ing capabilities of it's stand -alone prod- sive image scanning and detection sys- tems. A new Chyron product this year ucts, such as the Ultimatte 8, are also tem, that allows full 14 -bit digital scan- is the PC Scribe, an open platform (Win- realized in it's software modules and ning in each of the three primary colors. dows 95 or NT) full- function character plug -in series. All of the advanced fea- C- Reality features two internal color generator. The Scribe consists of a CODI tures, such as Screen Correction and correctors, one before and one after the frame buffer card and Scribe operating Grain Killer, are fully implemented in gamma circuitry, allowing the colorist to software. A wide variety of standard these useful, fairly low -cost software correct and manipulate images simulta- TrueType typefaces can be used, with additions. They are available for many neously. many adjustable character attributes popular platforms such as Windows 95/ One additional piece of equipment that and motion effects available. NT, Macintosh and SGI, as well as appli- must be considered for anyone doing Also new from Chyron at this year's cations such as Adobe After Effects and mastering of video or film is the Intel - show is the DUET, a new concept in an Premiere, Discreet Logic products, Softi- lideck from Mathematical Technologies open, high performance media process- mage DS and Avid Media Composer. (see "Pick Hits of NAB '98," ing platform for real -time 3 -D graphics The move toward DTV production p. 90). The Intellideck is a digital transfer and animation. Its architecture is scal- has caused some technology leaps in the workstation that includes a non -com- able to handle multiple display resolu- telecine world that are worth noticing. pressed video disk recorder, a sophisti- tions including DTV. Transform II can The prospect of re- purposing existing cated image-correction processor, aspect be used to animate 2 -D objects in 3 -D film material for HDTV has many man- ratio converter and a video standards space and build animations of charac- ufacturers showing systems with HD converter. For more information, circle ter, words or full screen graphics in real scanners. These new scanners offer many (318) on Free Into Card time. benefits for transferring to standard Another character generator of note is definition. from U.K. -based Pixel Power, repre- From Philips Broadcast Television sented in the United States by Major Systems comes the Spirit DataCine. Technologies. The Collage system can Spirit offers scaleable resolutions be configured from a basic full- function from 256 x 256 all the way up to CG, to a 2 -D paint and animation sys- 1,920 x 1,792, making it useful for tem all the way up to a non -linear any transfer application. The sys- editing/compositing system called Col - tem uses 14 -bit scanners and can lage-ED. Even in it's basic CG form, scan from two to 57 frames per Collage's feature list stacks up against second in forward and reverse. It any leading unit. TrueType and Post- uses a serial HIPPI port for high- script typefaces, texture fills, soft bor- speed transfer of image data. ders, ASCII text file import and timeline Sony's FVS -1000 multi-resolu- operation of rolls and crawls top the tion telecine is a modular system long list of desirable features. designed to produce high -quality film - By Yasmin Hashmi Alias/Wavefront introduced MAYA, a to -video transfers. It is designed to pro- Yasmin Hashmi is a partner in SYPHA, pub- powerful 3 -D software package that duce high -quality images from 16mm lisher of The Non -linear Video Buyers Guide. can be used for creating character ani- and 35mm film stock, both negative The new 4th edition provides details on over mation and special effects. and positive, at resolutions ranging from S00 non -linear edit- ing systems, disk re- Inscriber Technology continues to 525/625 SDTV to HDTV. Image cap- corders and servers. pursue the dedicated text generation ture is accomplished using three For more informa- market with an expanded line of In- 2,000,000 -pixel HD frame arrays. A tion contact: +44181 761 1042; fax +44 scriber CG systems. Inscriber is a soft- 12 -bit logarithmic A/D system, with 181 244 8758; ware solution that uses frame buffers 16 -bit internal processing, offers un- from companies such as Matrox, compromised signal -to -noise ratio in VMAXX and Truevision, and can be acquisition and image processing. Fi- Although DTV

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www.americanradiohistory.com might be considered more of a problem used for creating HDTV material. In- for those involved in delivery and re- deed Avid systems are already capable ception, many manufacturers of acqui- of handling the 16:9 aspect ratio and sition and editing systems must also can upconvert from 601 to HDTV. is For more Information, circle address the issue. This especially true (319) on Free Info Card for those whose ultimate goal is to maintain content in the same format throughout the production process. Also Transitioning of growing importance is the concept of From the facility's point of view, Tek- asset management, with file- format stan- tronix was a little more cautious in its dardization and format -independent approach, pointing out that the mass- archiving solutions featuring high on market appeal of digital remains un- several wish lists. The standardization clear, in terms of price and value of of metadata and data transport specifi- content. Tektronix stressed that the cations are also desirable. migration from analog to digital will The Sony approach is to encourage not only involve technology, but also the use of MPEG-2 as a worldwide people, and that an open system ap- compression standard and to develop proach is critical and will require a high open network systems and flexible so- level of support and understanding of lutions. With a theme of "Digital Real- the business. To this end, the company ity" at the NAB convention, Sony main- is promoting a three -year plan to help tained that the distinction between the facilities migrate from tape to tapeless consumer and professional is blurring. operation. Content can be multichannel, can come Quantel emphasized its "Step -by- in many forms and can be seen in differ- Step" approach to HDTV, suggesting ent ways. As far as the Sony stance on that the first step has already been taken DTV is concerned, they want a seamless because all Quantel systems have sup- transition, and although they believe ported the 16:9 DTV standard for the that 1,080i provides the best solution in past five years. The next step is to up- terms of cost performance, Sony is will- resolution the 16:9 DTV picture to ing to support all ATSC formats. HDTV using its multipoint bi -cubic To assist broadcasters in judging the real -time interpolation technology - impact of cascading compression already widely used for 601 -to -film schemes, Barco used its RE 4220 MPEG- transfers. The third step is its Clipnet 2- compliant compression platform to standards -independent network that is demonstrate how it has been conduct- based on gigabit technology. Clipnet ing tests with Panasonic showing the enables Quantel systems to be connect- effects that MPEG -2 compression will ed to other Quantel systems and/or produce on previously encoded third party systems. Quantel is working DVCPRO material. A complete set of with Panasonic, Avid and Nexus and both platforms allowed broadcasters has introduced lower -cost entry-level to manipulate compression, GOP struc- systems, as well as the Cachebox ture and delay. DVCPRO four -channel server. They also Philips Digital Video Systems offered previewed the Monty post-production a full complement of "DTV- ready" stu- system that can handle all of the ATSC dio and transmission products by un- standards. veiling a line of compression and trans- By offering an open and resolution - mission systems that conforms with the independent architecture with 16:9 sup- ATSC specifications. Also on hand at port, Discreet Logic confirmed its com- Philips was the NewsBreaker network - mitment to interfacing SMOKE to oth- able cuts -only editor designed for the er devices expected in a DTV suite, Media Pool digital video server. including high- definition recorders and With the theme of "Avid Open Non- digital -to- analog converters. Discreet linear," Avid Technology maintained also showed the FIRE -HD non -com- that it is ready now for DTV and showed pressed editor designed for the high how Avid tools, such as its forthcoming bandwidth requirements of high defini- Windows NT-based Symphony non- tion, and the new version 2.5 of SMOKE compressed finishing system, can be that allows up to 15 EDLs to be con- Circle (95) on Free Info Card 172 Broadcast Engineering June 1998 www.americanradiohistory.com termed simultaneously. Meanwhile, maintaining that Digital -S is "more than DTV For more Information, circle (320) on Free Info Card ready" and that it provides the ideal signal for conversion to MPEG -2 compression systems, JVC announced delivery of Collaboration its TimeGate MW-S1000 hybrid 4:2:2 non -linear system. It One of the key buzz words at the show was "open," in that not only supports Digital -S, but is also compatible with all manufacturers are increasingly concerned with their systems analog and digital tape formats, including various DV for- working with other products and/or platforms, resulting in mats. Housed in an all -in -one structure with a Pentium CPU a growing number of cooperative ventures. For example, running Windows NT, the system provides real -time effects including 2 -D and 3 -D, graphics and chromakey. For more information, circle (322) on Free Info Card One of the key buzz words at Networking the show was "open." A marked difference from the last year's NAB convention was the number of manufacturers now claiming support for Scitex highlighted new alliances with Truevision and Puffin networking, particularly Fibre Channel. For example, IMC Designs, the former having licensed the Abekas 3 -D and the demonstrated file sharing between three networked Incite latter providing the Sphere range with effects software. Scitex editors via Fibre Channel, with other new features for the also pointed out that a Windows NT codec is available for the system including 3 -D DVE, live video input making a total of Sphere range that is now QuickTime 3.0 compatible, open- four real -time DVE channels, voice over, slow -motion con- ing the system to third parties. As far as accommodating DTV trol and audio /video scrubbing. is concerned, Scitex announced that its new range of Abekas Avid announced its DV native news editing system, News - and Sphere products are 16:9 compatible, and version 2.0 Cutter DV for Windows NT, that will be compatible with DV software for Sphere now supports widescreen processing. cameras and decks. According to Avid, broadcasters will be Taking things beyond the collaborative stage, Play an- able to transfer media from DV decks, edit stories on nounced its merger with Electric Image (EI), which Play NewsCutter and send completed stories over Fibre Channel maintains will allow it to integrate powerful EI 3 -D anima- to the NewsPlayer DV multichannel playback server. Devel- tion technology with its video technology, thereby creating a oped in conjunction with Pluto Technologies, NewsPlayer new breed of graphics and video products. The Play Trinity, DV will be able to accept incoming feeds from NewsCutter shown in its shipping version, already includes a live digital production switcher, real -time 3 -D effects, linear editor with machine control, character generator, paint, animation and DOES compositing system, virtual sets, dual- channel digital still - r DNF store and chroma keyer. Required input and output modules 1 I)Lti"l'IL1ES are available separately, and the Time Machine option, due CONTROL for release this summer, is designed to support real -time non- linear operation by adding two channels of video playback Building Blocks For Your Specific Applications from a dedicated hard drive. For more information, circle (321) on Free Info Card Production Video YOUR Switcher Server NEEDS? Formats Interface Controllers

Hailed by FAST Electronic as the "Native Digital Editor," GPI to RS422 - PROFILE Multi its Windows NT-based blue. system is designed to allow Controllers Serial Machine editing of video in its original format. It includes non- Converters Control compressed, MPEG -2 and DV codecs, supports two rea I- time video layers, plus an additional graphics channel. It also Fill + Key RS422 Clip Control Switchers Editor has a totally configurable user interface. FAST claims that the system is future proof, completely open for third -part development, and also allows up /downstream hardware VTR Slomo Video Clip expansion via the onboard Movie -2 bus and FASTWire high- Controllers Controllers Instant Access speed shielded link. Arguing that "the Windows NT market lacks a non -linea r standard," Media 100 offered a solution in the form of its CUSTOMER SERVICE forthcoming FINISH on -line finishing system for Windows NT Designed as a digital video hub that allows audio, video, Field Proven, Award Winning Control Solutions text, animation and graphics to be assembled and output in real time at broadcast quality, the system supports analog Call Us: Tel: (818) 252 -0198 Fax: (818) 252 -0199 and digital video content, including standards such as ITU- our site: http R 601, DV, IEEE 1394 and QuickTime 3.0. Visit web / /dnfindustries.com Circle (96) on Free Info Card

June 1998 Broadcast Engineering 173 www.americanradiohistory.com DV, while simultaneously playing ma- real -time dual -stream editing package Video accessories terial to air, allowing for last-minute comprising the new DPS RDR2 dual - and projectors newscast revisions. stream card and the DPS Video Action Videomedia showcased its 2XS Win- RT editing application for Windows dows NT-based dual- stream digital disk NT. The system features an on -board recorder (DDR) that comes standard SCSI controller for fast video data trans- with cuts -only non -linear timeline - fer and the DPS Virtual File System for based editing software. In addition to integration with third -party image pro- providing a dual RS -422 remote inter- cessing programs. face, the system can be equipped with Adobe launched Adobe Premiere 5.0 multiple network interfaces. Multiple for Windows 95, NT 4.0 and Power users can share media on the same or Mac, featuring a revised user interface different projects simultaneously by with three main windows, three -point connecting several 2XS DDRs and de- editing, keyframe audio and video fil- ploying the Fibre Channel -based Fi- ters, and QuickTime 3.0 and Microsoft By Michael Heiss brecast shared storage broadcast auto- DirectShow compatibility. Adobe Pre- Michael Hens is a marketing and technology mation network. For possible expan- miere is also bundled with the new consultant based in Southern California. He is a contributing editor for BE's sister publica- sion to DTV applications, an optional Pinnacle ReelTime Windows NT-based tion, Video Systems, and may be reached at InnovaCom MPEG -2 encoder board is dual- stream video capture card with CaptnVid @aol.com. available. on -board real -time effects. Available Panasonic announced the DVpix op- in PAL and NTSC versions, the card At an event as important at this year's tion for its AJD900W DVCPRO cam- also supports optional interfaces, in- NAB, it is difficult enough to make era. It stores shot logging data on the cluding ITU -R 601 serial digital and certain that you pay attention to the tape, which can then be read by the IEEE -1394, allowing it to be used with "important" things. Looking around for NewsBYTE non -linear editor. Pana- a DV camcorder. cameras, recorders, image manipulation sonic also now offers the DVedit real - systems, RF systems and more probably time Windows NT-based editor and There were left you without time to consider any- announced two new compact video thing minor. That's a shame, because in servers that will connect with News - plenty of new broadcasting, as in life, it's the little BYTE and DVedit, initially using things that count. Those items can make 100BaseT Ethernet and SDI, and in system launches your life much simpler in the day -to-day future via Fibre Channel or gigabit with noteworthy hassle of getting shows produced and on Ethernet. the air. For more information, circle To help you keep the station running, (323) on Free Into Card features. BE's editors took numerous trips around the floor searching for items to help glue New systems Blossom Technologies introduced the all the big guns together: the accessories Although not all manufacturers made Windows NT 4.0 -based Blossom Real and display technologies that work as announcements that specifically relat- Time Fury family of real -time editing hard behind the scenes as you do. Just as ed to DTV, there were plenty of new workstations. Designed to be unpacked the on -air talent and sales management system launches with noteworthy fea- and plugged in without any assembly may get praises when you help keep the tures. Matrox and in:sync, for exam- required, the system is bundled with station running, the items we'll discuss ple, released the Windows NT-based Adobe Premiere 5.0, Photoshop LE, in this section work to unsung praises in Speed Razor Mach 4.ORT running on the Sonic Foundry Sound Forge for the shadow of the heavy electronic iron. the Matrox DigiSuite board set and audio manipulation and the Caligari Without them, those fancy cameras and supporting two streams of non-com- TrueSpace for 3 -D effects. VCRs would be little more than expen- pressed quality component serial digi- And finally, for those with a need for sive paperweights. tal video, plus 32 -bit animated graph- all of the functions required for rapid ics in real time. Other systems based Many of the new accessory products editing, but with the minimum of con- on Matrox hardware included the we saw take a very literal part in keeping trols and options, the new OmniBus United Media On -Line Express that things running - for example, batteries uses DigiSuite, the newly released D- System's EDITion can be operated from and power sources.In the case of power Vision version 4.0, renamed for the a standard OmniBus workstation us- source pioneer Frezzi Energy Systems, show as EDIT, which is based on the ing a custom hard panel. As part of the NAB presented an opportunity to new DigiSuite LE, and the forthcom- OmniBus station automation system, present a triple threat. Frezzi's new NP1- ing IMC Incite LE based on DigiSuite the system also offers audio mixing 3P Hot Swap Battery Box allows the use LE and supporting two real -time 2 -D and video transitions using the Tek- of up to three NP -1 batteries at one DVE layers. tronix Profile PDR200 server. time. When one battery loses its charge, For more information, circle DPS introduced the Perception RT (324) on Free Info Card it can be replaced without losing power.

174 Broadcast EnginsorNq June 1998 www.americanradiohistory.com The result is basically infinite run raphers to quickly change modules simpler, earlier era when Frezzi li- time. The other parts of this triple play and use the light that best suits the censed the Sun Gun name that was so provide varied options for charging equipment and situation at hand. popular with home movie photogra- the batteries that support that infinite One portable light that provides stu- phers and film crews in the days of run time. The FSP Sun Panel will dio punch is the Diva -Lite from Kino film. You remember film, don't you? charge a 12V, 2.3 Ah NP battery in Flo. It displays a soft, cool light with At NAB '98, however, nostalgia had less than three hours when placed in features to control the spread of the little place in the digital world, so on- direct sunlight. Out in the field, this beam. An onboard dimming ballast ward was the march to search for other can be a lifesaver. When you are provides precise brighmess control. This accessory items. The trip was not a long closer to AC power, Frezzi's new lightweight, versatile design is great for one, as innovation was everywhere. M2100 was designed to be a "does -it- fast setups and easy transportation. While talking about lights and batter- all" product that charges almost any In the Lowel -Light booth, their full ies, the next accessory- related topic that type of professional battery, while range of lighting products were on dis- comes to mind is things that relate to offering advanced microprocessor con- play. Among them are the id- light, Fren- cameras, and there was news on that trolled analysis and display of all L 650 core kits and the Rifa softlights. front at NAB, as well. With DV tape charging functions. Lowel products are rugged and innova- and smaller digital- format cameras Anton/Bauer, another battery main- tively designed to provide years of ser- becoming popular, it was only a mat- stay, brought some new products to vice for video professionals. ter of time before the support people NAB, including the QR -LT75, designed Lighting was also in Frezzi's bag of took special aim at that market. specifically to provide a power source tricks with the introduction of its MA- Most notably, Sachtler Corporation for Panasonic's new DVCPRO portable 50 Full Spectrum Sun Gun. This 50- met the small- format camcorders head - field editor. Anton/Bauer also intro- watt portable HMI "Mini -Arc" is equiv- on with its new Monopod 2CF. More duced a multiple battery holder, the alent to a 400W quartz light, and may than an enhanced consumer product, QBH. Doing one better than its compe- be powered from any 65W 12V, 13V or this professional monopod has been a tition, the QBH can hold up to four 14V battery. The product itself is worth long time in coming. The single leg is batteries, in two banks of two each. looking at, but the mere mention of the made from strong, lightweight carbon When one bank is discharged, the sec- term "Sun Gun" took us back to a fiber and features a choice of quick- ond bank takes over, permitting the dead cells to be replaced with fresh ones. From Cool -Lux comes the COOL - Brick, a step forward for brick battery No More technology. COOLBrick is designed so there is no recessed pin to wear out. Plus, the casing can be opened, making Twist and it easy to re -cell the unit. What makes this really innovative is a lighted panel that can be used as a sign for station call Shout, Just letters or network affiliation. Lighting is provided by another Cool -Lux prod- No more jam - Rack uct, the Pan -El -Lite. Pan -El -Lites use min' the ball bearings electroluminescence technology and are or dancin' with 100 made up of a flexible, translucent mate- lbs of heavy metal. rial that is half the thickness of a credit and Stop breakin' your card. Available in widths from one inch back trying to align to 22 inches, they can be ordered in any length. the rack slides when Roll. When one thinks of batteries, porta- mounting your VTR's. ble lighting cannot be far behind, and Simply place the VTR that was certainly the case this year. feet in the cutouts on the RMA Mounting Shelf Lighting the way for field applications and slide it on home. is the Paglight from Pag Limited. The Available for most broadcast and XLR -4 is billed as the world's first two - professional VTR's. in -one portable camera light, accepting lampholder units for either halogen or Avnn. ELECTRONICS CORP. arc type light sources. It is light in 3678 West 2100 South weight and fully focusable. The XLR4's Salt Lake City, Utah dual source capabilit enables photog- Qvitel (801) 977-9553 Circle (97) on Free Info Card

June 1998 Broadcast Engineering 175 www.americanradiohistory.com release mounting options for your cam- deleting any VBI line and inserting new phone remote control systems, its NAB era. A unique pivoting footpad delivers data. It has a fail -safe relay bypass and introduction was a bit different. The both stability and support, making it the single board plugs into any Leitch new MVP -2000 includes a routing easy to have a firm base of support, video DA frame or BVS FR3 frame. switcher and event controller, but it is while having the freedom to follow the Also on the leading edge of signal also a scalable digital video recorder action. We tried this unit out on the accessories is Evertz Microsystems, and that uses MPEG -1, or optional, MPEG- convention floor, and it delivered the they were quick to adapt to the needs of 2 to record anywhere from 90 to 210 goods. DTV and HDTV. Indeed, one of Evertz's minutes of audio /video information on Once you've got your camera firmly major NAB announcements was an en- a built -in 2GB hard drive. As the world supported, the next step is to take the tire new platform for DTV applica- of DTV expands the need for pro- pictures, and that requires a lens. Here, tions. The 9000 series models will grammed playback to accommodate too, the specter of digital production include a digital downstream keyer datacasting and multicast situations, was ever present. Meeting the need for and a digital VBI processor, with other devices such as the MVP -2000 will move critical resolution production were 9000 series products to follow. from the background to the foreground products such as Fujinon's new HA36X, Even more important in the multi - because of their ability to share the load the highest magnification ENG -style standard production world we will all with a facility's servers and tape -based zoom lens designed for HDTV Weigh- face in the next few years was Evertz's playback systems. ing only ten pounds, the HA36X's focal GG -8090 digital graticule generator. Another manufacturer that is keeping range is 10.5 to 378mm, or 21 to 756mm With one 4:2:2 input and two 4:2:2 up with the DTV world is Miranda. with a 2x extender. As HDTV moves outputs, the GG -8090 has all the mark- Aside from distributing a comprehen- out of the studio and into the field, ings for safe area, center cross and sive and informative wall chart that products such as this will tracks all of the differ- be an essential production ent digital TV stan- element. Many of the "Road to DTV" dards and the routes Throughout the years of engineering sessions at NAB available to convert analog production, small one to another, they sizes, seemingly inconspic- dealt with the problems in brought some interest- uous electronic accessories ing new accessory have always played a key shooting dynamic action products to NAB. In role in the system chain. scenes. particular, the new While many aspects of pro- picoLink line of min- duction will change with iature signal convert- digital broadcasting, this ers caught the fancy of is one area that will not. NAB was full horizontal/vertical centering that are many attendees. Weighing a few ounc- of examples, and here is a small selec- needed for both 4:3 and 16:9 aspect es, these compact units are just the tion. ratios. Many of the "Road to DTV" thing for remote emergencies, or be- Always ready to surprise us with a engineering sessions at NAB dealt hind- the -rack connections. Available new gadget, Horita did not disappoint with the problems in shooting dynam- in a variety of configurations, they with its new VS -50 Video Stopwatch. ic action scenes, such as sports for two convert component, S-Video or com- Overlaying an up /down counter over aspect ratios at the same time. Prod- posite to 4:2:2, or they go back the video, this flexible unit will help keep ucts such as Evertz's new release should other way, encoding the digital 4:2:2 the pace of newscasts and time sensitive be a great assist to anyone caught in signals back to the various analog programs. Horita's other catchy name that situation. states. With all the attention given to for this year's NAB was attached to an Something handy in many of today's signal conversion at this NAB, the equally useful accessory, the VIC -S0 facilities is a device capable of convert- picoLink of most interest was the ARC - vertical interval cleaner. This inex- ing protocols and handling those mis- 371P, which changes the aspect ratio pensive device clears the entire VBI of cellaneous machine control tasks. Pa- of a picture from 4:3 to 16:9, while at added signals and restores the origi- cific Computing's OmniJET machine the same time conversing composite nal black level. When signals are server can do just that. Among its capa- PAL, NTSC or SECAM video into continually processed, transmitted and bilities are machine control and proto- another one of those three standards. edited, they tend to pick up a great col conversion for Ethernet, RS -422, Don't be fooled by the tiny size of deal of VBI data; this unit cleverly sets and Sony S -bus interfaces. It features an these units, they are powerful addi- things back to right. LTC reader input and provides a net- tions to your tool -kit of signal process- Also in the area of VBI cleanup is the work point -of- presence for serial con- ing tricks. VBI -10 from Broadcast Video Systems. trolled devices. While we are on the subject of tiny, The VBI10 can be used for several dif- While Leightronix is a full member of Hitachi came to NAB with another ferent tasks such as transferring select- the accessory manufacturer's world with small wonder. Its new HV-D3 is a small ed VBI data from one feed to another or its line of event controllers and tele- 3CCD camera designed for remote -con-

176 Broadcast Engineering June 1998 www.americanradiohistory.com trolled applications where a wide light new BarcoReality 812, which uses a ers have already offered product. range must be tolerated. Able to pro- high scan rate chassis and 12 -inch CRTs On the small side of monitoring, comes duce high -quality pictures from as low to deliver pictures of unmatched image the VAMP -1 -SDI (see "Pick Hits of as 0.00011ux to as high as 100,000lux, clarity and color fidelity. That's right, NAB '98," p. 90) from Wohler Tech- this 5.5 -pound wonder sports the same you are not seeing a misprint; the new nologies. This compact 3RU device al- digital processing system as Hitachi's 812 has three CRTs that are 12 inches lows users to monitor digital audio and larger studio cameras to deliver 62dB diagonal, for high brightness without video. Internal D /As do the necessary signal -to -noise ratios at 2,0001ux sensi- sacrificing spot size for the sake of light conversions, and the video is displayed tivity. The HV-D -3 is perfect for "traffic output. The pictures are a wonder to on an LCD. Audio appears on bar meters cam" applications, and early models behold. and can be monitored with built -in are already serving that purpose in the If your sets or offices do not allow for speakers or headphones. harsh conditions at the top of New large- screen projection, plasma screens Boland Communications offers a full York City's World Trade Center. may be the way to go. Available from a line of LCD monitors for a variety of If you are looking for a portable number of manufacturers, including applications. New this year is the View - logging system, the eidria etrim (see JVC, Fujitsu (see "Pick Hits of NAB Port series. The ViewPort 1.8" and 2.5" "Pick Hits of NAB '98," p. 90) is '98," p. 90) and Pioneer. Fujitsu's Plas- are color LCD NTSC/PAL monitors, based on the Palm Pilot and makes it mavision 42 has a 42 -inch diagonal while the 20.1" can display NTSC, PAL easy to log footage almost anywhere screen and is only six inches deep. The and SXGA signals. Boland also showed you can roll the camera. When you concept of plasma received market val- a line of economical, high -performance are finished, simply upload the Palm idation with Sony's entry, the PFM- desktop monitors for computers. Pilot's database into the edit suite, 500A1W. Curiously, this is a standard Boland's Digital uniVUer is an onscreen and you are on your way. 42 -inch AC plasma set, not the more audio meter for the serial digital video/ Now that you've taken, controlled exotic PALC (plasma addressed liquid AES environment. and transported your signals, what are crystal) set Sony showed in prototype at Sometimes, no matter how bright the you going to look at them on in the CES. However, as with any category, monitor is, it is not enough. That's where new digital world? In many cases, this Sony's participation makes it possible the sunshades and monitor hoods from will be a video projector or plasma for some management to accept a rea- Hoodman come in. The new soft Hood - display used behind an anchor desk or sonably new technology even when oth- man #H789S fits eight- and nine -inch as part of news set. When high brightness and crisp reso- lution is required, new units from Dig- ital Projection or Electrohome maybe the answer. Both had new models on display at NAB that featured the latest Mgnfrotto9 1,024x768 fixed array DLP light en- gines from Texas Instruments. Digital We Can Take The Heat Projection's 5gv with 5,000 ANSI lu- men output or Electrohome's 2,000 3141-510 Video Tripod ANSI lumen VistaGRAFX each have Whether you're covering a three alarci the light power to replace the video fire, or a heated political debate, you walls used in many newsrooms with a need equipment that can single projection screen. stand up to a rigorous pace. NAB saw two new alternatives to DLP Made of lightweight high - in the area of reflective LCD technolo- tensile aluminum alloy. the gy. Electrohome's new DLV 1280 uses 2 -stage 3141 Professional chips from IBM that offer 1,280x1,024 Video Tripod equipped with the Manfrotto 510 Video resolution. JVC's DLA -G10 offers the ArI it Head can withstand the highest resolution of the group at rigors of everyday filming 1,365x1,024, despite the lowest price 3141 Professional Video Tripod - lrghtweigm 2.stage no matter how hot it gets. in the category at $17,000. JVC's unit is nywmn alone= oar and Ißtsem.hales* coponle *Pt Mee w to 30% tams oho metan Moods For complete information also a reflective LCD, using the D -ILA *epee tie 100mn bowl. sped feet and spreader. d1/ 110111111111111 -An advanced 3-stop drag system. roo hee meet setting anda remen to tender see your dealer, contact us technology developed as an offshoot to of WWI babee Wag adhrsnnem. 360 pan and -75 -70 Ott control with effortless starts and or visit our web site. the Hughes -JVC large venue projection stops. Weigh 8 es. and can handle cetreras up to 191ós. Model 510. or 23 lbs Model 510.10, products. Bogen Tripods However, for all the talk of fixed - are now branded under array devices, the CRT is definitely not the manufacturer's name... Manfrotto gone from the scene. Perhaps the most Bogen Photo Cory.. 565 East Crescent Avenue, Ramsey. NJ 07446 -0506 incredible affirmation of that was the (201)818 -9500 Fay x2011818.9177 e mail: info @bogenphoto.com web: eso bogenphoro.com Circle (89) on Free Info Card

June 1998 Broadcast Engineering 1 77 www.americanradiohistory.com monitors. It is made of lightweight dura- switcher, an AES/EBU 1RU monitor, a ble nylon and folds flat when not in use. reclocking DA and a dual D/A convert- If you need more information than er. The new ABS -1 audio bit splitter is what is found on the monitor, Avitel a portable digital and analog test-sig- was showing under -monitor displays nal generator. Mate to last year's ABB- and tally systems. Other Avitel prod- 1 Audio Bit Buddy, the pair is perfect ucts provide alarms and audio monitor- for testing devices and continuity. ing capabilities. In today's busy control Nvision has been active in digital rooms, many of these items become audio for post -production since 1989. must -haves. DTV benefits from this experience as The final stop on an NAB tour is the the company introduced its new 4000 perfect way to wrap up a look at acces- series of processing equipment. Two sories: How to hold all of these gadgets frames are available to accept a total of By Roy W. Rising in one place and maintain a functional 15 new modules. The 1RU FR4001 Roy Rising is a systems engineer and produc- workplace environment? One interest- tion mixer based in the Los Angeles area. He takes four modules, the 2RU FR4002 ing new alternative on display was the is also a contributing editor for BE's sister holds eight. The 4000 series modules LRx file server system from Winsted. publication. Video Systems. cover a broad range from digital audio With high tower cases and RAID arrays DAs, through 24 bit/96kHz converters becoming a growing part of many edit- The arrival of digital television im- to the SG4410 master digital reference ing and graphics/image manipulation poses a whole new rulebook on video generator. Video modules include DAs, stations, this new modular system pro- production and broadcasting. Howev- audio embedders and disembedders vides multiple slide -out bays designed er, DTV's impact on audio work is for up to six simultaneous AES -3 ste- to handle large computer systems. How- smaller than you might expect. Digital reo channels and 1.5Gb /s HD DAs and ever, it also preserves the ability to audio standards are well- established, electro/optical converters. configure the balance of the work bay and the related practices have been Telect introduced the VersaFrame II to your specific needs. learned and understood. Even Dolby 1RU modular digital conversion sys- One final rack solution is in an area AC3 surround sound is but an exten- tem. Holding four modules, the Versa - often overlooked in transmission area sion of what movies and music already Frame II is a little brother to the 3RU construction: racks specifically designed had going. VersaFrame that holds up to 10 mod- for stability during seismic events - or The soundmixer's task remains much ules. Telect's collection of conversion earthquakes to the uninitiated. This may the same - capture sound that goes tools for digital, component and com- seem like a bit of overkill in many areas, well with the picture. This means it posite video also will include single but earth movement is not restricted to should not call attention to itself, lest it and dual AES/EBU converters and de- those of us who live in California. Other distract from the program. Still there lay lines. parts of the country are prone to the always are new tools, both digital and It just got a little easier to monitor possibility of catastrophic structural fail- analog. Here's a look at some of the multichannel audio thanks to the folks ures, either by earth movement or wind new audio products at this year's show. at D -K Audio. Among this year's new force. Spending a few extra dollars on products was the MSD600C MK II, a racks such as the Seismic Racks dis- DAs and converters four -channel color LCD audio scope played by Zero Corporation's Stanton Longtime manufacturer of premium (see "Pick Hits of NAB '98," p. 90). division is an easy way to insure that audio products for broadcasters, Ward - This master stereo display has both your facility is less prone to outages in Beck Systems introduced an arsenal of analog and digital inputs and a VGA the event of a natural disaster. products for DTV. The 8200 series output if a larger display is desired. Looking at all the accessories and includes digital DAs and converters. These units are available in the states display devices at NAB was a daunting Of special interest is the D8400 7512 through t.c. electronics. task, and space does not permit us to list digital converter/DA with analog out- Miranda Technologies introduced every item of interest. This small sam- puts. The latter eliminates the need for five new imaging (sic) series audio pling, however, returns us to the origi- additional monitoring converters at interfaces. Companion AMX- and nal point of reminding you to not dis- the digital signal's destination. The new ADX -101i mux and demux embed miss the parts of your system that do SELECT series launches with the ver- and extract two channels of analog not receive all the attention due to their satile RAV24 1RU 12x1 audio /video audio in SMPTE serial video signals. cost or complexity. Paying attention to switcher and the ASM4 1RU digital/ The mux includes color -bar and tone what is new and on the edge is essential analog monitoring system. Its displays, test, plus automatic 525 /625 -line de- throughout your facility as the technol- features and conveniences handle a tection. SDA -702i is a dual digital ogy shifts and production techniques good range of monitoring require- audio DA. Inputs include clock regen- rapidly change from analog to digital. ments. The WBS PODS family of cost - eration for jitter reduction. Versatile For more information, circle conscious devices adds a 6x1 digital be (325) on Free Into Card outputs may mixed among

178 Broadcast Engineering June 1998 www.americanradiohistory.com 11051 balanced and 7551 unbalanced. triggering help round out the package Version 6.20 software is now avail- The SDA -721i is a digital audio DA and improved redundant power sup- able, with features such as fast wave- with selectable analog outputs for mon- plies keep the system on the air. form display, file transfer capabilities itoring. The SDM -722i is a dual AES/ Wheatstone introduced the TV -80 and a multichannel digital I/O card. EBU monitoring DAC with signal cor- audio console For more Information, circle developed for medium (327) on Free Info Card rection and clock regeneration. market stations' live and network re- At the Beck Associates booth, several quirements. Based on the TV -1000, the items were on display for TV audio, TV-80 uses all electronic switching for Side gear among them the AESIO digital audio high reliability. Available in a range of New from Harrison by GLW is the converter panel for simple conversion frame sizes, it features computer recall SMS surround monitoring system. De- between 11052 and 7551 audio connec- and display of audio sources, eight mix - veloped as a self -contained system, SMS tions. The VU -2P provides simultaneous minuses and a master IFB panel. Talk - may be used with any mixer having peak and VU displays, as well as phase back is provided to submasters, aux eight or more busses. Monitoring and indication. mixes and mix -minuses for convenient mixing in every surround format is sup - Among the products at the Dolby confirmation of paths. poned, including 5.1 and 7.1. A remote Laboratories booth were decoders and Yamaha was showing several new touchscreen user interface may be con- encoders designed for multichannel dig- mixers in its booth, the 01V Digital figured for music/post style or film style ital sound. The DP561B is a multichan- Console (see "Pick Hits of NAB '98," switching and matrixing. A 256x256 nel reference encoder that incorporates p. 90), the GA32/12 analog mixing switcher allows for any range of source all the signal processing features, chan- console and the 03D ESAM upgrade. selection, plus pre- and post- encoded nel configurations and bit rates encom- Also at Yamaha was the first product in monitoring. passed by the AC -3 standard. The its DSP Factory, the DS2416 digital Presentation environments are prone DP567 is a 1RU, two- channel encoder mixing card, which can be used to trans- to feedback problems. Shure Brothers (see "Pick Hits of NAB '98," p. 90). For form a PC into a multitrack recorder has improved the DFRI1EQ with new reference decoding, the DP562 provides and mixer. version four software. Earlier systems multichannel decoding in a compact Alias/Wavefront was showing Wave - may be upgraded. The system seeks, 1RU unit. frame, along with its new 408+ system. identifies and notches out key feedback For more information, circle (326) on Free Into Card

Mixing consoles Aysis Air by Solid State Logic is a 48- OUR MAST GETS IT UP FAST channel all digital console for live broad- casting. The control surface is made for HILOMAST Telescopic Pneumatic Masts real -time operation incorporating a one- knob-per- function layout. Snapshot re- FEATURES: Full length keyways set of all controls provides efficiency Aluminum collars with low and versatility in production. Connec- friction slide rings tion SSL's Hub to Router extends flex- Locking collars with thumb ibility to over 2,000 sources and desti- screws nations, 20 mix -minuses, channel in- Mast sections heat -treated sens, direct outputs from every channel aluminum alloy and fader-up logic enhance the opera- Alloy pistons with low faction tion. Full multichannel surround is pro- slide rings vided and may be expanded to meet Neoprene seals future needs. Air inlet valve Euphonix has been listening to broad- Air release valve casters. The result is the new CS3100B COMPETITIVE PRICING digitally controlled mixing system avail- For further information contact able with 16 to 104 inputs. Featuring Jim Osborne version 3.11 Mixview software, the ALLEN OSBORNE ASSOC., INC. system addresses on -air requirements. 756 Lakefield Rd., Bldg. J Hyper- Surround panning from every Westlake Village, CA 91361 fader answers the surround sound ques- Tel: (805)495 -8420 FAX (805) 373 -6067 tion. Improved channel name displays and SnapShot Recall aid setup and www.aoa-gps.com changeover. Expandable mix -minus [email protected] bussing for IFBs and Fader Start/GPI

Circle (90) on Free Info Card

June 1998 Broadcast Engineering 179 www.americanradiohistory.com frequencies using precise 1/10 octave cent display and individually adjust- output MCE 58 omni condenser is an digital filters. The new software adds able listen levels. The new TEL -14 two - excellent interview tool. Larger grip parametric control over frequency, channel auto -nulling telephone inter- size and good balance make handling depth and bandwidth. Performance is face uses DSP to obtain over 40dB of and movement effortless and natural. as a 30 -band graphic EQ or 10 -band trans -hybrid loss. It provides versatile Sennheiser had its new Evolution parametric EQ. PC interface and Win- automatic or manual management of microphone series on hand. Introduced dows software provide a clear screen all important functions. Eleven mod- at NAB, was the EM3532 computer - display of all characteristics. ules fit into the 3RU frame. controlled two- channel UHF true di- 360 Systems has upgraded the popu- Intraplex demonstrated a unique ap- versity receiver. The unit features 32 lar Instant Replay hard disk recorder/ plication for its IntraLink ISDN multi- programmable frequencies and cir- player with version 2.0 software. In- plexer. In combination with Telex, ISDN cuitry incorporating PLL synthesis and stant access to 1,000 separate cuts digital circuits were used for remote HiDyn, plus noise reduction. Also on through the find function or 10 banks intercom trunking. In addition to mul- display were the new HD570 stereo of 50 hot -keys is now augmented by tiple I/C paths, the setup provided data headphones. For more information, circle new storage options. A SCSI expansion for control and ID of "virtual" broad- (330) on Free Info Card port allows use of Zip disks for trans- cast centers. Connection to a Telex RTS porting and archiving materials (see ADAM provided one -touch remote in- "Pick Hits of NAB '98," p. 90). Edited tercom control and support for remote Accessories clips created on 360's Short/cut can be broadcasts. Even when every microphone has a For more information. circle digital output, you will still be using now be saved on a Zip disk and trans- (329) on Free Info Card ferred to Instant Replay. The Instant cables. Nemal Electronics Internation- Replay -Short/cut combination is ideal al announced a new 54 -pair multicable for applications that use audio selec- Microphones containing 24 AWG pairs at just over tions that must be frequently updated The USR -100 UHF diversity wireless one inch diameter. Also new are an and/or cued rapidly. 360's D -NET file system by Telex offers 100 -channel extremely flexible single -pair mic cable transfer system delivers high -speed microprocessor controlled versatility. and a re- engineered 37 -pin (12 -pair) transfer to other Instant Replay 2.0 Precise factory tuning avoids interfer- connector with improved ruggedness units or to 360's DigiCart/II Plus ma- ence problems encountered by other and mating characteristics to reduce chines. wide band approaches. Found to be rotated inserts. Also on the subject of removable au- least used nationwide, TV Channels 47, Canare introduced new cable for AES/ dio storage, the Digital Audio Disk 48, 58 and 59 deliver at least 10 simul- EBU applications. Available with braid Recorder (see "Pick Hits of NAB '98," taneous frequencies for field produc- or foil shielding, this 11011 wire comes p. 90) from Advanced Digital Systems tion. Hand -held and body -pack models in cables of up to eight pair. For long - Group (ADSG) provides uncompressed come with high quality Telex micro- run digital systems, new in -line trans- 16 -, 20- or 24 -bit recordings on up to phone elements. formers convert from XLR 11051 to 16 channels. Recordings are stored on Vega revealed the EMP series micro- BNC 75f1 for runs up to 2,000m. A Jaz disks for easy transport. processor controlled, UHF wireless sys- truly unique five -in -one cable stripper For more Information, circle tem. Building on Vega's vast RF experi- is also new. It can be set up to handle five (328) on Free Info Card ence, the series features easy program- different cable or connector types in- ming of each system's 16 selectable cluding, BNC, RCA and F connectors. Intercoms channels. To save power and avoid dig- Stripping is fast, accurate and complete Telex introduced the RTS Zeus DSP ital noise, the processor goes into a in a matter of seconds. intercom system for smaller installa- sleep mode when not needed. The re- Gepco added several audio cables to tions. Delivering 24 channels in 2RU, ceiver provides output convenience, in- its product line. GEP -FLEX, a multi - the Zeus borrows from the larger cluding phase, ground lift and mic/line pair audio cable was re- introduced, this ADAM system to deliver CD- quality level. Full 50mW output gives the trans- time with color -coded pair jackets for communications at a reasonable price. mitters maximum range. easy installation. Gepco's 5522M is a A Windows -based software package First to offer a mic with digital output, new microphone cable designed for provides versatile configuration capa- beyerdynamic adds four new models to high -performance analog applications. bilities. User interface is by way of the line. MCD 101 is an omnidirec- It is also among the most flexible and existing key panels and other devices. tional condenser "vocal" mic with rugged digital audio cables available. Clear -Com unveiled the MicroMatrix AES/EBU output suitable for cable For those needing smaller and lighter Plus 3 system with important new fea- runs up to 300m. The MCD 800 sys- digital audio cable, the 5526EZ is a 26- tures. Modular in design, the 2RU frame tem provides three capsules offering gauge single -pair cable for 11051 appli- can hold 8, 16 or 24 full duplex chan- omni, cardioid and supercardioid pat- cations. nels. The new ICS -2003 12 -key pro- terns. With sensitivities adjusted for Neutrik, long known for innovative grammable master station features an speech, these are ideal for presenta- audio connectors, introduced its new- adjustable high-contrast electrolumines- tions and field reporting. The analog est XLRs, the EaZyCon. All essential

180 Broadcast Engineering June 1998 www.americanradiohistory.com parts of the female connector are en- analysis) equipment offered at closed by a soft -coated surface. Con- NAB '98. tacts are gold -plated and available in a Audio Precision intro- solder version with contacts pre- tinned duced the "dual domain" and pre -fluxed. Also at Neutrik were version of its Portable One NADITBNC adapters for adapting dig- Audio Analyzer. The dual ital audio for use over coax, allowing domain feature means longer cable runs. that the unit includes a In the ADC booth, they were showing complete, separate gener- the new Mark IV series of patchbays. ator and analyzer for ana- Improved features such as slide-out ca- log and digital signals. The ble bars, standardized designation strips unit is capable of analyzing and the QCP IV punch down system analog, digital, and digital in- make installation even easier. Other terface signals in their "native features (and benefits) include the 1X8 domains." In addition, the original Por- QCP blocks that replace individual in- By Kenneth Hunold table One has been upgraded to include sulators, making panels are more dura- Kenneth Hunold is an audio /video project 30 -test setup memories, expanded print- ble and blocks that are insulated on engineer for the ABC Engineering Labora- tory, New York. er support, amplitude sweeps, and an both sides of the panel, to eliminate internal clock/cal- shorts. Color-coded insulators make For test and measurement, the buzz endar. Audio Pre- panels easy to wire, resulting in fewer word at NAB '98 was "analyze." Hardly cision also contin- mistakes. anyone monitors signals anymore, they ued to show its A unique and interesting product from analyze them. And with good reason. System One and Prime Image was the A/V Twister. Using System Two fami- With digital transmission there is so digital technology, the Twister sends much information packed into the signal lies of computer - video and stereo audio up to 3,000 feet that you just can't look at the interface assisted audio test through conventional twisted pair wires. signal and derive much useful informa- & measurement The audio -only model goes beyond tion. Keeping that in mind, let's look equipment. 5,000 feet. Up to 15 receivers can be fed Belar, some of the test and measurement (and a longtime player in the Aural from one transmitter. Numerous tem- porary installations can benefit from the Twister's avoidance of co -ax for video and shielded pairs for audio. 1/11AR Sometimes audio work in the field encounters the need for a battery-pow- Gode t®OWs.r'SDIT ered equivalent of a favorite AC -pow- ered gadget. Henry Engineering now Equipped with an internal 8- channel GPS receiver, you can now offers Portamatch. Operating for about have time, date and time code within 130 nanoseconds ofperfect accuracy 20 hours on two 9V batteries, Por- tamatch interfaces -10dBv consumer anywhere in the world. The ES- 185A's best feature is the price, $2495. UOs with +4dBm 600ft balanced lines. A special HI GAIN mode is provided to ( accept the lower level outputs from computer sound cards. As the use of PCs continues to grow in video production, ESE answers an im- portant need. The new PC-471 card 1 synchronizes the computer's clock with STANDARD FEATURES INCLUDE: SMPTE or ESE time code. Convenient SMPTE/EBU, ESE, IRIG -B, ASCII time Code Outputs Windows and DOS software are provid- 1 PPS Output 8 Satellite Tracking Battery Back -up ed. Also new is the ES -101 GPS master GPS Lock' Indicator 'Automatic Daylight Savings Time Correction clock and time -code generator. Time and Time Zone Offset Antenna 3 Year Warranty AND MORE! date information from Global Position- OPTIONAL FEATURES INCLUDE: ing Satellites is used to generate precise 'Parallel BCD Output 1 KPPS 10 MHz Output 220 VAC 12 VDC code in any of seven formats. Video Inserter Video Sync- Generator For more Information, circle (331) on Free Info Card www :AS e-web A0m í1 14i SIERRA ST., EL SEGUNDO, 90245 USA 310 -322 -2136 FAX: 310 -322 -8127 Circle (91) on Free Info Card

June 1998 Broadcast Engineering 181 www.americanradiohistory.com modulation monitor market was show- dard line -based and frame -based static analyzer is a hand -held digital audio ing its new Wizard TV aural modula- test signals scaled for HDTV scan rates tester that can be used to make detailed tion monitor, which features an RS -232 (both 720- and 1,080 -line) will be avail- observations of digital signals, or pro- port. In addition, Belar had its DSP- able. vide quick go /no go testing. The unit based FM/TV composite spectrum an- Magni Systems introduced enhance- also includes a built -in speaker for con- alyzer. ments to its AVM-510 series of auto- fidence monitoring and channel identi- For analyzing VITS, Broadcast Vid- mated signal monitors for base -band fication. eo Systems has the VITS 2 video/ video and transmitter testing. The AVM - Rohde and Schwarz showed new audio analyzers. It allows you to do 510N and AVM -510T provide a PC MPEG transport stream tools. The DVG quality control of remote transmit- interface that allows remote or local MPEG -2 measurement generator and ters, satellite links and telco video control, data storage, and waveform DVDM MPEG -2 measurement decod- network using a PC and modem. printout. Magni also featured the WFM- er provide source and measurement ca- From the PC, users can access and 720, designed for multisite/multichan- pabilities for MPEG and DVB trans- analyze any line- either field -in the nel monitoring via computer control. port streams. VBI or active video and check video Microvideo Ltd. introduced its Digi- Sencore showed its SV951 MPEG specs and audio levels. Each unit can tal Proc Amp. The unit provides typical stream player, which provides a reli- handle four audio and video inputs, composite proc -amp controls for a com- able, repeatable MPEG signal source and alarms on each can be used to ponent digital (ITU -R 601) signals. Se- for testing ATSC systems. Many output check signal validity or alert opera- lective blanking of individual VBI lines interfaces are available, including G703, tors. is also provided 053, and SMPTE 310M, among oth- James Grunder and Associates showed Modulation Sciences showed its MSI ers. The unit can be upgraded to a full the Hamlet series of analyzers for serial 320 Precision Demodulator for trans- SV953 (see "Pick Hits of NAB '98," digital signals. The Digiscope 601 is a mitter measurements. It is intended for p. 90) transport stream analyzer for 10 -bit serial and analog component measurement quality demodulation of comprehensive testing and analysis. Sen- analyzer that displays digital data infor- television signals. Features include syn- core also showed Adherent's AT970 mation (EDH, CRCC, gamut errors, chronous video detection, selectable line (see "Pick Hits of NAB '98," p. 90) real - etc.) as well as traditional waveform/ zero -carrier reference pulse, Nyquist time ATSC stream monitor, capable of vector and audio PPM or VU displays. SAW filter, flat RF passband and all - monitoring up to four ATSC transport Hamlet's entire line of traditional an- channel operation. Designed for use streams. Also shown was the Sencore alog "waveform rasterizers" was also either off -air or at the transmitter, the complete line of standard definition shown. unit features quadrature outputs for SDI test equipment, including the S310 Horita showed its TSG -50 and SOB ICPM measurements and wideband and DSA309 digital video analyzer. NTSC test generators, as well as BSG- composite outputs for external audio Hewlett- Packard announced several 50 black, sync, and tone generators. demodulators. enhancements to its MPEGscope digi- Horita also has a complete line of time - NewTek showed a new digital version tal video test system. MPEGscope us- code generators and accessories, includ- of its Calibar portable generator. The ers can now define, compile and then ing GPS time and position data. Calibar is a cigar -sized video generator display decodes of their own private Leader Instrument Corporation that can be slipped into your pocket (or tables and descriptors, such as elec- showed its new HDTV generators and toolbox) for quick video testing. The tronic program guides, in plain En- waveform monitors. The LT440D Test analog version of the Calibar is still glish, rather than hexadecimal code. Generator provides HD serial outputs available. The latest version of MPEGscope Plus conforming to SMPTE 292M. The Philips TV Test Equipment, now includes a transport stream composer, 440D provides standard and patholog- known as PTV, ProTeleVision Technol- allowing users to create multiprogram ical signals as well as embedded audio. ogies showed its line of digital TV test transport streams. Finally, the MPEG- Leader also showed the LV5150 Wave- equipment, including the PT5230 digi- scope Plus video elementary stream form Monitor (see "Pick Hits of NAB tal video generator, PT 5210 digital compression analyzer now supports '98," p. 90) capable of monitoring dig- sync generator, PM5664D digital SDI testing of HDTV streams as defined by ital and analog HDTV signals. The unit monitor, and PT5474 digital video an- the ATSC. provides CRCC checksum monitoring alyzer. Also on hand was the PM5639 Another company that makes MPEG -2 for serial digital signals as well as vec- series of CRT analyzers. test and measurement equipment is Dig- tor, picture, and X -Y audio displays. Prism Sound showed its products for ital Transport Systems. This company Leitch showed its STN1 serial timing testing and measuring the digital audio offers real -time solutions that include its analyzer for serial digital systems. The signal. The DSCOPE test set is a com- transport stream analyzer, as well as its STN allows digital system timing to be puter- assisted test set for testing signals transport stream generator. These units set, analyzed, and maintained. Leitch in the digital domain. The JM -1 Jitter can be used in a variety of MPEG -2 also showed a new line of HDTV "dig- Modulator provides a method for test- DVB/ATSC applications. A portable unit ital glue" devices, including an HDTV ing the jitter susceptibility of digital makes it easy to test systems, regardless test generator and logo generator. Stan- audio equipment. The DSA-1 portable of where they are located.

1 82 Broadcast Engineering June 1998 www.americanradiohistory.com Snell and Wilcox showed several pieces of DTV test and As was to be expected, the hottest items in the RF field this production equipment. For MPEG testing, they showed the year were related to DTV. This included transmitters, STL MSA100 transport stream analyzer, MSP100 MPEG bit - links, transmission line systems and an- stream player, and MVA100 video analyzer. For standard tennas. Also anticipated was the an- definition testing, Snell & Wilcox showed its TPG 20 and 21 nouncement by some manufacturers that generators and KUDOS D! generators and monitors. the dreaded n +1 combination problem SyntheSys Research introduced its BitAlyzer HDTV, model was solved. HDVA292. The HDVA292 is a format analyzer for 1.5 Gb /s Probably the biggest new item was the HD serial interfaces conforming to SMPTE 292M. The unit Harris DiamondCD solid -state trans- produces real -time statistics for format errors and includes mitter for DTV The transmitter is avail- logic analyzer features for capturing data and analyzing it off- able in powers ranging from 1.25kW line. The HDVA currently supports the 1,080 /1,035i HDTV average power (5kW peak) up to 25kW standards and will support 720p in the future. SyntheSys average (100kW peak.) As with other continued to show its DVA184C Video BitAlyzer for 270/360 solid -state transmitters of all ilk, the amplifier and power - Mb/s serial interfaces. The DVA 184C now includes support supply modules are hot changeable and the complete system for embedded packet analysis, including EDH embedded is monitored by a master controller. The Harris booth drew audio analysis. large crowds with its DTV van, which was on the convention Tektronix showed many HDTV and DTV test and mea- floor. Hinted at last year and shown this year was a dual - surement products. For MPEG systems, the company showed channel NTSC/ATSC STL, which has was developed by its MTS 100/200 MPEG test system. New software will Leitch and will be sold under the Harris name MultiLinkCD. perform syntactical and semantic analysis on video streams. Harris' new Flexicoder (see "Pick Hits of NAB '98," p. 90) On audio streams, the software will enable testing of audio is a modular system that provides a migration path to HDTV. formats including MPEG layer I and II and multichannel It can be used to compress and multiplex video, audio and audio. Also shown was the PQA -200 picture quality ana- data signals into an ATSC compliant bitstream. lyzer (see "Pick Hits of NAB '98," p. 90) for evaluating the A bit of a surprise came from an old name in transmitters. quality of compressed video systems. 8 -VSB modulation Continental Electronics Corporation was showing a totally measurements were also demonstrated. new TV transmitter. Developed with the cooperation of Videotek expanded the VTM -200 signal monitoring sys- tem, adding analog -only and CAV (component analog video) modules. The VTM -200 is a monitoring device for displaying the combined output of many monitoring products on a single The SVGA screen. Typically a single SVGA screen can show a ti- V ideo picture, waveform, and vectorscope display along with audio 0 bar graphs. Also introduced was a new four -channel audio BrickTM D.A.s A Benchmark option for VTR and embedded audio. Videotek also showed in rack -mount VGA monitors for broadcast use. Price and Performance Ctampinll I xI20MHz YEM showed a series of A/D and D/A converters with 0 RGB or YPbPr analog I/O. These units will add flexibility Loop-llvu Input to DC2141\111/ HDTV testing and measurement. For more information, circle (332) on Free Info Card Audio Balanced or Stereo

Differential Input DC-IBOMHz

l'he 1. f\ l', \l)A -DI provides a it, pthrough Cable differential input making it ideal Ilk Equalizing for those situations where the source signal cannot be interrupted, but where differential input and mulitple unity gain outputs are needed.

I.00pThru Input Gain Control DC200MHz

By Don Markley Quality Don Markley is president of D. L. Markley and Associates, Peoria, IL. Ablutions

Circle (92) on Free Info Card June 1998 Broadcast Engineering 183 www.americanradiohistory.com Telefunken, the new transmitter is sol- the results of operating the Diacrode age and 60kW peak power id -state through 5kW average power. on adjacent DTV and NTSC channels Another supplier of broadcast tubes For power levels above that value, IOTs with good results, fully meeting the was Litton Electron Devices. Litton are added with the solid -state system DTV emission mask. offers a complete line of IOTs, klystrons being used as a driver. One big feature Thomson was also showing a new and constant efficiency amplifiers is that the exciter is totally digital for IOT, the TH770 which operates at 60kW (CEAs). Rebuilding and repair services either NTSC or DTV use. The change common -mode output for NTSC or at for IOTs and internal and external between systems is accomplished by 25kW average power in DTV service. klystrons is also offered by Litton. simply instructing the built -in comput- Measurement data for the TH 770 in Comark, a Thomcast company, er to reconfigure the exciter operation. both types of service was on hand which showed its Advantage line of transmit- That means that the transmitter can be indicated excellent performance at those ters for DTV. These transmitters, in a used for NTSC until needed for DTV. power levels. wide range of powers, are flexible units Then, change the input to the exciter Not to be outdone, EEV was showing that work with several different tube and tell the system to make types from multiple ven- the change. Continental dors - air or water cooled. states that higher power Perhaps its biggest feature solid -state units will defi- is the digital adaptive pre - nitely be shown next year. correction (DAP) system ADC, through ITS Cor- coupled with wideband IPA poration, was showing a stages. The effect of the solid -state DTV transmit- system, including some ter for average power lev- great graphics in the inter- els through 5kW. They also face unit, is to allow the had IOT transmitters user to pick a wide range of through 280kW peak or hardware to tailor the final 100kW average for DTV. system to the exact needs New was a 10kW com- of each individual DTV sta- mon -mode transmitter us- tion. ing the Diacrode in the The big news at LDL final amplifier. ITS also an- Communications is that it nounced an adjacent -chan- isn't. All outstanding shares nel combiner for n +1. The of LDL Communications company states that ver- have been purchased by sions will be available for Larcan. In addition, LeB- both VHF and UHF use. lanc has formed a new Le- Advanced Broadcast Systems (ABS) Blanc Broadcast Inc. to showed its line of IOT transmitters the new IOTD3100W for DTV use at serve the U.S. market with a new pres- ranging up to 300kW peak power out- 25kW average or 100kW peak power. ident, George Patton. That group now put. The transmitters offer individual For analog use, the sister tube IOT9505 becomes the marketing company for correction on each common mode IOT will operate in the combined mode for Larcan transmitters, LeBlanc towers to optimize the overall system perfor- 50kW visual and 5kW aural. They were and antenna systems. The antenna sys- mance. The biggest feature (no pun also showing a new Stellar uplink am- tems are by RFS and RFS Australia. In intended) is its size. ABS subscribes to plifier. The most interesting system was the RFS booth, one of its panel anten- the theory that maintenance is much a 150 -watt unit weighing only 26 nas was shown along with slot systems easier when components are easily ac- pounds. for both DTV and NTSC use. cessible. As a result, they have allowed Burle is also in the game of broadcast At Itelco, they were showing new a lot of space in the cabinets to allow tubes. They offered a complete line of DTV transmitters, a liquid- cooled sol- everything to be easily reached. tubes and cavities for VHF, UHF and id -state unit, as well as an IOT unit that Acrodyne was emphasizing its dual - FM broadcast applications. uses an innovative high -voltage switch channel transmitter wherein both the From CPI's Eimac division comes a mode power supply. Itelco also had a NTSC and the DTV signals use a com- new series of IOT devices designed for high -performance DTV exciter with an mon final amplifier tube. In this case, the digital TV market. These new liq- integrated 8 -VSB modulator. the device is a Diacrode. One transmit- uid- and air-cooled units provide an At the EMCEE booth, they were show- ter will operate with 25kW NTSC and average power of 10kW to 27kW. Peak - ing the TTU2500HD transmitter. It 2.5kW DTV at the same time. This power handling is in the range of 40kW offers 2.5kW (average) output power operation was further discussed by Th- to more than 110kW. CPI also an- on any UHF channel. For DTV opera- omson, manufacturer of the Diacrode. nounced the K3 IOT, a compact air- tion, it will use the Harris ATSC 8 -VSB They had measurement data showing cooled device that handles 12kW aver- exciter. Several other transmitters were

184 Broadcast Enginosring June 1998 www.americanradiohistory.com shown including the TTU1000F, a fre- included a new adjacent -channel com- At Central Tower, some self- support- quency -agile unit that can be used for biner for n -1 applications. ing and guyed tower designs were dis- backup and the TTS2ODS a digital Dielectric also showed a new panel played. In addition to designing new wireless cable transmitter. antenna for any combination of DTV structures, Central Towers also offers NDS showed products to help usher and NTSC systems. These antennas tower analysis services and inspections broadcasters into the digital era. Among can be configured for power inputs up for those looking to add to present them, MPEG encoders for 4:2:0 and to 120kW average. Its new series of towers. 4:2:2 transmission, as well as 8VSB motorized coaxial switches have been For those whose towers are not co- modulation. NDS also demonstrated redesigned to improve reliability and located, some method of transmitter seamless MPEG splicing. to increase the peak -power rating. control is required. Gentner was show- For those simply wanting to monitor ing its GSC-3000 remote controls. New their digital broadcast signals, the ARX- As was to be macro capabilities improve the GSC- 100 from Samsung (see "Pick Hits of expected, the 3000's capabilities, and the Voice In- NAB '98," p. 90) can provide that terface allows the unit to talk, simplify- capability. The ARX -100 ATSC broad- hottest items in ing the human interface. cast receiver's 8 -VSB front -end pro- From Electronic Associates comes two cesses ATSC signals and provides oper- the RF field this PC -based site control systems, the RF- ators with parameters such as signal year were related Manager and the RF- Director. RF -Man- strength, packet error rate and EPG ager system range from 32 to 256 chan- information. to DTV nels in 32- channel increments. For Micro Communications showed its smaller stations, the 16-channel RF- n -1 combining filter with test data dem- Director may be more appropriate. The onstrating that it fully meets the new Andrew was showing its new panel RF- Manager Studio is a dual -site con- DTV mask. A new product was intro- antenna for NTSC and DTV use. As troller, while the RF -Host Multi -Site duced which is a dual -channel com- with other manufacturers, the panel system can handle up to eight sites. mon line coupler. This will allow VHF antenna is ideal for multiplexing several There is even a palm -top Windows CE and UHF signals to be combined into a stations into a common system. By vary- computer "Pocket Monitor." single and then panels, For more information, circle transmission line split ing the number of the orienta- (333) on Free Info Card at the top of the tower to feed separate tion and phasing, almost any pattern antennas. This may eliminate the need can be generated in both the horizontal for adding an additional line to the and vertical planes. tower, which can be helpful in situa- Andrew also showed a new coaxial ET EXCITED tions where the tower loading is criti- line in the 7 3/16 -inch size with standard cal. flanges. Also new was an 83/16 -inch line, APHEX A similar device was shown at the available in the HR series or the Max - AURAL EXCITER Shively booth and Shively also intro- line. The additional sizes and types serve duced a new series of antennas for DTV to meet the DTV needs while minimiz- II MODEL 250 use, including a panel with bat -wing like ing the windloads on the tower. Often copied and never radiators for improved bandwidth. In The 73/16 -inch standard line is also duplicated, the Aphex Aural addition to the panel antennas, Shively available from Myat along with com- I Exciter has the unique was showing slot -antenna systems for biners and the company's standard line ability to increase presence both DTV and NTSC stations. Some of of rigid line components. ® and restore natural bright- the new products are the result of an Among the many antennas in the Jam - IIness and detail without the exchange agreement with Radiacion Y pro booth were the JUHD series of need of significant equaliza- Microondas, S.A. (RYMSA) of Madrid, broadband UHF panel antennas. Jam - tion. You simply must hear Spain. RYMSA is one of Europe's lead- pro also showed stacked NTSC/DTV i the Aphex Aural Exci ter ing manufacturers of FM and TV anten- antennas for dual operation and the believe how it c an improve nas and related RF equipment. high -power JTW series was on display. Li clarity, speech intelligibility Dielectric introduced a new coaxial Antenna Concepts was showed its I and detail without distortion cable in the 73/16 -inch 7551 size. This antenna lines, including the Blaster, 'I or overmodulation. line will be available Dielectric's digiT- Spanner and Champion series, as well 5700 E. Loop 820 S. Line and a new series of cable known as as the Ultra Tracker series for FM broad- Ft. Worth. TX. 76119 Phone: 817- 483 -7474 EHTLine. The new EHTLine increases casters. Antenna Concepts offers a va- Fax: 817 -483 -9952 the average power rating by up to 45% riety of antenna styles, including P P410fISSIONAL AUDIO SUDDEN over previous coaxial line allowing the batwing and panel systems for a wide ww.lights- audio.co use of smaller lines on the tower. This range of power levels. In addition to reduces wind load as new antennas are antennas, a wide range of antenna ac- 800 -433 -766: added for DTV. Other new products cessories was also offered. as @lights- audio.com Circle (98) on Free Into Card

June 1998 Broadcast Engineering 185 www.americanradiohistory.com New Products &

As 'lied Technolo

Key issues in 8 -VSB transport for broadcast applications

BY ROBERT W. HARRIS

I n 1996, the FCC adopted the digital haps the service should be delivered as fiber-optic transport platform when I TV standard based on the recom- a raw bitstream (19Mb /s to 38Mb/s) used for transporting a single 8 -VSB IF mendations from the ATSC. The stan- to the tower over some digital circuit, modulated signal and an NTSC video dard will be used for the transmission such as a DS -3. In this case, an 8 -VSB channel. Since most stations will be of HDTV and SDTV. The ATSC also modulation unit would be required at simulcasting analog and digital for defined the over -the -air transmission the transmission tower site. What im- some time, both signals will need to format to be digital 8 -VSB (vestigial pact would this have on maintenance, get to the tower. This type of a plat- sideband) modulation. The DTV ser- access and monitoring? Will two sep- form allows the 8 -VSB modulated DTV vices may include a combination of arate platforms be required for simul- service to be transported at TV IF, in both HDTV and SDTV. Broadcasters casting NTSC and HDTV services? the range of 41MHz to 47MHz. This are exploring the possibility of provid- There are key issues broadcast engi- technique provides an economical, ing data services, such as web brows- neers encounter when deciding on reliable and scalable common trans- ing, to their viewers also using the 8- transport options for studio -to- trans- port platform solution that supports multiple 8 -VSB IF channels, as well as the other related services. The NTSC service is digitally encoded at 10 -bit DV6000 Transport Platform resolution delivering EIA -250C short - A_Q add -, or distattor haul performance regardless of the Studio Site Q Transmission Site distance or the number of channels lpto00da I310or1550nm carried on the transmission platform. limo 191mpoiMioyoM Each shelf may process up to 16 --e-vse Modulated NTSC Signal different channels. Each of the chan- NT SC A TV IF (41. 47 MHz) RF lpmn,er.r a rate RF nels is digitally encoded to line 1D Tranrrger MINA lpconvner Or Tratt'1ar of approximately 150Mb/s. All 16 38 MDA are then multi- Digital TV Data channels time division Key Advantages plexed to an aggregate data transmis- High Oualky 8.VSB IF Transport rate of 2.4Gb /s. Using fiber -optic No Signal Dgradalion sion Long Distances transmission, point -to -point distances Supports Multiple Services (NTSC. Etrmt. PAL. etc I in excess of 100km (30dB of fiber loss) optional Fgr Path and optical Rdundanoy Consoldatr n of Crsicat Modulation Egulpment are easily achievable.

Figure 1. High -speed digital transport platform for delivering 8-VSB modulated IF and NTSC video. Multiple- and single- service support A digital transport system capable of carrying analog NTSC video, HDTV VSB modulation format. mitter links carrying the current NTSC and SDTV video in 8 -VSB modulated With the FCC -mandated deadlines channel and the impending DTV ser- IF, and data communications can be fast approaching for over- the -air de- vices. One possible solution is a high- valuable to the broadcaster. This type livery of DTV services, broadcasters speed multichannel digital fiber -optic of digital transport platform supports are scrambling to address a number of transport system. This solution pro- nearly every major video standard, issues that involve the transport of the vides a transparent delivery mecha- including 8 -VSB, 16 -VSB, 64/256 8 -VSB modulated services from the nism supporting up to 16 separate QAM, CCIR -601, NTSC, PAL and studio to the transmission tower. Should services on a single, common digital SECAM, as well as various data for- the new DTV services be transported transmission platform over a single mats including 100Mb /s Fast Ether- in 8 -VSB format from the studio to the fiber wavelength. net, DS -3 and DS -1. tower? If so, in what form should the Figure 2 shows how this network can signal be transported/modulated at A digital transmission platform be expanded to deliver multiple chan- intermediate frequency (IF) or modu- Figure 1 shows a typical system nels to multiple sites using advanced lated on the transmission carrier. Per- configuration for a high -speed digital digital processing, redundant ring net-

186 Broadcast EngkasseIng June 1998 www.americanradiohistory.com working and digital switching tech- niques. Advertisement The network uses drop /add/ Insertion Post Production pass multiplexing, demultiplexing and Facility digital switching to allow the flexible NTSC insertion, termination and/or pass - 44e through of video and data services at any or all of the sites. Bidirectional data communications on this plat- TrensnYter CAT`' Dpnai:;»1.n Headend form is helpful, and necessary, for remote transmitter control and moni- ¡at f NTSC svse Events toring and viewing equipment status Network Affirate and alarm messages. Figure 2. A multichannel, multiservice digital transport network with digital switching The digital network supports not and service insertion, termination and/or pass-through. only the 8 -VSB service but also a variety of other service formats (see Figure 2). This allows the broadcaster mum performance impact on the 8- IF to RF upconversion section of the to send and receive direct feeds from VSB IF signal. A digital transport 8 -VSB modulator. This eliminates a post -production houses, CATV head - system will accept the entire 8 -VSB substantial burden on the broadcast ends, local sporting events and adver- modulated IF envelope and perform engineer because the critical compo- tisement insertion agencies. standard A/D conversion and multi- nent, the 8 -VSB modulator, is located Additionally, a single digital- channel plexing in preparation for transmis- at the studio. Adjustments, repairs or fiber -optic transport solution is possi- sion over the fiber -optic network. This unit replacement can be made with- ble. This allows a remotely generated process requires input filtering, dig- out leaving the studio. service to be transported on its own ital sampling and clock synchroni- point -to -point link or to serve as a zation, among other things. Design Redundancy and failure prevention direct fiber tributary in and out of the deficiencies in any of these steps Another key issue for studio-to- trans- multichannel digital platform. Like- could cause unwanted distortions in mitter links is redundancy and failure wise, a single -channel fiber tributary the 8 -VSB service, due to filter non - prevention. Like the NTSC broadcast may be taken directly from the multi- linearities, clock jitter and phase noise. service, the 8 -VSB feed will be an channel shelf and delivered to some Fortunately, these anomalies are well - important revenue stream for local remote site. Further, a single -channel understood by the experienced digital stations. A fully redundant digital 8 -VSB IF transport solution could also design engineer. A properly designed transport system providing both opto- be used for the studio -to- transmitter digital processing and transport sys- electronic and fiber-path redundancy link for cost -sensitive applications. tem will eliminate or greatly reduce is not only appropriate but necessary. these distortions. The resulting output Like the current NTSC video, the Transparent digital transport of the digital transport system is an forthcoming DP/ services will need to Local TV stations need to maximize untainted 8 -VSB IF signal that will not be transported from the studio to the their coverage area when broadcast- compromise the integrity of the end - transmission tower. A high -speed mul- ing an 8 -VSB service over the air. The of-line performance at the furthest tichannel, multiservice digital trans- transmitter used for broadcasting an reaches of the viewing area. port platform provides an ideal solu- 8 -VSB modulated service will pro- tion for transporting the NTSC and the duce some unwanted distortions. Cur- Centralization of key equipment DTV services. It allows the 8 -VSB rent designs allow for transmission to Ideally, local stations would like all modulated service to be transported at the outside boundaries of the viewing key equipment located within the stu- TV IF with minimal signal degrada- area for reception at the customer's dio. This would allow performance tion so that over -the -air transmission set -top box receiver with some error monitoring, maintenance and security distances are not compromised. This margin to spare. To accomplish this, to be accomplished with minimal cost technique also eliminates the need for the 8 -VSB IF signal present at the and high efficiency. However, trans- locating the 8 -VSB modulator at the transmitter input must be free from mission towers are usually unmanned, tower site, making maintenance easi- unwanted distortions. Otherwise, the not close to the studio and sometimes er. Finally, the digital platform offers a signal performance and maximum difficult to get to in poor weather. scaleable solution for adding new ser- coverage area may be reduced. Because the digital transport system vices using multiple formats for multi - When transporting an 8 -VSB IF sig- described here delivers the 8 -VSB IF and single- channel delivery. nal on a digital transmission plat- envelope without unwanted noise and form, one of the most important issues distortions, the relatively expensive 8- is providing a transparent digital trans- VSB modulator can remain within Robert W. Harris is marketing program manager for digital transmission at port without distortions over any dis- the station. All that's required at the ADC Broadband Communications, Meriden, tance. Key to this solution is its mini- transmission tower is the lower -cost CT.

June 1998 Broadcast Engineering 187 www.americanradiohistory.com Stay HDTV conversion equipment tuned... BY KENNETH HUNOLD Don't miss upcoming coverage of these Will your station be starting from the system. technologies: scratch - creating a brand -new As HDTV production becomes more facility dedicated solely to digital high - prevalent, it will be necessary to have July: Video servers definition broadcasting complete with SDTV versions of HDTV programs. This - Complete coverage of the latest in HDTV cameras, recorders, production has already been experienced in such video server technology. Who and editing equipment, and feeding those varied program sources as the Over makes what and with what fea- programs to that new transmitter and America series of programs, the Wood- tures. If you're in the market for a tower located right next door? Great! stock '94 concert broadcast and pay- video server, don't miss this article. You won't need any of the DTV conver- per -view programs, and the recent 1998 sion equipment listed in the accompany- Olympic Winter Games in Nagano, Ja- August: Production ing table (see p. 190). pan. It is also being experienced in the For the rest of us, simultaneous DTV motion -picture community, where switchers Need a new production switcher? and NTSC production will be a reality HDTV transfers of films are being con- Does it need to be digital or HD? for the next decade or so. Many broad- verted to 525- and 625 -line formats for BE experts look at what's available casters have stated that much of the video release. It is theoretically possible and provide guidance for the buy- programming on their DTV stations will to create a better 525 -line version of an ing process. consist of signals digitized and convert- image from a 1,080 -line camera than ed from their current, 525 -line program- you could have gotten with a "native" September: Studio ming schedule. For the purpose of this 525 -line camera. This is due, in part, introduction, and perhaps at the ex- from "oversampling" the image and cre- lighting equipment pense of simplicity or consistency, cur- ating the image "in post." Down -con- Okay, you need to replace that old rent broadcasting formats will be re- version may also become popular in dimmer and lighting system. Do ferred to by their total number of scan- broadcast operations to allow 525 -line you go SRGB or incandescent? ning lines (e.g., 525- and 625 -line sys- monitors to be used as confidence mon- Learn the facts, locate the players tems), while new DTV formats will be itors for HDTV feeds. Indeed, most new before you decide. referred to by the number of active lines HDTV production equipment offers the October: Digital video (e.g., 480, 720, 1,035 or 1,080) with a option of simultaneous HDTV and notation for scanning mode where ap- SDTV outputs. tape recorders propriate (480p, 1,080i, etc.). As different flavors of HDTV develop, The format battles continue. For Broadcasters and program producers program material will need to be ex- users that means confusion. Let will need to convert their signals be- changed between formats. Archival foot- the BE experts "format convert" tween or among, the various production age originally acquired in 1,080 may the confusion to conclusions about formats that will be available. Decisions need to be converted to 720p for inclu- digital VTRs. must be made at the network, group or sion in productions operating in that station level as to which format(s) your standard and vice versa. The politically November: Editing station will support. correct term for these devices could be systems All SDTV programs will need to be "cross converter" or "format convert- Does NLE mean "Never Liked the converted to DTV formats for transmis- er" or just "converter," but their func- Equipment" to you? Don't be con- sion. This is commonly referred to as up- tion will be just as necessary as 525 -625 fused by vendor claims. We'll re- conversion, where 525 -line signals are standards converters have been for SDTV move the smoke and mirrors on converted to 480p, 1080i, or 720p sig- program exchange. non -linear editing systems in this nals. Anytime you are trying to make The introduction of DTV, and more issue. more out of less, the challenge is to make specifically HDTV, has created the need the resulting high line rate signal look to bring our legacy TV system into the December: Cameras like it has more information than it had digital age. A change of this magnitude Lights. . .Camera. . .Action . . . with fewer lines. The 525 to 480i conver- will take years, ensuring the necessity of Oops, need new cameras for your sions are a relatively straightforward SDTV and HDTV conversion equip- facility? Discover the latest features case of analog -to- digital conversion, of- ment for years to come. and advantages of the new wave ten including composite (NTSC) to com- of cameras. Whether its for DTV or SD, all the players will be here. ponent decoding, if the conversion has Kenneth Hunold is an audio /video project engi- not already been performed elsewhere in neer for the ABC Engineering Laboratory, New York.

188 Broadcast Engineering June 1998 www.americanradiohistory.com Windows to the Web

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June 1998 Broadcast Engineering 189 www.americanradiohistory.com Company Product Input scan rates Output scan Input formals Output formats Calaimetry Input color Output color Genlock Sonnet Audio delay Special name/Model rates conversion standards standards compensation traitors number

100 Aspect Mon 525625 525/625 Serial digital D7 serial dune, NA WA WA Not 1 frame internal .31 13 511 0000 Ratio Converter 270Mb 270Mb delay (1 frame) www axon M RS/ 350

Communications ScanDo Pro/D Up to Serial digital VGA. SVGA and NTSC. PAL CCIR 601 WA 'Sa (AI Genlock WA Specialties 10244768. output. CCIR Mac serial digital component ii . ! input'pass-

1516) 273-0404 refresh rates up 601 component. component. SMPTE 259M t lough BNC vnyw mmspecial to 75Hz and omposite. Y /C. omposite. V/C. corn 601,110 cVUV and RGB c VUV and RGO RS/ 351 formats

Even, HOW DA 525/625720/ 525525/724 Sena! digital Serial digital' (905) 335 -3700 HD9501 -DA 1080 1080 SMPTE 292M SMPTE 292M www evert corn RS/ 352

RSA 353 HD9590 1080,720025- SMPTE 292M Sena! MOW. SMPTE 292M WA

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Faroude DF15000 Analog Digital and 480p. 720p. composite. V /C. YUWNGB HD YCrCb or VPrPA NTSC RGB. YPrPb. MD, SD Br and 3rd party. Proprietary Laboratories Format digital interlaced 1O80r YUV/RGB. Dl. SDi c omponenl. YCrCO. HD. SDI To-level sync output audio algorithm. (408) 735-1492 Translator 15 75kH7 02 RGB delay motion www faroudla com information prediction. Wm RS/ 354 mode. diapone filter. NT server Time-code control

Leith Juno HDTV 52S59.94 8 63 1080. 720. 480 Analog Arabe CCIR Rec 709 All world CCIR Rec 709 SD 8 HD Externabinternal Motion adaptive (757) 5482300 Upcanverter 62550 composite. SDI component. standards options film mode www.leihhCOm component HDSDI RS/ 355

Miranda the Stellar 525(29 97 525p.5994. Serial digital S,r1,11 canal Component Component SD or HO In- External i lip 1514) 333-1772 Series 525p/59 94 525p/60. VOW, level miranda com 720p/59.94, S RS/ 356 720p/60. 1080x29 97. 10801(30

Panasonic Broadcast AI-VFC1800 All ATSC -D1V All ATSC -DTV Analog. All ATSC-DTV CCIR Rec 601 NTSC, RISC HD. SD, SMPTE 8 channels Spatial 8 Digital Systems Universal Video formats formats parallel/serial toners or 709 Component. Component. 259/294292 conversion inn IBM) 528.8601 Format digital, RGB. SD/HD SD/HD arldactsi WNW panasonic com- Converter YPSPr /PBDS RS/ 357

Ross Video Lid DOC -8013 D.A 525/625 525/625 422 Serial Analog NTSC Component SD (613) 652 -4886 Component Mortal component www osswdeo com Convener component RS/ 358

RS/ 359 DAC-8015422 525/625 525/625 422 Serial NTSC 422 Serial NTSC SC 3-line ad4ptr:e to NTSCPAL d(gnal digital enhanced Enhanced component component encoding Encoder

RS/ 360 ADC -8033 525'625 525/625 Analog 4 C 2 Serial Component SD 2, RGBNW to component digital Oversampled/ 4 2 2 Serial .. omponent ?Oh Convener

RS/ 361 GOT-8031 525/625 525/625 NTSC or PAL 4 2 2 Serial NTSC Component SO 3-line adaptive NTSC/PAL to digital 4 2 2 comb biter 4 2.2 Senal component decoding with Digital Decoder trance and field modes

Snell 8 Wilcox H05050 5084, 5994Hz 601,.599444, Parallel/send! 1125/60, Rec. 60t Digital WA HD Tn-Syncly No Proprietary /408) 2604000 Upconverter dedal. Rea. 656 1125/5994 (SMPTE component SD Br -sync filtering U S (1035 acpve 274240) a . www srMlvnkm com fines), 1125/60, but. aspect 112559.94 ratio control Europe (1080 active with smooth .44181.607.9455 Imes): 750/60, pan-scan and RSI 362 7545994 (720 picture position active lines)

RS8 363 HD200 604. 59.9411,, 59.94Hz, 5041, 1125/60. Rec. 601 digital, Rec 601 Analog NTSC, PAL. SD Bi-sync No Propoehu, DJmlconvMer 50Hz 1125/59.94, analog component. HO PALM PA -N interpolation 125053 720p. component. serial digital akornhm. 4B0p analog analog component component HD composte renal digita

RSA 364 H040(10 Frame 60H,. 59.94840 60810. 59941 SDI SMPTE SDI None NTSC RISC RD In -sync TIM In -burn tent Synchronizer 292M SMPTE292M pattern generator freeze Matron. tour mentor), presets

RS/ 365 H050 59.9480 50440 60Hz. 59.94417. Malog 108459.94. None Composite. Analog HD Th-sync IBA Proprietary Upcoeverter 50440 comment: 1125/60. MSC. PAL. component Interpolation YPSPn, GERS. 72459.94. Component algorithms V/C, 48459.94. YPSPr. GBRS. Analog 125050 Y/C composite: NTSC. PAL

Table 1. Simultaneous DTV and NTSC production will be a reality for the next decade. This table shows some of the DTV conversion equipment that will be needed during the transition to DTV. The production information was supplied by respective vendors in response to a questionnaire supplied by the BE staff editors. For more information, circle the appropriate RS# numbers (see column 1) on the Free Info Card on page 197.

190 Broadcast Engineering June 1998 www.americanradiohistory.com Company Product Input scan rates Output scan Input lormals Output formals Colonmetry Input color Output color Genlock lormal Audio delay Special name Model rates conversion standards standards compensation Natures number

Rs. 366 HD6000 60H7. 5994H: 6011; 59941v SDI SMPII SDI SMPTE Not needed NTSC NTSC HD Trysyne No11 Proprietary Crosscotvener 292M 292M Interpolation (held ate algorithms with convenerl 'Soft drop or add' capatlfy tor seamless conversion

RS/ 367 HD5100 60111. 59.94117. 1125/60. Rec. 601 112550. None NTSC. PAL. WA HD Tris /nc, SD Nu Proprietary Upcarvenei 50111 1125/59 94. parallel and 1125,59 94. SECAM. PAL -M. 8rrvnc lineup 1250 -50. sera) 1250 -50. PAL -N. algorithms, 525/60, 62550 ducal analog 525/60. NTSC4 43 bun-in aspect component. 625501 5G ration contra YPhPr. GERS. serial digital and with smooth WC. analog analog pan -scan and composite component picture positron Key channel option

RS/ 368 1103100 Cross- 60h11, 59.9411. SOH: from Analog Digital serial None Analog NTSC. PAL. HD To-sync No Ph C motion Downconvener 50H: 1250/50 Input, c omponent and parallel. component SECAM. PAL-M. estimation 5994H: from It25/60. Rec 656. PAL-N. option. cross others 1125/59 94 analog NTSC4 43 on of 10505954. component coheld ate, 1250/50 YPhPr, GERS. buil4m aspect O/C. analog ration control composite wM smooth NTSC. PAL. pan scan and PALM. PAL-N. picture position SECAM, NTSC4 43

RS. 369 H02100 6011:, 59 94117, 50H: from Analog Digital sepal Une Analog NTSC, PAL. HD Trrsync No Bmlt-in aspect Downconvener 50H7 125050 Input. component and parallel. component SECAM. PAL -M. ration control 5994 trono 1125/60. Roc 656. PAL-NNTSC4 43 with smooth others 1125/59 94. analog pan scan and 1050/59.54. Competent picture position 1250/50, VPbPr, GERS. 52559.94. V/C. analog 62550 composite NTSC. PAL. PAL-M. PAL -N. SECAM, NTSC4 43

Son/ HKPI 525 HDTV 1080:1035 525 SMPTE 292M SMPTE 259M. CCIR 601 or Component CCIR 601 or HD / dnnn. Aspect ratio (4081955 -3114 Downconvener automatic 270 MOrs 4.444 1HDI 4444 selection. image VVWW song corn detection component enhancer RSA 370 adjustable

Team Systems ASTRO 502024 Arrythrng Iron Anything from Cote v d/SVH- RGBMPhPr/VJN NTSCPA/Com- Component Bi- or tri- NiA Aspect-Raho 1408 -720-8877) Scan Convener NTSC to 10801 NTSC to 1080 S/RGBHPbPr:Y- ponent IeveVseparate/S correction/700- www team-systems (including UV on G MNp to four COM 1280110241 presets RSe 371

Thomson Broadcast HDE5100 NTSC 60f, SDI. SMPTE 10801. 720P NA NTSC Systems 599411: 480e and SDI RS. 372

VAS Group RTC 1103ß 480/720/1080 525/625/625-2- RGB, Serial Serial drgdál CCIR-601 RGB. componentomponent Br of to -level. 2-frame delay 3 2 pulldovm. (8181 843 -4831 Downcoerletnn propresseve or 41 /s digital. HO -SDI component digital SO and HD lock proprietary www.vasgroup corn and Format interlaced digital Modal litters RSa 373 converter 525/626/625 -2- 415

OEM America ADC: DAC -1125 Analog IRGB 10801 or 720P 13101 544 9343 720P ND DIA VPbPr 2 and 3 NNW ye Ill cam Convener sync selec4 and RS. 3.4 Digital (parallel/serial)

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June 1998 Broadcast Engineering 191 www.americanradiohistory.com Be the safe center in a skirmish BY KARE ANDERSON

Recently, in a heated office meeting, rated on their version of the recom- involved. The more time we invested I became aware that Clay, a new mendation. When others felt strongly in the meeting, the more motivated we person in our organization, was grad- on a certain position, Clay would make became to agree on a plan, so that we ually becoming the most powerful per- a note of their comments. His writing would not have to go through the son in the meeting. He said little ini- kept the tempo of the meeting from process again. tially, however, he would turn and becoming frenzied again. If someone By listening and clarifying, Clay also lean slightly toward whoever was started to bring up a point after it had brought the speed and tempo of the speaking. Then he would occasionally been discussed, he'd look down at his meeting down. While it initially ap- nod or write down a note. Although paper and say something like, "Good, peared that we were moving more Clay didn't offer an opinion, he did we seem to have that one down already. slowly toward a solution, we actually ask clarifying questions and sometimes Thanks." were more efficient. As Daniel Schorr would nod in agreement. He had what As Clay moved on, people interrupt- said recently when speaking about the communications coach Arch Lustberg ed each other less and waited until he loss of civility in our daily conversa- calls an "open face," with slightly was done writing before bringing up a tions, "Civility itself is strength today. raised eyebrows. The people who move us to He managed to open the discussion polite discourse strengthen Look for positive intent themselves and their posi- During the meeting, two back up to everyone, while allowing tions by contrast with the people became exasperated unbecoming war around with each other. Clay re- the most intense parties to back them." The most important mained unruffled, and look- time to speak more warmly ing around to include the down from their verbal rock throwing and slowly and be more ge- others who had been left on nial in word and action is the sidelines of the main bat- without losing face. when others are least po- tle, he said, "Let's see what lite. The contrast will be points we all agree on right vivid. now, and then discuss where we aren't new point. Finally he said, "It appears Clay's technique of handling the agree- in agreement. OK ?" Thus, he managed that we have some different approach- ment process showed that how you do to open the discussion back up to ev- es for the last points." As he looked something may become more impor- eryone at the meeting. At the same directly at one of the two involved in tant than what you say or do. Clay's time, this allowed the most intense the initial argument, Clay said, "What power to bring out the best side in each parties to back down from their verbal if we hear from people who haven't of us, rather than the bitter or rancor- rock throwing without losing face. told us their views on it ?" ous side, was the key to his power in the "Let me see," Clay said slowly and group. He emerged as "safe center" we casually, using the Columbo technique Artful weaving could trust to fairly represent all of our of easing into a process, "as Ruth sug- After others had voiced their opin- interests. As a result, he became the gested, it seems that we all want some ion, Clay then said, "May I tell you my leader, not by dominance, but by de- kind of ..." and he summarized a point view ?" After we had nodded agree- fault. that we all had agreed upon earlier. ment, he began by characterizing his The next time you find yourself "Then it seems that some of us also want proposal as a partial synthesis of what caught in the beginnings of a group ..." and he briefly summarized two others had said earlier: "Well, Jim, argument, try one of the techniques other points. "... Is that right Brian ?" you and Maria both seemed to prefer described above. The next battle may he asked turning to the person who had a version of..." He went on to sum- give you the opportunity to practice first advocated the action. Because Clay marize their view as the groundwork being a "safe center." built some positive momentum into the for expressing his own. Clay conclud- group, we deferred to him. ed with, "Am I at all close on this ?" He continued in this fashion, writing He continued to weave together ar- Kare Anderson is a speaker and author. Visit down the actions after people elabo- eas of agreement keeping everyone her web site at www.sayitbetter.com.

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June 1998 Broadcast Engineering 193 www.americanradiohistory.com Business Wire

Business providers so that they can deliver the ed upgrade to the audio and video rout- Lockheed Martin Space Mission Sys- Tektronix broadcast -quality video as a ing systems that provide signals to NBC's tems and Services of Houston purchased service through their standard network New York operations. encoders and decoders from Ross Vid- infrastructure. VideoTele.com offers a Calrec Audio Ltd announced that NEP eo. The RossGear is being used in an portfolio of synergistic products, in- Inc. has placed an order for a third 60- Image Processing Unit (IPU) that Lock- cluding software and hardware for channel Q2 dual in -line analog console. heed Martin designed for the Interna- trunking or managing distribution of The company also owns two Calrec S tional Space Station Japanese Experi- video over private networks, for inter- Series consoles that have been in service ment Module OEM). Lockhead chose active conferencing, and for delivering since 1996. The new console will help the encoders and decoders based upon video content to desktop computers via handle on- location audio mixing re- commercially proven designs. Ross built intranets. Stephen J. King is vice presi- quirements for NBC Sports. The desks and delivered special VME -bus versions dent and general manager of will be installed in OB units ND1 and of its CDT-8031 NTSC/PAL to 4:2:2 VideoTele.com. ND2. serial decoder and SMA -8014 serial Tektronix also announced that Flori- component monitor adapter to comply da's News Channel (FNC) ordered the In a major upgrade of its electronic with the project's requirements. Tektronix M2 Series MPEG -2 video newsgathering equipment, CBS affili- edge device. The system will form part ate WDBJ -TV, Roanoke, VA, complet- The Systems Group completed the of a major new ATM -based fiber -optic ed a conversion of its news department broadcast systems integration contract networking that will link FNC's princi- to Panasonic DVCPRO. The purchase for the new MTV studios in New York pal Tallahassee location to six affiliates includes 57 DVCPRO units, including at Times Square. The facility is the across the state. The M2 Series video - 10 AJ -D700 camcorders, three AJ -LT75 permanent home and central produc- edge device enables video service pro- laptop editing systems, 14 AJ -D750 tion facility for MTV. The contract in- viders to move digital video material studio editing VTRs, 15 AJ -D650 stu- cluded the design and installation of intrafacility with higher quality at less dio editing VTRs and 15 AJ -D230 desk- two state -of -the -art TV studios and bandwidth. top VTRs. control rooms. The Systems Group de- signed, engineered, fabricated and in- Sparling was presented with a 1998 Snell & Wilcox was presented with a stalled the technical systems and also National Engineering Excellence Hon- Queen's Award for Technology by His supplied the equipment and materials. or award by the American Consulting Royal Highness, The Prince of Wales, The facility is digital component based Engineers Council (ACEC) at its annual on behalf of Her Majesty, The Queen, and includes a six -camera studio /con- convention. Sparling received the award in a ceremony at the company's head- trol room operation, a second studio/ for designing the electrical, control room for simultaneous produc- telecommunications and tions and a 12- station graphics area. broadcast systems at KCPQ Channel 13 Fox. At the Pro-Bel America, Chyron Corpora- outset of the project, KCPQ tion's routing and automation subsid- managers asked Sparling to iary, received a purchase order valued design a DTV system capa- at $5 million to provide a large serial ble of accommodating digital video routing matrix to DI- present analog programs. RECTV for its Los Angeles Broadcast Sparling delivered an all - Center (LABC). The LABC will share digital production facility broadcasting responsibilities with the where analog signals are existing DIRECTV Castle Rock Broad- converted to digital at the cast Center (CBRC) located in Castle Snell & Wilcox front -end. Rock, CO. Both centers will be points quarters. The award was given for tech- of origin for the DIRECTV entertain- Communications Engineering Inc. nical and innovative achievement in the ment and informational programming (CEI) was contracted by NBC for its production of the new Alchemist Ph.0 service. recent technical renovation at Rock- (phase correlation) motion compensat- Tektronix will tap into high -growth efeller Center. NBC's multiyear plan ed standards converter and is the sixth networking, telecommunications and prepares the network for the expanded Queen's Award for Snell & Wilcox. broadcasting markets through its new- requirements driven by television's on- Philips Digital Video Systems has sold ly formed business unit, VideoTele.com. going move to DTV. The facility en- five LDK 2000PS digital TrueFrame The business unit will provide video hancements include a CEI- implement- progressive field cameras to Los Ange- communications products to service

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TRIED THE REST' NOW TRY THE BEST! Circle (108) on Free Info Card Circle (101) on Free Info Card Circle (102) on Free Info Card June 1998 Broadcast Engineering 1 95 www.americanradiohistory.com les facility company Video One. The LDK 2000PS features DOWN THE BLOCK OR the TrueFrame progressive scanning technology, which improves vertical resolution by 50% over present inter- AROUND THE WORLD laced pictures. The camera is able to switch instantly Our exclusive options of Tilt -Wheels and Extension between 480 -active -line progressive and standard- defini- Handle have been used on thousands of cases for tion interlaced in either 4:3 or 16:9 aspect ratio, while its the last 10 years! 601 SDV output fits into existing 270Mb /s infrastructures. Chrome-plated steel Extension -Handle pulls out The company has also entered into an agreement to form and locks in place for ease of transporting and easily slides back when not in use a strategic marketing alliance with Video Products Group Rugged 3 inch Neoprene Tilt- Wheels are Inc. to provide integrated systems for digital video trans- engineered right into the case structure. Pushing or pulling the case is a breeze. port applications. Video Products Group is involved in the design and production codecs and allied products for Custom cases made to your optical transport of contribution -quality digital video sig- specifications in any size nals at both full and reduced bit rates. or quantity. Call Now for the complete list Softimage announced that the SOFTIMAGEI3D anima- 4i. oof Cabbage Cases and their tion tool was used by Centropolis Effects (CFX) to animate options. Godzilla. This film is the latest in a string of more than 30 major feature films in which SOFTIMAGEI3D has been used to deliver character animation and computer graphics effects. CFX used SOFTIMAGEI3D for character anima- CABBAGE tion, as well as for lighting and texturing of Godzilla. CFX CASES INC. also employed Softimage mental rayR for rendering of the creature. In addition to animating the Godzilla character 1166 -C STEELWOOD ROAD and its progeny, SOFTIMAGEI3D was used to animate the COLUMBUS, OHIO 43212 614 -486 -2495 climactic scene in which Godzilla's terror reigns on a FAX -486 -2788 800 -888-2495 computer -graphics version of the Brooklyn Bridge. Additionally, ViewpointR DataLabs International an- Circle (93) on Free Info Card nounced that the movie features Viewpoint 3 -D computer models. Viewpoint created the monstrous 3 -D model of Godzilla in a detailed and extensive digitizing and comput- er- graphics (CG) modeling project. Among the many firsts Video Compression of the Godzilla production, Viewpoint's CG model of Godzilla appears in over 90% of the shots featuring the star character - the most extensive use of a full- screen CG Video character animation in feature film history. Viewpoint's 3 -D Orde Compression Godzilla model is so realistic that Centropolis was able to #34 use Viewpoint's CG Godzilla interchangeably with physical miniatures and animatronics of the creature, as well as $55 incorporating it with live- action background footage. Quantel announced that Group W Network Services (GWNS), Stamford, CT, purchased a fully configured Hal Because you need 504 video design suite to enhance its full -service TV pro- to know! duction, origination and satellite distribution complex. Video Compression covers everything With the addition of the Hal, GWNS will be able to handle video engineer needs to know about JPE a project from start to finish, and will also offer high -end and MPEG! It reviews today's technologie graphics. and previews future developments in the Tektronix announced that Turner Entertainment Net- field, covering the fundamentals of works chose the Profile video file server to transition the sampled images to compression tools and Turner Network Television (TNT) cable network to an performance considerations. Author Peter MPEG-2 server -based solution. The Profile servers will Symes, a video engineer, also discuss: replace TNT's tape -based cart system. Turner Entertain- ATSC implementation issues and video v ment Networks plans to install the system in its Atlanta - computer graphics in his book. 304 pp based programming origination facility. ISBN #0 -07- 063344 -4. Sony Electronics announced that WTKR -TV in Norfolk, VA, has selected three of its DXC -D30 digital cameras. The Broadcast www.internettelephony.com ENGINEERING VCMo98B purchase marked the beginning of the facilities planned transition from analog to digital. The DXC -D30 cameras

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are being used as studio cameras, along People with Sony's CCU -M5 camera control suite of effects, editorial and graphic Robert Mueller has been named pres- unit, offering engineers remote access solutions. In conjunction with this an- ident of Panasonic Broadcast & Digi- to the camera's features. nouncement, the company has appoint- tal Systems Company (PBDSC), Secau- Sony also announced that Crawford ed John Spencer, director of broadcast cus, NJ. Communications, a full- service post - and production, to head the new team. production facility in Atlanta, is using Lawrence S. Brody was its HDM -2830 HDTV monitors to elected president and Randy Hood has been named CEO of evaluate film transfer in various as- chairman of the board at Pathlight Technology, Ithaca, NY. pects of the company's work, includ- Communications Engi- ing TV series and commercials. The neering Inc., Newington, Lawrence S. Chyron Corporation, Melville, NY, high- definition monitors are being used VA. Brody appointed Michael Carrieri as vice pres- for color -correction sessions when ident of engineering. transferring film images to videotape. Quantegy Inc., Peachtree City, GA, Azden Corporation, has named Alex Sorokin as president NTL awarded NDS Systems a digital Franklin Square, NY, has and CEO of the company, and Tony D. terrestrial technology contract, worth announced the promotion Wilson as vice president of sales and over $40 million, for digital terrestrial of two executives to the customer service for the United States TV (DTV) networks in the United King- position of vice president. and Canada. Also announced were the dom. NDS will supply its System 3000 Wayne Alonso, formerly Wayne Alonso promotions of Brian McCarthy to field DTV video compression, modulating, the national sales manager for video sales manager of distributor programs; multiplexing and transcoding solu- products, has been appointed vice pres- Dori Talbott as manager of distributor tions, and will work closely with NTL ident of sales/video divi- programs; and Myra Rockymore as to provide support through a five -year sion. David Olivier, for- manager of marketing, sales and service. service contract. The contract was made merly national sales man- after NTL received two major con- Discreet Logic, Montreal, announced ager for pro sound prod- tracts to construct and operate digital the creation of a new advanced TV team ucts, has been promoted to terrestrial TV networks for Digital 3 & designed specifically to work with the vice president of sales/pro 4 Ltd and for S4C /Channel 5 /SDN. broadcast industry to deliver a complete David Olivier sound division.

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PVW -2650 and PVW -2800 (generates as irate monochrome hl FGB input and swrtchable aspect ratio pictures at up to 24% r monitors input can - well) read VITC, LTC time code as well as User Bits. EcVInI They Feature: roued to switch bet . Sir last prey time code. Regen Preset. or RecRun Free -Run selections 50 d res of horizontal resolution Isly selected input and the current Builtsn character generator displays time code or CTL data In- '-oldie NTSC NTSC 443 PAL and a S I l l m o r n to, ;- -'set on re !..r. liolral parameters PvW -2650 Only PVW -28E0 Only ' - m x3 times normal Budt-m comprelii - PVM- 14M2U/14M4U & tir Motion LOP , of uvrdes slow 20M2U/20M4U editing capabiW. 13 -inch and 19 -inch Production Monitors

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Place your CRAWFORD COMMUNICATIONS Television Maintenance Engineer. Crawford business on Communi- cations, the premier post production facility top of the in the Southeast, has opportunity for bright, world with experienced maintenance engineer. Minimum 32,000+ five years experience with online and offline worldwide editing systems. Digital and analog tape trans- circulation! port experience required. Windows experi- ence a plus. Submit resume and salary re- Advertise in quirement to: J. Fortner, Chief Engineer, Broadcast C rawfordCommunications ,5354PIasamourDr., Engineering! Atlanta,GA 30324 or [email protected]

TECHNICIAN /OPERATOR - Tribune Broad- casting owned ABC affiliate has an opening for experienced TECHNICIAN /OPERATOR. Duties will include operation and maintenance of the Ground Facilities Structural Studies station's ENG live trucks, remote broadcast 0. Earth Stations Static/Dynamic Analyses activities, and light field and studio equip- FAM7OZZ/ Towers Failure Analyses Civil works Risk Assessments ment maintenance. SNG experience is a plus. Testing/Inspections Location/Height Verification FCC General Class TV Tall Towers Surveying/GIS or SBE Certification and 3 to 5 years of news experience preferred. A Engineers /Constructors Design / Build valid drivers license and clean driving record PROVIDING TURNKEY ENGINEERING AND CONSTRUCTION required. Send resume and cover letter to SERVICES TO THE COMMUNICATIONS INDUSTRY Keith Cibulski, WGNO -TV, #2 Canal St. -Ste 2800, New Orleans, LA 70130; fax (504)581- 93 Devine Street San Jose CA 95110 2182; eMail [email protected]. No phone 14081297 -2700 FAX:(408)297 -2766 calls. EOE. Circle (153) on Free Info Card

BROADCAST TECHNICIANS The National Digital Television Center is looking for broad- Help Wanted cast technicians. The successful candidates MAINTENANCE ENGINEER Qualified candi- CHIEF ENGINEER Successful candidate must will have two plus years experience in compo- dates must have experience repairing and be well -versed with News operation and sup- nent level VTR repair (Beta, Digital Betacam, maintaining a TV broadcast facility and can port, capital budgets and all broadcast engi- etc.) and video monitor repair. Tektronix trouble shoot to component level. Experi- neering practices. Hands -on experience with Profile and Alamar automation experience ence with UHF a plus. FCC or SBE certification studio operations and UHF transmitters re- highly desirable. A high level of digital and preferred. Candidate must be a self motivated quired. Should be a "quick thinker", "quick analog audio and video knowledge and com- person. We are a very progressive station, mover', who has the ability to get things done puter skills essential. A drug test and back- preparing for the digital future. Our friendly on time and within budget. If you are a trainer ground screen will be required of all success- community has a high quality of life. Send and a mentor, send cover letter, resume and ful candidates. Send resumes to: TCI -NDTC, resume, cover letter and references to Chief salary history to Hugh Breslin, NBC 25, Dept. 4100 East Dry Creek Road, Room 118 /Attn: Engineer, WLFI TV18, 2605 Yeager Road, West Z, 13 East Washington Street, Hagerstown, Rodney Beelow, Littleton, CO 80122. EOE Lafayette, IN 47906. EOE Employer. MD 21740. Comprehensive benefit package, including 401(k) and section 125 plans. Drug screen required. EOE NATIONAL SALES MANAGER, WJTV, a CBS ACCOUNT EXECUTIVE WCFC TV38 seeks an affiliate owned and operated by the Media Account Executive with 3 yr. Broadcast Sales General Broadcast Group is seeking individual experience. Must have excellent communica- CHIEF ENGINEER opening at Vermont's ABC with a proven track record in National Sales. tions and presentation skills and be a highly affiliate. WVNY TV has a full -time opening for The ideal candidate is a self- starter, orga- motivated self- starter. Send resumes only (no a Chief Engineer. Hands on manager would nized, goal oriented and Interested in growth calls) to: Human Resources Dept. WCFC TV38, oversee all aspects of the engineering depart- oriented broadcast company concentrating 38 S. Peoria, Chicago, IL 60607. An equal ment. Strong computer and /or RF knowledge its efforts in the Southeastern region of the opportunity employer. preferred. Applicants should have a mini- U.S. Qualifications for the position include: mum of five years broadcast engineering expe- a 4 year college degree, preferable in business; rience. WVNY will be under new ownership computer skills, and a general understanding PROMOTE YOUR SERVICES in June. Call Ken Kasz R802-658-8022 with any of marketing principles. To apply send cover and increase business for as low as questions. Send resume to: Director of letter and resume to: Human Resources s 13400 per insertion. Broadcast Operations, WVNY TV, 100 Market Dept., WJTV, 1820 TV Rd, Jackson, MS 39204. Call 800 -896 -9939 Square, Burlington, Vermont 50401. EOE EOE M /F, Pre -Emp Drug Test req.

208 Broadcast Engineering June 1998 www.americanradiohistory.com Help Wanted

MEDIA SYSTEMS ENGINEER Purdue Univer- VIDEO MAINTENANCE ENGINEER Join The CHIEF ENGINEER sity, West Lafayette, IN. The Media Systems Expanding News 12 Networks As We Continue Engineer works in the Instructional Technolo- To Innovate Local Cable News News 12 Re- gies Facility of Continuing Engineering Educa- gional Networks is seeking an Engineer skilled KMEX -TV, L.A.'s leading Spanish language tion (CEE) which provides credit and non- in analog and digital electronics repair. Can- station has an opportunity available for a credit courses through media -based delivery didate must possess a good understanding of highly motivated individual to oversee the to practicing engineers throughout the world system wiring and design, and the ability to technical operations. Must have 7 -IO years using IHETS (Indiana Higher Education Tele- service Betacam VCRs, field and studio cam- experience in TV broadcast engineering communication System) Television network eras, monitors, switchers, routers, digital management including supervising techni- (one -way video, 2-way audio). Credit and non- editing, paint boxes and still stores. Must be cal personnel, complete understanding of credit courses are also delivered via video- a self- starter requiring minimal supervision microwave RF technology, and knowledge tape. CEE offered its first course delivered via while producing high quality and high volume of digital video & audio technology is a the Internet in the 1997 spring semester. Plans results. Ability to work all shifts and week- must, as we plan to convert to DTV. are currently underway to begin producing ends. Please send your cover letter and courses on CD-ROM. The Media Systems resume to: P.O. Box 999 -MK, Woodbury, NY Candidate will be responsible for capital Engineer Jg responsible for recommending, 11797. EOE project planning and implementation along maintaining, setting and monitoring com- with preparation of operating budgets. Must puter, telecommunications and other tech- have knowledge and experience with main- nologies applicable to distance learning. The TELEVISION ENGINEERING POSITION A suit- position plans for and installs new technolo- able candidate should have an Associates tenance of studio & transmitter systems and gies as well as assists in the preparation and degree in Electronics Technology plus 5 years all regulatory compliance standards. faculty training in the use of distance learning experience with UHF transmitters and related Seeking a strong team player that has a technologies. The Media Systems Engineer broadcast studio equipment. A general FCC proven track record to work well with em- also participates in program production and Radio Telephone license or SBE certification delivery. Qualifications: Bachelor's degree Is a plus. The ability to supervise others, solve ployees and department heads. Degree in a required, master's preferred in telecommuni- inter -departmental problems, and relate to technically related field or equivalent ex- cations, electrical engineering or broadcast and communicate effectively with upper man- perience required. engineering. Three plus years of experience in agement are important skills in this position. Bilingual English/Spanish is desired. broadcasting; determining the needs and be This is an excellent career opportunity for a able to maintain broadcast television elec- highly motivated individual to join a growing, Send resume and cover letter to: tronics and equivalency, computer equip- progressive company. Send resume and letter KMEX -TV, Channel 34 ment as it relates to broadcasting and dis- of interest to: Broadcast Engineer, WRGT -TV, 6701 Center Drive West, 15th Floor tance education needs. Special consideration 45 Broadcast Plaza, Dayton, OH 45408. No Los Angeles, CA 90045 will be given to individuals with industry phone calls please. EOE M/F licensing and certification. Excellent oral/ Attn: Marilyn Rego written communciation skills and the ability JB# 98 -IO to work in a team environment and knowledge MAINTENANCE ENGINEER WXIA-TV is look- of current PC/Mac and desktop computing ing for a maintenance engineer to provide 1C 34 KMEX-TV applications necessary. Send cover letter and technical support for all station activities resume to Team 4, Personnel Services, 1126 with primary support to news operation and Equal Opportunity Employer Freehafer hall, West Lafayette, IN 47907-1126. programming. Responsibilities include re- CEE is a pioneer in distance learning and has pairing and installing a wide variety of televi- a reputation of providing high quality, cus- sion broadcast equipment. A minimum of five MAINTENANCE ENGINEER ABC25 WJXX in tomer- focused programming. This position years broadcast maintenance experience or Jacksonville, Florida, is searching for mainte- offers the opportunity for professional growth commensurate education and /or experience nance engineer with broadcast experience. in a dynamic environment providing interest- in a related field required. Must be able to Primary duties include installation, mainte- ing work in a team -based operation. Salary: troubleshoot state of the art electronic equip- nance and repair of state-of-the art broadcast Commensurate with education and experi- ment to component level with minimal super- equipment. Able to troubleshoot electronics ence. Purdue is an EO /AAE. vision. Familiarity with E.N.G. recording, to the component level. Minimum of two editing and RF equipment is essential. Appli- years directly related work experience in the cants should also have a solid working knowl- television broadcast Industry, and technical IMMAD +ECVS,(www.immad.com/ www.ecvs. edge of PCs and typical PC software. Send education in electronics, computer science, corn) one of the North America's largest com- resume and salary requirements to: WXIA-TV, or engineering. Working knowledge of broad- bined system integration companies, is seek- Attn: Paul Tanton Engineering Supervisor, cast equipment (transmitters /tower equip- ing both Senior and Mid -level Television Sys- P.O. Box 77010, Atlanta, GA 30309. No phone ment and support equipment, remote style tem Engineers for our new Boonton, NJ facil- calls please. EOE M/F operations, satellite operations, microwave ity. Our growing public company is currently systems, uplink truck, video equipment), designing and building DTV solutions for the personal computers, and computer systems broadcast community and have positions TV CHIEF ENGINEER KOED -TV, Tulsa, is desirable. Must be willing and able to handle open for the right candidates. The Senior seeking a hands on chief engineer with a the physical requirements of the job. Avail- Engineering candidate should have the fol- strong transmitter background along with able to work irregular hours including week- lowing: a E.E., and /or P.E.; a strong back- studio maintenance experience to be respon- ends and holidays. Frequent daily travel ground in Television engineering; departmen- sible for the transmitter maintenance and required. To apply, mail or fax resume and tal management experience; financial man- supervision of 2 Maintenance Engineers. Need cover letter to Human Resources Director, agement skills at the project level; computer supervisory and organizational skills. 3 years ABC25 WJXX, 7025 A.C. Skinner Pkwy., Jack- literate and a working knowledge of Office97/ RF broadcast experience required. Great op- sonville, FL 32256. Fax (904) 332-2527. No AutoCAD. The Mid -level Engineering candi- portunity for someone in an Assistant Chief phone calls please. All is an EEO employer; date should have the following: a good back- Engineer position. Send resume and salary women /minorities encouraged to apply. ground in television engineering; extensive history to Personnel, Oklahoma Educational knowledge of AutoCAD; and computer net- Authority, P.O. Box 14190. Oklahoma City, OK working and management skills. An EE or PE 73113. AA/EEO Visit us at would be a plus. Please send all info to Rich www. broadcastengineering. co m Bisignano, at [email protected]. Use the Reader Service Card.

June 1998 Broadcast Engineering 209 www.americanradiohistory.com Help Wanted DIRECTOR

VIDEO ENGINEER Evening shift. Trouble- BROADCAST OPERATIONS shoot, repair, install professional audio and AND ENGINEERING video equipment in a post production envi- BROADCAST ronment. Experience maintaining Sony D2 Tribune Broadcasting's WPIX, flagship sta- and BetaSP machines a must, manufacturer MAINTENANCE tion of the WB Television Network, has an training a plus. PC and Mac experience and opportunity for an individual to lead one of familiarity with MS Excel and AutoCAD LT ENGINEER helpful. Position located in NYC. Stable the best technical broadcast and studio pro- company with excellent benefits. Please fax duction operations in the country. If you are for an experienced letter, resume & salary req. to M. Podell 212- Excellent opportunity seeking a challenge at the helm of a station's 265 -5483. Broadcast Engineer at the ABC O&O in New York. Responsibilities include the technical operation, we want to hear from installation/maintenance of studio and you. This position plays a significant role in transmission equipment, including video the development and execution of the routers, CG, robotics, audio switchers, station's strategic, operating and technology cameras and DVE. Must Engineering consoles, SS, be able to do component level repair, plans. work well under pressure and with little supervision. Must possess knowledge of Qualified candidates should have a BSEE or analog/digital systems and a minimum equivalent industry experience. A minimum television of five years of broadcast of 5 years television broadcast operations and experience. Candidates should have within EARTH STATION an engineering degree or equivalent engineering management experience technical training. SBE/FCC certifica- major market television stations is required. STAFF ENGINEER tion, VHF transmitter and computer Knowledge of total station automation con- experience a plus. Disney Channel/Toon Disney, the coun- cepts, digital and analog videotape systems, try's leading cable network for kids and Please send resume and cover letter to: electronic news gathering, studio operations, families, is ready to hire an engineer for Kurt Hanson, WABC -TV, transmitter remote control, satellite and mi- our Burbank, CA location. We are look- 7 Lincoln Square, crowave systems and Federal Communica- ing for someone who is a team player New York, NY 10023. and can provide component level trou- tions Commission Rules as well as strong bleshooting and repair of all transmis- communication skills are also necessary. Ex- sion equipment including exciters, mod- perience in capital planning and implemen- ulators, HPA's, antennas and baseband tation are a plus. equipment. This is an opportunity to be abcr/ part the magic that Disney can of only WB I I is a part of Tribune Company, a lead- provide in a state-of-the-art transmission ing information, education and entertainment facility. No telephone calls or faxes please. provider. We are an Equal Opportunity Em- We require an AS degree in Electrical We are an equal opportunity employer. ployer. To apply please send your resume Engineering or equivalent work experi- and salary requirements to: ence in a satellite Earth Station. Experience with Windows 95 and QNX WBII helpful. 220 East 42 Street MAINTENANCE ENGINEER New York, New York 10017 Please forward your resume with salary requirements to: Disney Channel, Employment D Attn: ms /esse /50806, 3800 West Our state of the art facility seeks a proficient, i Alameda Ave., Burbank 91505 or FAN self motivated maintenance engineer. The LJ I i wNx to: ms /esse /50806 818/846 8281. El candidate of choice will have demonstrated experience in electronic construction and maintenance, be able to troubleshoot equip- ment at the system and component level, in- cluding digital, analog and RF circuitry. ENGINEERS TECHNICIAN INE WORLD'S NEWS LEADER TELEVISION MAINTENANCE Ability to operate broadcast equipment a Candidates should have a minimum of 4 years Turner Broadcasting System has career plus. Degree or certificate in Electronic Tech- experience in the installation, operation and opportunities for experienced television nology and 3 -5 years maintenance of professional broadcast equip- experience at a televi- engineers. These career positions demand ment with troubleshooting and repair of ana- sion station or network required. SSBE Cer- an extensive background in equipment log and digital audio and video equipment to tificate & FCC license a plus. WB II is a maintenance, digital video and audio, and the component level a must. FCC license and/ Tribune Broadcasting Station. We are an knowledge of computer systems and net- or SBE certification with a two year degree or works. Please mail or fax your resume Equal Opportunity Employer. Send resume equivalent is also preferred but not required. and cover letter to: Applicants should have knowledge of com- and salary requirements to: Jim Brown puter operating systems as well as program- Assistant Vice President ming, project management and system design WBI1 of Engineering Services skills. UHF transmitter and microwave sys- 220 East 42 Street Turner Broadcasting System, Inc. tems experience is a plus. Please send resume One P.O. Box 105366 New York, New York 10017 CNN Center to: Pauline Pratt, Human Relations Manager, Atlanta, GA 30348 -5366 WABU -TV, 1660 Soldiers Field Road, Boston, Employment E MA 02135 EOE Fax: 404 -827 -1835 CMISI Phone: 404-827 -1638 WWRWMRtnwWet,.... dealt Hroadc.nt IJ] NGINEERING ENGINEERIN wPIX TBS is an equal opportunity employer.

210 Broadcast Engineering June 1998 www.americanradiohistory.com Broadcast ENGINEERING EDITORIAL Brad Dick, Editor Reader Reader Service Arkediser Steve Epstein, Technical Editor Numb Number 1olfrue Number ber Fidie Deanna Rood, Associate Editor ADCTeleoommnkaóors 103 45 8017264266 Miranda Technologies Inc. 69 36 514333 -1772 Jennifer Lowe, Group II Editorial Assistant AdhemttLtd. 101 44 605-3390100 MRlnc. 131 54 Tom Cook, Senior Managing Editor Ampex Systems 169 Modulation 94 80.752 -7590 Sciences 147 66 8008262603 Carl Bentz, Directories kMiwnairnaac 127 63 231-812 -3858 MuhidyneEk¢tronics 193 104 &041V-TEST Manager 164 73 530621 -2015 NDS 19 7 ART ASCAudioV Corp. 214 3 818843.7004 NemalElectronics 195 102 3058990300 Audio Precision 15 5 800231 -7350 NewwekInc. 51 -53 25 8008176111 Stephanie L. Kastelan, Art Director Avid ecfxnlaev 167 87 8()09432843 Nuconrnbc. 20 8 908852 -37íp Avitel Corpora ion 175 97 601-977-9553 NVisionlnc. 74-75 42 916. 265-1000 BUSINESS BAF Communicators Corp 195 105 407-3248250 Odetics Inc. 21 9 8032412001 Raymond E. Maloney, President BARCOCaonicaÖOnSyslesm 153 80 216871 -7617 Allen OsbomeAssoc. 179 90 8054958420 Cameron Bishop, Senior Vice President BeckAssociates 207 151 512- 3E89777 Panasonic Broadcast 5 8035281601 BstPors !Tedxology 77 43 60&565.7200 Pathlight Technology Inc. 172 95 607 -2664000 Dennis Triola, Publisher BDytsarnictyv 56 27 516293.3200 FCVàeo Conversion Cap. 168 88 404779-12E0 Eric Proffitt, Marketing Coordinator B&HPlato-Vdeo 202 -205 99,100 B00947Á928 PesaSwitching5 125 61 80 -328.1008 Kathy Lewis, Advertising Coordinator BogenPlxb 177 89 2010189500 Phi Iip,Broadcas TV m 7 13 8700%24187 BroadcastMicmvaveServ. 148 67 6195608001 PhilipsCorrsporsen6 149 68 401-7674421 Sandra Ferguson, Classified Adv. Coordinator The BroadcastStore lnc. 207 150 81& 551 -5858 PhihpsSem¢arductors 54-55 26 Doug Coonrod, Corporate Art Director CabbageCass 1% 93 614-4862495 Pi rod, Inc. 71 161 2199364221 Barbara Kummer, Canare 156 ffi 818-365-2446 Playy,Inc. 9 916631 -1865 Circulation Director Canon USABruaadraslLers 27 17 -801321 -0388 Prefine1VdeoProdncù 159 84 818-562-6544 Leann Sandifar, Circulation Manager ConwkCanmunic ors 171 112 413-569.5939 Prime ImaReInc. 105 55 4088676S19 Customer Service: 913 -967 -1711 or 800 -441 -0294 CommunicatiarsSpeciahies 138 18 516-2730404 ProfesskwaICommunicatias Sys. .. 65 28 813888-5353 Com9seamCorp. 46 33 619657 -5849 Professional Audio Supply 185 % 903737$478 TECHNICAL CONSULTANTS Digital Projection Ltd. 151 QuanmteegyyInc. 69 161-6816503 117 49 7704862800 Jerry Whitaker, Technical Program Consultant DioBitalTransportSystems 60 35 619675-1410 uanteiltd. 11 14 8052180051 ONE1ndustrrs 173 % 818252 -01% Ross Video Ltd. 155 81 6136524886 Eric Neil Angevine, Broadcast Acoustics Doremi Labs Inc. 113 46 2138743411 SanixCorporation 137 74 70867.7 -3003 John H. Battison, P.E., Antennas/Radiation DPS 145 65 60 -371 -5533 Scitex Digital Video 24-25 16 884846.7017 DrakeAuomationLtd. 63 37 SuaaCharw 163 72 978897-0100 Dane E. Ericksen, P.E., Systems Design Duracell USA 71 40 90154&5189 Senate 29 19 eOPSENCORE John Kean, Subcarrier Technology EEV,Inc. 141 76 914-932-6050 SennheisecElectronicsCap 139 75 8604349190 Donald L. Markley, Transmission Facilities ESE 181 91 311322-2136 Sierra Design Labs 49 24 702831 -7837 Extron Electronics 119 51 714-491 -1500 Sigma Electronics 126 62 717-563.2681 Harry C. Martin, Legal FantozriCampany 2013 153 4(8297 -2703 Snell & Wilcox Ltd. 39-41 29 408.2611Qp Larry Bloomfield, News Technical Editor FamudjaLaboratoris 17 6 408-735-1492 Snell &Wilcox Ltd. 106-111 56-58 4012011000 Eamon, Inc 47 22 973633-560 Snell &Wilcox Ltd. 133. 136 61 40426.1000 IarnaGrunder &Assoc. 140 77 913492466 SonyElectronics 12.13 8036358068' MEMBER ORGANIZATIONS HamsCapAlmadcastDiv. 3 4 (0,-282-4800 SonyElectones 58-59 80)6355 WY Henry Errgveering 193 103 6263553656 Specialized ProductsCo. 64 38 817- 3296647 Sustaining Members of: Henrianklecronics 195 1876 30547711063 S5uToxdauvlogies 48 23 818810.0983 Acoustical Society of America HhachiDershiAnsenka 115 48 516921 -7203 SFardardCcrnmu rcafiors 143 78 311532-5300 Society of Broadcast Engineers H.L.Dalis Inc. 195 101 718-361 -1100 Stedinnggfechnologylnc. 193 109 9784229711 Hoodrurs(`onp. 207 152 310-379áî91 Storage-TedrologresCap 57 34 00081ORIB( Society of Motion Picture and TV Engineers Intertec Publishing 1% 80)-2888Fio6 Swa®('mrranrratiars 201 110 800%&5601 Society of Cable & Telecommunications Engineers Intraplex, Inc. 114 47 9786929003 T icalOpttatias 152 70 Mamas 144 A 916383.1177 Telmidse 157 83 BB -1BOKH Member, American Business Press V Professional Products 73 41 5825 Televebics 44 -4 5 32 201-848-9818 ino Flo Inc 160 85 81 &767óS28 TrmsanCnmmnicasiars 23 15 613587-0252 KTeohTekecomrunicatios 195 107 81 8361.2248 ToshbaAan ica 33 12 °0 0.5508674 Member, BPA International LeaderinstrumensCap. 43 30,31 903645-5104 TronpeterElectronics 100M0 818.707-2023 LeBLANC Broadcast Inc..... 122-123 60 VdeoAccessoryCorp. 183 92 60.821-0126 Leightronixlnc. 195 108 517{645589 Videotek, Inc. 213 2 6080/5719 Affiliate Member, Leitch Incorporated 36-37 21 8012319673 Virden 35 20 International Teleproduction Society Litton Electron Devices 22 10 63861 -114-f Ward Beck Systems 118 50 416438655n Louth Automation 31 11 415843.3665 WegenerConnunìcatio s 165 86 7106231814, MMagpni Systems, Inc. 129 VvheastoneCorporation 1 52 503615.1900 2 315-452 -5U BROADCAST ENGINEERING is edited for corporate Matt hey Electronics Dd. 130 53 9147638893 William E. 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June 1998 Broadcast Engineering 211 www.americanradiohistory.com A product that needs designing

BY PAUL MCGOLDRICK

One Thursday afternoon in May, even more stations apologized. But Let's volunteer stations in the L.A. basin broke nothing can undo what that scene must Even before the FCC wakes up to the into their regularly scheduled programs have done to young minds who unex- fact that this needs to be done, we to bring live coverage of a human in pectedly saw the news coverage. It should delay live coverage. As a re- distress. Two of the stations actually should not have happened. It is my sponsible engineering community, we broke away from children's cartoons fault, and it is your fault. need to design a means for delaying all to air the live event taking place. live coverage by somewhere between A man who had some kind of beef Human nature five and 10 seconds. with his HMO (haven't we all), armed Since time began, man has needed to No, it's not an engineering problem with a shotgun, parked his pickup on show off in front of his fellows - to be with a simple solution, or we would a connecting ramp to an L.A. freeway. more absurd, to make a point in public have done it before. Or is it? Obvious- He brought a sign with him that he by acting stupid, crazy or dangerous. ly, for analog signals, it would be fairly spread out on the deck. He probably The first self-immolations I remember straightforward to design a deck with knew that the news helicopters would were of the monks in Vietnam, but I'm a record/playback delay (it might not be there quickly, as they were already sure they didn't invent the practice in have been for a 15 in/s quad machine) airborne to start the evening's cover- making a point to their fellow man. by literally feeding one deck to anoth- age of the commute. Certainly he would Radio has recognized for years that er. And such a solution wouldn't be have been able to hear them throbbing there are crazies in the world; nobody that klutzy and expensive if done right. above him. would risk their licenses by putting a If done with decks that could handle While a standoff with the authorities talk -radio show on the air without the both composite and component, it continued, the L.A. stations were joined eight- second delay box. It was origi- would cover all the needs of the analog in their coverage by MSNBC, so cable nally conceived of as a protection remote. viewers nationwide would have the For digital signals, we need to think chance to see this "unfolding drama." Nobody would risk their of a time -base -corrector -like box with Nothing happened for about an hour. 5+ seconds of buffer (150+ frames). The man sat in the cab of the pickup, licenses by putting a Surely that is totally feasible in today's with his dog, and no doubt contem- PCs. A 400MHz Pentium II with plated the effectiveness of his demon- talk -radio show on the enough memory should cope with even stration and the reaction it would cause. HDTV. If properly set up, today's disk - without the eight - Then he ignited himself and the pickup air based recorders also provide a possi- cab exploded into flames. He leaped second delay box. ble solution. out and started to tear off his burning Can someone please get these prod- clothing - the dog didn't make it. ucts to NAB '99 so the industry can When the news coverage interrupted against foul language, but these days do the "right" thing before the govern- the cartoons, the kids watching must there are far worse things that people ment threatens stations' license renew- have thought it was great: here was this would be happy to declare over the als? Helicopter news coverage is cheap funny man doing his funny dance rip- airwaves to further their cause. There drama, but we should not allow our ping his funny clothing off - just like are just too many people out there, kids' minds to be cheapened. By devel- another Bugs Bunny cartoon. But then totally dedicated to themselves and the oping equipment to delay programming, the man calmly went back to the pick- destruction of everything else. we can avoid this problem in up, pulled out a shotgun, rested it Why should TV broadcasting be im- the future. vertically on the center median con- mune? Maybe we thought that the Paul McGoldrick is a free -lance writer and crete and blew off the back of his head. occasional streaker at a sporting event consultant based on the West Coast. Unlike Bugs, he didn't get up. was amusement. But what other things That evening, a couple of the L.A. could the extremists perpetrate at na- stations apologized to viewers for air- tional and international events that What do you think? Respond at ing the event live. The next day, after could cause public horror and be cov- www.broadcastengineering.com they were obviously shamed into it, ered live by the networks?

212 Broadcast Engineering June 1998 www.americanradiohistory.com Clearly a Winner!

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